A special standout was the work of WeM Hasan, a student of Ramllah at West Bank, who made his way for Central St. Martins and created a powerful collection, which displayed the amazing beauty of the Palestinian craft, and went back to the artisan traditions, whose roots have been displaced from the struggle. , Geometric patches of historical woven pattern from the area with layers of distressed organna; Meanwhile, a huge length of textile in gray and magenta, here, is worn as a floor-sweeping headscarf, actually woven by Hasan’s own mother. He said, “My mother cannot make it clearly today, because she is in the West Bank,” she said before the show. “So with it, it seems that he is here.”
The top three prizes of the evening, who were judged by Daniel Lee of Barbari-who were sitting in the front row in the show, tapped their legs for the music Soundtrack’s Madcap Pick-And Mixes selected by the students-all went to qualified winners. The second runner-up was a British-Pakistani designer Haseeb Hasan, whose sophisticated designs were impressive. Taking inspiration from the sources spreading everything from Madam Grace’s draping to vintage Pakistani postage stamps, he confidently disturbed her into a collection, who was marrying with graphic effect with extraordinary craftsmanship: her crack on a South Asian Shalwar camayzHere was a dusty blue leather cut and decorated with Arabic calligraphy, a highlight, as a drapey, pleased white fabric had a closing look in the pleasing look that featured abstract green motifs that echoed the Pakistani flag. After the show, Hasan said, “I used to matter the most,” Hasan said that he worked with artisans in Pakistan to produce shoes, crochet prayers caps and woven tassel drastring in Pakistan. “This was a way to honor his craft and ensure that I live on the basis of collection where I come from.”
The first runner-up award went to Hannah Smith, whose thoughtful approach for adaptive fashion was shown in a collection, taking inspiration from curlicy details on the iron gates, which “used the wheelchair as a property, or as a fluid expansion of the body,” he said before the show. The way the striking was its technical experiments, cutting the leather into a nottage ribbon, which floated behind the model with a feather-light, or cutting and wrapping a traditional woolen stitched fabric behind the wheelchair to make an elegant train.
