2026 UWE Bristol Fashion Textiles Yearbook

Welcome to UWE Fashion Textiles Class of 2026

Fashion Textiles at UWE is understood as a practice of enquiry: Intellect and aesthetics (mutually dependent) are explored in tandem, and the subject is situated both in the lived experience of the body and in the wider systemics of our society.

We take good Craftmanship and the discipline(s) of the Subject seriously; we celebrate the vastly opposing scales of thought and action that the subject necessitates – and are just as interested in (and often perplexed by) the minutiae of a button’s placement, as we are in the poetics, politics and policies that the subject inhabits.

These Graduates have developed work that is shaped by as much by curiosity as criticality, they are engaged, attentive and ready for their next steps. Emerging Designers for an evolving world, we are immensely proud of everything they have achieved so far, and we are ambitious for their futures.

Class of 2026 – Congratulations - Its been an absolute pleasure working with you, and we wish you every success.

Deb Southerland

Programme Leader BA Hons Fashion Textiles go.uwe.ac.uk/fashiontextiles

Zohra Baig

Ruby Bearman

Maddy Bird

Benjamin Brown

Max Collison

Daisy David

Sanadi De Silva

Jamila Deveson

Daisy Flynn

Hannah George

Mia Goodrick

Fraser Harrower

Grace Henrick

Millie Hibberd

Isadora Holt Walkden

Abigail Ingell

Jana Ivezic

Felicia Jones

Katie Koszler

Jaden Matthews

Cydnee Pierce

Kai Powell

Ellie Presland

Annabel Russell

Rebecca Stout

Gaia Studwell

Esme Vost

Froo Walker

FRAGMENTED MEMORY

LYGIA CLARK

-BRAZILIAN NEO-CONCRETE ARTIST KNOWN FOR INTERACTIVE SCULPTURAL WORKS.

-HER BICHOS SERIES, CONSTRUCTED FROM HINGED METAL PLATES, CAN BE FOLDED AND REARRANGED BY THE VIEWER, MEANING THE SCULPTURES ARE NOT STATIC BUT EXIST THROUGH MOVEMENT AND TRANSFORMATION.

-CLARK EXPLORES INSTABILITY, FRAGMENTATION, AND SHIFTING STRUCTURE, WITH FRAGMENTED PLANES REFLECTING BROKEN OR LAYERED MEMORY. THE CHANGING CONFIGURATIONS MIRROR DISTORTION OVER TIME, AND WITH NO FIXED FINAL FORM, IDENTITY AND STRUCTURE REMAIN FLUID. THE VIEWER’S INTERACTION CONNECTS THE BODY TO TRANSFORMATION, SIMILAR TO GARMENTS THAT SHIFT AND RECONFIGURE ON THE WEARER.

URBAN TEXTURES

RURAL TEXTURES

Bringing a European Summer to the Uk

worn ruins

“Worn ruins positions the body as both monument and ruin, where each garment emobodies the ephemal tension between preservation and decay” During this project i will explore studies of the abject and momento mori in middle ages art, i will look at welsh history through poem and text, i will allow this to unpick and reconstruct narraties in garments, championing antiquated aesthetics and methods of visual communication and functions in a garment.

This project investigates how abject imagery and grotesque symbolism embedded in the middle ages garments and art communicate social, religious and moral meaning. medieval europe produced a rich visual culture in which clothing, textile motifs, manuscript marginalia, and devotional artworks frequently depicted bodily distortion, and decay. these served not merely as aesthetics but functioned as communicative tools that shaped collective undesrstanding of sin, piety, corporality, and the boundaries of human.

RESPONSES TO RESEARCH AND DEVELOPMENT

WORN RUINS 2 - SYMPHONY OF THE ABJECT

Human fascination with the abject, is that of which casts off, is unclean and threatening to strict identirty, its rooted in the psychological need to define the boundaries of the self. Defined extensiveley by philosepher julia kristeva in her 1980s work powers of horror, the abject encompasses things like corpses, memento mori and waste, that reminds us of our own mortality, fragility and animal nature.

The psychology of the abject the abject works as a boundary maintenance, Abjection is the mechanism by which humans distinguish “i” from “not-i”. We cast off abject things that threaten to break down the barrier between ourselves and the outside world, where this project dwells. the mortality reminder, the corpse is the ultimate abject, the darkness of the real, and a breaking down of a world that has erased its borders. Encountering the abject is at its core, a confrontation with our own fate. The obsession “ jouissance” stems from a dual feeling of horror and fascination, what kristeva calls jouissance “a perverse pleasure in watching things that disgust us” abject art emerged in the 1980s, the art utilized waste, bodily fluids, and decay to challenge “notions of cleanliness and propriety” and to disrupt conventions of aesthetic.

RESPONSES TO RESEARCH AND DEVELOPMENT

GARDENER . LONGEVITY . HANDCRAFT

Wrap front fencing jackets

- with most players being right handed, opponents blades would land on the left side of the torseo, meaning the second layer of cloth on that side added protection before modern padding existed.

- closures were placed off centre so they wouldn’t snag opponents blades, and reduced painful impacts directly on hard fasteners.

- fit comfortably over many layers, as all seams and closures weren’t on top of each other.

- influence from 19th century military uniforms, as wrap fronts were known for their strength, durability, and ease of movement.

1930-40’s Military Riding Trousers

- s curve side seam

- designed to fit cleanly whilst riding a horse

- allows room in the thigh, whilst keeping lower leg tight

- buttoned calf so trouser can fit inside boot

- reinforced knee panel reduces strain when bent.

Could carry on the Strava Map down the leg, like the seam of this trouser. Trouser could attach to the fencing style jacket to create a jumpsuit.

Diagonal Fly Front

- faster to put on in emergencies

- opens wider than a straight fly

-is easier to align and fasten quiickly

- reduces fumbling with stiff fabric/gloves

- stronger closure for heavyweight fabric

- better comfort when bending/climbing

- inspired by 19th century military trousers, railroad, and industrial workwear (adopted designs from other high risk professions)

1930’S Royal Navy Stokers Pants

- wide flared leg = easy rolling when decks needed to be mopped

- multi button drop down front panel

- densely woven white canvas = more protective and fire resistant

= worn by a stoker -> hot work

a

1970’s military aviation suit

- angled chest zips allowed access to items whilst seated and harnessed

- zippered thigh pocket for maps, checklists, etc.

- minimal loose fabric and velro waist straps allows safe wearing of parachute

- zip up ankle making putting on boots easier

Different pocket placements

Pocket placement sample in calico, deciding where is more comfortable to rest the hands in a jacket.

Focusing on the shape of the climber’s bodies, seeing where it would be helpful for them to have a pocket.

Using my Strava maps to organically change the length of trouser and arm lengths. Could be removable and reattached with zips?

Removing parts of the aviation suit where the map lines interfere

Possible colourways

I think a thin nylon could work well for this silhouette. For its’ workwear purpose, it’s usually made from a thicker cotton, but a modern twist for a hiking version of the aviation suit could be a nylon that gives rain protection and is more breathable.

Designer: Jamila Deveson Collection: Stitching The Path Season: A/W 26

Description: Strava Jacket Main Fabric: Waxed Cotton Lining: 100% Cotton Jersey

Gender: Unisex

MEASUREMENT page

Exploring colour variations and range building within my line up. I think this as been really beneficial in order to visualise my colour pallete on the bodies and also link back to materials. Overall, the colour pallete as a whole work really well together and holds a clear aesthetic alongside my research. I have designed these looks in relation to my muse,sticking to ideas of versatility, abstraction and permenance.

Sample experimenting with putting the slit pocket in a seam using leather to test out the bulk.

Documentation of the making of a toile of the coat, I didn’t have the time to do any more work with this. I drafted a collar and measured it to the size of the mannequin.

Sampling bias binding: 1.5cm and a 1cm finish, I chose 1cm.

Magic of Light and Stars is a luxury interior furnishings collection inspired by celestial light, antique ornamentation, and maximalist interiors. The project explores dreamlike spaces where time feels suspended and objects hold a quiet, nostalgic elegance. Layered patterns, delicate motifs, and rich textures capture the shimmer of starlight across antique fabrics, while materials are chosen to subtly reflect light and enhance atmosphere. Centred around an eccentric, mysterious muse, the collection celebrates romantic maximalism through storytelling, ornament, and celestial beauty.

Veils and Shadows explores an imagined interior shaped by light, memory, and atmosphere — a space that feels almost hallucinatory, suspended between presence and absence. It is only just visible, its forms soft and indistinct, creating a quiet unease as the familiar becomes subtly unreal.

Textiles are created through natural dye processes using flowers, leaving delicate imprints that capture fleeting plant forms. These organic marks create a gentle, muted palette of purples, translating vivid natural elements into subtle, atmospheric surfaces.

Block-printed motifs of furniture and decorative elements reference the interior itself, echoing depth through a trompe l’oeil approach. Repeated patterns draw on the language of wallpaper, allowing the textiles to form a faded impression of the space rather than a direct depiction.

sublimation print

domestic knitting machine

70% polyester 30%

cotton blend

tension 6

sublimation print

domestic knitting machine

70% polyester 30%

cotton blend

sublimation print

domestic knitting machine

synthetic bouclé tension 4

tuck and hold

domestic knitting machine

Maroon silk mohair

purple silk mohair

grey 100% superfine wool tension 5 and 6

card

SUBTRACTION CUTTING

Exploring different ways this ‘sleeve’ could be worn

Contextualising this sleeve-seeing where the hand would come out of -visualising it as a potential garment

Using Subraction pa ern cu ing to create fluid shapes that are cut in rhythms to create shape.

Sewing the bias and selvidge together to see how the shape would differ and how the fabric would react.

Black dashed line = Top side of fabric cut only

Added boning to either side of the tube before sewing in the circles. Changed the structure of the ‘sleeve’ as the fabric is really light weight and therefore ‘floppy’. Made some really lovely curves and the sleeve more dynamic.

Made the rib extra long so it deforms the sleeve further. You can cinch it in so it sits on your wrist or leave it to create its own shapes.

RIB:

1x Elastic in ‘Black’ plated with 2x Lambswool in ‘Navy’

4x Fine elastic in ‘Chartreuse’ plated with 1x Biella Wool in ‘Victoria’

4x Spandex Super Stretch in ‘Wine’ plated with 1x Biella Wool in ‘Maura’

Veritcle 6x5 rib - 6 in action, 5 out of action

Tension: cast on 10, tubular 13, main 13

90 Needles

550 Rows

Love that the sleeves can be worn but also look like sculptures when off the body.

Making a rib that allows the sleeve to bounce more.

Black dashed line = Top side of fabric cut only

Black dashed line with zigzag = Both sides of tube cut Red dashed line = Bo om side of tube cut only

The left two sleeves have this yarn composition:

1x Elastic in ‘Black’ plated with 2x Lambswool in ‘Navy’

4x Fine Elastic in ‘Chartreuse’ plated with 1x Biella Wool in ‘Victoria’

Section 1 -

6 x 5 Rib - 6 in action, 5 out of action

Tension: Cast on 10 tubular, 13 main

164 Needles

178 Rows

Section 2 -

Ascending Rib: Start at 6 x 5 - End at 14 x 13

Tension: Cast on 10 tubular, 13 main

149 Needles

281 Rows

Section 3 -

Ascending rib: 15 x 14, 16 x 15, 17 x 16, 18 x 17, 36 (Front bed needles for hem)

Tension: Cast on 10 tubular, 13 main

164 Needles

Heavy weight Calico 100% Co on Screen Printed

432 Rows Rib: 100% Jersey

Really lovely tucks/ pleats created. Only having one side of the fabric open.

DYE RECIPES & PROCESS : NAVY -

3 spoons of ‘Navy Blue’

1/2 spoon of ‘Black’ Full tub of white binder

CHARTREUSE -

3/4 tub of white binder

1 spoon of ‘Lemon Yellow’

Less than a quarter of a spoon of ‘Emerald Green’ WENT TOO GREEN!!!

4 spoonfuls of above (wrong) green into new tub Filled tub with white binder 1 spoon of ‘Lemon Yellow’ Droplets of ‘Sunshine Yellow’

DYE RECIPES & PROCESS :

CHERRY REDFull tub of binder

1 spoon of ‘Pillar Box Red’ 30 (ish) drops of ‘Ultramarine Blue’

Cherry Red came out so differently when printed next to the navy - looks a lot darker. Navy & cherry red is not a combo I would use again in such close proximity as they dull each ither.

printinghave lost the

dashed line = Top side of fabric cut only

dashed line with zigzag = Both sides of tube cut

dashed line = Bo om side of tube cut only

of travel with arm (or

Muse development of Mathilda Gvarliani’s head displayed on a different body. The proportions of the image inspire my idea development. I was able to identify my research around my muse for the project, as her features and aura encapsulated the ethos of my design DNA.

I started by looking at architecture, interior design and traditional tailoring/ shirt making practices to inspire me. I was able to extract potential colour palettes, shapes and forms as well as textures that related to the history of the object, directly associated with memory.

Bad Press explores the dysfunctional alongside precision, focusing in on the labour-intensive process of ironing. I was inspired by the physical work produced from this contemporary project, shirts folded in unconventional and uncanny ways, the rolled shirt into sleeves being a shape that particularly inspired me. I decried to take forward this shape into my design development by bringing my colour palette into my collaging and the going on to distort and strategically collage.

Collaging and layout manipulation of the rolled shirt into sleeves from Bad Press. By taking the shape to the body or the illusion of a body helped me to contextualise silhouette and potential garment parts

Experimenting with paper manipulation and collaging through tracing paper. I used tracing paper specifically because it is transparent and therefore buildable through layering. The folding manipulation within these design developments work well especially with my themes surrounding memory. These helped me to explore beyond the body extending and expanding.

Initial sampling of the tabard-style jacket starting with half scale. To make the structured shoulders stand out without using shoulder pads, I returned to my research and looked at pleats and folds holding memory. From this, I made the shoulder seams into box pleats which added a high level of stability and created a smooth and seamless shape without the need for darts.

Sampling for the trousers also began in half scale but didn’t reflect how I wanted them to sit as I needed to use the men’s model. I made one leg in full scale and after reviewing it on the women’s mannequin I found it was lacking the fluidity in my designs. After another toile in a soft cotton, I was very pleased with the aesthetic coming through this design.

I resolved the bagginess which also propped up the shoulders. I made sure my toile had fusing in the appropriate places so I could get an accurate vision of its shape. This was useful when it came to sourcing and buying my fabric as I needed the denim to be a very heavy GSM

For the turtle neck to go underneath, I wanted to figure out the stripe direction before figuring out the pattern. I decided on all the stripes facing in a vertical direction. Design therefore changed from a raglan sleeve to a classic sleeve since I could make the turtleneck and bodice all in one piece.

- 14 oz Tobacco denim for the tabard

- Experimented with yellow thread to add depth of colour in subtle chosen areas of the embellishment, this catches the viewers eyes, bringing them deeper into the detail of the final embellshed product.

- Asymmetrical fabric party bag, to refrence modernism and architectural structure. Radiating a contempory design

- I used the narrative of the moss, created by using the technique french nots, growing out the seams of the bag. Aiming to convey natural growth.

-organic motifs and layered embellishment creates visual

Moss, fungus and Mold motifs.

- Individuality and craftmanship, luxury accessorie - both practical and decorative artisit fashion

-Bugle Beads : adds height due to stackibility and has spikey organic texture

Bold border around central PomPom embellishment to difuse and break down each layer of bead. Seperate and highlighting the different shapes, colours and layers

embellishment multiple tones

- Chain stitch around edge x2 with thick embroidery needle

- Using multi tonal shading to add visual depth, refrencing my organic motifs and embellished portrals of natural forms.

-Centre of embellishment I used Cream coloured PomPoms to elevate the height and overall texture . It gave a sturdy base to stack futher, using distinctive red beads on top to catch the viewers eyes

- Experimented with yellow thread to add depth of colour in subtle chosen areas of the embellishment, this catches the viewers eyes, bringing them deeper into the detail of the final embellshed product.

Developing shape to create the exaggerated hips, using calico and different ways of pattern cutting, developing through trial and error. For the texture of the dress I am looking at different ways of replicating muscle and tissue through pleating and ruching. I found that with using a fine mesh stretch tulle and pleating it erratically it creates the desired look and texture closest.

WEIGHT,ARCHTECTURE,CONCEAL/REVEAL,TENSION

F3,F14,F32,F57,F63CUT

DESIGHNER