Beyond the Runway: Central Saint Martins’ Class of 2025 Rewrites the Blueprint of Fashion

By: EyeforFashion

At Eye for Fashion, we seek the kind of clothing that doesn’t just drape a body, but defines a cultural shift. A few places bring those moments, like Central Saint Martins. The 2025 BA Fashion Showcase wasn’t simply a display of graduate talent—it was a referendum on what fashion can. It should be: engineering meets identity, textile meets truth, silhouette meets soul.

Though Myah Hasbany rightfully won top honors with her cyber-organic symphony of form and function, there was a chorus of voices on that runway, each singing in a different key. This was a show where fashion meant something, where each student’s work was a lens into a world, often one they’ve lived in, sometimes one they’re daring to imagine.

Let’s walk through the collections that didn’t just deserve recognition—they demand remembering.

Ayham Hassan: The Fabric of Defiance

Ayham Hassan’s collection is more than fashion; it’s a profound act of remembrance and resistance. Deeply rooted in his Palestinian heritage, his garments transcend mere aesthetics. Traditional Palestinian embroidery (tatreez) meets militaristic forms, symbolizing the tension between culture and occupation, survival and struggle.

A standout piece was a floor-length keffiyeh-style scarf, hand-knitted by Hassan’s mother—more than an accessory, it was a personal testament. The collection, heavy with emotional and historical weight, was a bold declaration of dignity and resilience.

In an industry that often avoids real-world issues, Hassan uses fashion as a platform to tell the stories of his people. These garments aren’t just clothes—they’re a powerful statement of resistance, a cultural armor woven from memory, pride, and defiance.

Eye for Fashion says: If fashion is resistance, Hassan wears it like a shield—bold, unapologetic, and deeply meaningful. His work invites us to confront not just beauty, but the history and hope it represents.

Timisola Shasanya: Duality, Dressed

Timisola Shasanya’s menswear collection is a quiet exploration of identity, caught between cultures, expectations, and masculinities. Drawing from her experiences in Lagos and London, Shasanya blends British tailoring with West African fabrics in a way that feels more like a conversation than a contrast. The sharpness of British suiting is softened by the fluidity and texture of African textiles, creating garments that speak to both heritage and hybridity.

Shasanya reimagines masculinity not as rigid or defined but as soft and vulnerable. Through transparent silks, slouched shoulders, and imperfect silhouettes, her designs evoke a man in search of himself, comfortable with uncertainty and change.

Eye for Fashion says: Shasanya isn’t just designing clothes; she’s crafting questions—about identity, masculinity, and belonging—inviting us to reconsider how we navigate cultural and personal complexities.

🪡 Eye for Fashion says: Shasanya isn’t designing clothes…she’s designing questions.

Matthew David Andrews: Memory, Submerged

When Matthew David Andrews sent models wading down the runway in garments soaked in memory, he wasn’t simply showcasing fashion—he was staging a ritual.

Inspired by the 1958 flood in his hometown, Andrews transformed clothing into emotional sediment. Coats looked waterlogged. Fabrics shimmered like oil-slicked asphalt. Hemlines dragged like sodden linens left to dry. There was a sadness in the textures—a kind of architectural melancholy, as if buildings themselves had turned to garments and walked away.

But beneath the gloom was something more intimate: a sense of survival. Transparent overlays suggested layers of memory or trauma, preserved like sediment under the sea. It was both personal and environmental—an elegy to a town, a time, a version of self washed away.

🪡 Eye for Fashion says: Andrews doesn’t design fashion. He architects feeling.

Mason Tomsett: Satire in Silk

With Mason Tomsett, the runway became a battleground for the masculine myth. His collection was loud, lush, and unafraid. Picture oversized underpants emblazoned with “BUM BOY” in block lettering queer pride masquerading as cheeky insult. Think glossy satin robes, wide-legged trousers with garish prints, and campy cowboy boots clashing with powder-pink lace.

But Tomsett wasn’t just being provocative—he was strategically irreverent. His collection was a commentary on what society does to boys it can’t quite define. He pulled masculinity apart like a joke told too many times. And then, from its shreds, he stitched a whole new lexicon.

🪡 Eye for Fashion says: If David Bowie met Divine and studied semiotics, they’d wear Tomsett.

Andy Pomarico: Trash Couture with Teeth

Andy Pomarico’s latest collection was a bold, chaotic commentary on the excesses of modern consumerism. The runway came alive with models in bin-bag ballgowns, bubble-wrap boots, and a witch flying overhead—absurd, yes, but purposeful. The humor is undeniable, yet it hides a powerful critique of our addiction to disposable culture.

Pomarico’s work transforms discarded materials into high-fashion satire. By reimagining mass-produced waste, he forces us to confront the consequences of our obsession with consumption. His designs aren't just a visual joke; they are a stark reminder of the environmental toll we ignore. The playful absurdity is a vehicle for deeper reflection—making us laugh while also challenging the way we produce and consume.

Eye for Fashion says: Pomarico blends humor with sharp social commentary, using fashion as a tool for change. His work calls on us to rethink our values and reconsider the future of both the planet and the fashion industry.

Izzy Dickens: Sewing Sentiment

Izzy Dickens’ collection was an emotional excavation, rooted in her childhood memories from Thanet. Using repurposed materials like old curtains, quilts, and even doodles from her primary school notebooks, her pieces weren’t about nostalgia—they were about reconnecting with buried emotions.

The garments felt lived-in and fragile, embracing vulnerability rather than traditional beauty. One dress, stitched with faded photographs and bound by ribbons, evoked the ghost of a home or a forgotten embrace. These weren’t clothes to be worn for vanity, but to be seen and felt.

Dickens’ work invites us to explore our own histories, using clothing as a means of emotional expression, healing, and connection.

Eye for Fashion says: Dickens’ collection transforms fashion into a therapeutic act, stitching memories and emotions into every seam.

Final Thoughts: What the Eye Saw

This showcase was more than a graduation. It was an eruption of creative selfhood. Each designer didn’t just make clothes—they built worlds, opened wounds, sparked debate, and stitched together the spirit of now.

Central Saint Martins has always been a furnace for the future. But this year? It burned brighter. And if the designers of 2025 are any indication, fashion isn’t dying. It’s just getting started—bolder, smarter, stranger, and more human than ever.