This week, the 2025 class of Central Saint Martins took over BFC’s Show Space at 180 Strand, setting a new frequency for the fashion pulse in London. 18 MA Fashion students who graduated presented their final creations, each more boundary-pushing than the previous, in a kaleidoscope of silhouettes, statements, and surrealist talent. The runway felt more like a creative revolt than a performance, with politically charged materials and clothing that moved like living sculptures. This was more than simply a commencement. It was an active manifesto.
Myah Hasbany x Straytukay Collection: A 2025 BA Graduate Showcase
Myah Hasbany’s collaboration with Straytukay defied both gravity and definition. The look, resembling a flowering alien chrysanthemum, stood out as one of the most unforgettable from the 2025 BA Graduate Show. Delicate white and black feather-like accents floated over the surface, while inflated, petal-shaped structures wrapped the model in a soft armor of lilac plumage. It wasn’t just fashion—it was wearable defiance, a surreal fusion of dream logic and performance art. Rather than sending a model down the runway, Hasbany sent a myth in bloom.
Jada Tudor – “Bidrohini (the Rebel)” | CSM 2025 Collection
Jada Tudor redefined what it means to wear disobedience in their bold graduation collection, “Bidrohini (the Rebel).” The metallic cage skirt and leather-like bodice looked like armor forged in the aftermath of revolution—fierce, raw, and deeply symbolic. Facial jewelry and tattoos inked directly onto the model’s skin amplified the message, turning the runway into a battleground for rebellion, rage, and reimagined intimacy. Tudor’s work interrogated the politics of visibility, sexuality, and safety, transforming the collection into something more than just fashion. It was weaponry.
Phoebe Bor – “ALICE” | CSM 2025 Collection
Phoebe Bor created a tactile fever dream in the form of a pink crocheted cloak with a bunny tail full of excitement, texture, and diverse glamour for a graduating presentation called “ALICE.” The garment, which was belted with springbok skin and adorned with hand-applied beaded studs, resembled couture candy floss with a dash of defiance. Bor’s appearance blurred the boundaries between imagination and violence, costume and fashion, with its oversized, swollen proportions and correspondingly wild attitude. This was a compilation that wanted to be felt rather than only touched.
Dieter Vlasich – “The Finite in the Infinite” | CSM 2025 Collection
Dieter Vlasich’s collection, “The Finite in the Infinite: 13 Seeds Collected Through Time and Space to Propose Alternate Ways of Being,” reads like something made of magic thrown in the middle of a runway. Layers of batik-stained pleated cotton were used to form cosmic blooms, with the memory of nature carefully stitched into each petal. The ensemble was a mix of both earthly and transcendental tones incorporated in the design. Instead of merely presenting a garment, Vlasich called forth a living archive. It was folklore turned into spiritual fashion.
S. Fisher – “KREE” | CSM 2025 Collection
S. Fisher’s second design from the “KREE“ series brought street edge and textile delicacy to the runway. The Ready To Wear ensemble featured pleated fitting slacks, a burgundy and yellow monogram knit vest, and a leather bag, which celebrated style and quality. The knit inserts, designed in collaboration with Alice Carter, added depth and texture without compromising structure. They seamlessly blurred the boundaries between traditional menswear. They gave us the kind of wearable boldness that looks equally good in a gallery as on the street—casual revolt with impeccable attire.
Megan Alloh – “IMPORTED TRADITIONS” | CSM 2025 Collection
Megan Alloh’s garment from their graduating collection“IMPORTED TRADITIONS” emphasized defined material and ancestral memory. Crafted from 613 cables of blonde synthetic hair crocheted into a shift dress in the mod style, the piece was a masterful blend of technique and commentary. The ensemble was grounded in postcolonial discourse and cultural allusion through heat-pressed “Ghana Must Go” tights. As a sobering reminder that our clothes can be both a garment and a statement, the group, led by identity, the collection was a walk through history and the sharp edge of reclaiming.
Luke Hemingway – “Dream Ceremony” | CSM 2025 Collection
Luke Hemingway’s collection “Dream Ceremony” felt like a declaration of independence in a post-apocalyptic bedroom. Over silky, cloud-washed leggings, a multicolored, pillowy jacket with goggle-shaped decorations and pom-pom drawstrings was tightened and slouched in precisely the right spots. The teddy bear accessory was more than just a prop; it was a reminder that innocence cannot last without armor. Amid tension, Hemingway’s unusual color, stormy serenity, and tremendous compassion gave tenderness. The wearable nostalgia was altered in memory.
Joe Fearon – “Nowt So Queer as Folk” | CSM 2025 Collection
Joe Fearon’s collection came to a finale with the stunning combination of queer narrative, mythology, and bridal imagery known as“The Virgin Sacrifice.” Tangled in ribbons, fringe, and sheep bone, and drenched in silver-foiled lace, the ensemble seemed less like a garment and more like a moving ritual. Like a pagan bride called to the altar of expression, the piece, which was modeled by Alex Emery, added a haunting beauty to Fearon’s performance. This was the pinnacle of creativity and simultaneously cathartic, couture, and costume. It’s not even close to being iconic.
She Carmona – “Leon In CAMO” | CSM 2025 Collection
She Carmona’s collection “Leon In CAMO “ was a disassembled tribute to materials’ origin, texture, and utility. On top was a sculpture representing a map of migration and memory created from Philippine crumbling camouflage and piled rice sacks. Wearing the combo with ribbed pin tuck joggers seemed like an exploration of armor and sensitivity, wear and repair, and strength and identity. This wasn’t camouflage to blend in, it was a declaration stitched in origin and resistance.
Ayham Hassan – “IM-MORTAL MAGENTA” | CSM 2025 Collection
Ayham Hassan’s collection IM-MORTAL MAGENTA was genuinely theatrical. The outfit marched down the runway like a poet divided between worlds. It was covered in lacquered brown leather, linked with magenta cord, and perforated with shards of silver foil. With its eye-catching high-collar drape and fishnet-paneled slacks, this ensemble weaponized color rather than wore it. The collection implied that magenta was more than just a pigment; it was a power vibration and an imagined frequency. Even though this hue doesn’t exist, Hassan convinced us to believe in it.
From wearable myths to subversive knitwear, the CSM Class of 2025 didn’t just graduate—they detonated. London won’t be the same, and neither will fashion.
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