Central Saint Martins MA
What is the secret sauce of the Central Saint Martins MA—the crucible that produced Alexander McQueen (class of 1992), and, a generation later, Sean McGirr (class of 2014), who’s now in the McQueen hot seat, as well as a hundreds- strong alum diaspora of independent London designers and team specialists at work across planet fashion? In a nutshell—a point that shines out in defiance of Brexit Britain and small-minded politics—it’s the diversity of student talent it draws from, the individuals who Professor Fabio Piras and his academic team put together to spark off one another, while each manifests what’s uniquely important to them.
“I don’t know, it’s like a very cliché thing to say, but the college has a legacy that attracts everything. Sometimes when you see fashion on a runway nowadays it’s more like a beautiful product—but when you see CSM, it’s something unknown, it has to be close to your identity,” said Dhruv Bandil, the Indian graduate who was awarded the prestigious annual L’Oreal Professionnel prize for his vibrantly ‘drip-dyed’ collection, decorated with his own technique of 3-D cotton-cord jewelry-like interior beading, inspired by 11th-century Shiva temple carvings in his local region. “It’s a requirement that it should be what you believe in,” he added. “That raw emotion is something that makes us crazy in our authenticity. Doing this cheered me up!”
Bandil had worked for Manish Arora in Paris, gaining industry experience before making his MA application. So had Alvaro Mars, who’d previously had his own brand. “I’m Spanish—really Spanish,” he laughed, describing the “everyday couture” idea he pursued by making pouffed panniers out of cotton shirts, styled over chopped-up tailoring or a gray sweatsuit, underpinned with Spanish leather-goods expertise (and some Loewe factory leftover leathers).
Mars’s response to the CSM MA secret sauce question draws an intriguing analogy. Joining this environment is akin to becoming part of a ballet company. Initially, you arrive thinking you know how to dance, but soon
realize that everyone around you is freestyling. Gradually, you find yourself free-styling as well, surrounded by exceptionally talented individuals creating awe-inspiring work.
At the CSM studio, Jonathan Ferris stands out. He collaborated with a 3-D scanning company to produce latex masks of his own face. As a working- class individual who has grappled with fitting in during 9-to-5 jobs, Ferris’s revenge against British uniformity manifests in a captivating collection of menswear classics. These garments feature hair streaming from the back of office shirts or knotted as ties—an eerie world of fetishes and fantasies. Female-directed creativity also takes center stage. Phoebe Prendergast reminisces about playing dress-up with night dresses and school uniforms, while Paula Mihoviloc’s visual diary showcases daring clothing experiments. Feathery cocktail hats add a touch of whimsy to the mix.
Amidst this celebration of individualism, self-expression ranges from subtle tailoring to the grand theatrical finale orchestrated by Maximilian Raynor. Here, it’s not just about appearances; what truly matters is the reasoning, the quality of the outcome, and the underlying narrative. As school fees rise and environmental concerns grow, students are increasingly mindful of creating design work that speaks eloquently.” 12
Joshua Ewusie, a West Londoner with West African heritage, drew inspiration for his collection titled “You Don’t Feel the Cold.” The exquisite hand-crafted leathers he used for jackets and coats were generously donated by Chanel, as Ewusie was the recipient of a Chanel-BFC scholarship. His exploration led him to delve into the rich tradition of Ghanaian leather craftsmanship. Notably, an orange bodice and skirt in his collection directly reference a photograph of one of his grandmother’s sisters. Additionally, the short, bugle-beaded dress pays homage to his own sister, who frequented Garage club nights.
Beyond its literal interpretation, “You Don’t Feel the Cold” carries a metaphorical weight. It symbolizes the British attitude toward immigrants and immigrant culture. Ewusie’s thoughtful blend of personal history, craftsmanship, and social commentary resonates deeply.
In another accolade, the Canada Goose and Mira Mikati award recognizes a graduate who presents a responsible collection. This honor was bestowed upon Gracey Owusu-Agyemang, whose innovative concept involved cultivating regenerative cotton from seeds in her Zambian backyard. Despite challenging times, the resourceful creative energies of this generation continue to inspire hope and admiration.
,