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Four fashion design graduates proving that sustainability is here to stay

Collage of Therese, Zoe, Hanwei and Juliet's work
  • Written byUna Andzane
  • Published date 08 July 2024
Collage of Therese, Zoe, Hanwei and Juliet's work
Featured work by Therese Frank, Zoe Tsintzas, Hanwei Cheng and Juliet Aisling | Una Andzane 2024

As graduates from the School of Design and Technology showcase their final projects, we asked students Juliet, Zoe, Hanwei, and Therese to reflect on their unique inspirations and commitment to sustainability. From oversized streetwear made from deadstock fabrics and luxurious yet eco-conscious swimwear to art-deco-inspired pieces using recycled military textiles and heritage-focused shoes crafted from local materials, these collections prove that the future of fashion is sustainability.

Juliet Aisling, graduating from the BA (Hons) Fashion Design and Development course, had to create three looks for her final project. She chose to make a collection revolving around oversized streetwear pieces. “I like to play around with volume and contrast in fabrics and texture, but I'm also very into sustainability,” Juliet explains.

“So, I decided to contribute to the circular economy by focusing on inclusivity and size.”

The collection is entirely made from deadstock fabrics sourced around east London and plays with the idea of modularity, using zips and patchwork to allow a single piece of clothing to be styled in a myriad of ways.

Unlike other BA (Hons) Fashion Contour graduates, Zoe Tsintzas decided to focus her collection on swimwear instead of lingerie. For her final project, she created three different looks with sleek and flattering designs, aiming to elevate everyday swimwear into something more luxurious and exciting. “I am very aware that, by nature, swimwear fabric is not sustainable because it is completely synthetic, but I want to make it as sustainable as possible,” Zoe comments.

As a graduate of BA (Hons) Fashion Design Technology: Menswear, Hanwei Cheng had to create four looks in total. While he loves all things art deco, the main inspiration for his collection was the current global political turmoil and ongoing military conflicts. Hanwei emphasises how these conflicts also cause immense waste of materials.

“Most people nowadays care about fast fashion, but not too many care about how much textile has been wasted during wartime,” he says.

For his designs, he uses recycled military surplus textiles, many of which date back to the Second World War and have proven to be incredibly long-lasting.

Therese Frank studied BA (Hons) Cordwainers: Footwear, and her final project, Birthplace, is an ode to her heritage. The collection, featuring ten shoe designs, is inspired by her childhood spent on a cattle farm in Scandinavia, which led her to decide that all of her shoes must be produced in Sweden on the farm using only local materials.

“I wanted to create a totally new brand where you go back in time, keep the production local with local materials, and sell to a local consumer base,” she explains.
Photograph of 3 outfits on models
Photograph of 3 outfits on models, Juliet Aisling | Una Andzane 2024
Model wearing brown bikini
Model wearing brown bikini, Zoe Tsintzas | Una Andzane 2024
2 models wearing 2 looks by Hanwei Cheng
2 models wearing 2 looks, Hanwei Cheng | Una Andzane 2024
Hand holding Therese Frank's cream floral crocheted shoe
Birthplace FRANK footwear, Zoe Tsintzas | Una Andzane 2024

Therese has always felt connected to sustainability, having attended a school in Sweden where she studied ethical fashion design. She believes that growing up on a farm further deepened her connection to the earth. “I spent my entire childhood being outside in the forest,” Therese recalls. “That's where I've gotten my creativity from because I had to be a very imaginative child since we lived in the middle of nowhere.”

Zoe was stunned by the potential of sustainability in fashion during a university project focused on biodegradable underwear. “I care deeply about the environment and the impact that humans have on it, but there's only so much one person as an individual can do,” Zoe says. “Swimwear definitely needs to move in that direction because I'm not sure I want to bring out products which harm the environment.”

In her final collection, Juliet embraced the concept that inclusive sizing not only enhances accessibility but also promotes sustainability. “Our bodies change over time, so instead of constantly buying new clothes, adaptable sizing can make garments more sustainable in the long run,” she explains. Juliet aims to create pieces that people can keep in their wardrobes without worrying about their body size fluctuating.

Model wearing red swimsuit
Leah Loves SS’25, Zoe Tsintzas | Una Andzane 2024
Therese Frank model holding ANNA boot with white flowers inside
ANNA, Therese Frank | Una Andzane 2024

In his first years of university, Hanwei began to realise the extent of fabric waste in the industry. “I used to go fabric shopping and end up wasting meters of fabric,” he recalls. "That's when I decided to start using deadstock materials." Hanwei would then often make his way down to military surplus dumps where plenty of textiles were waiting to be repurposed through creative experiments.

Juliet had an interest in zero waste long before joining LCF, but her course tutors pushed her to elevate her understanding of sustainability. When given the chance to choose a specific sustainability sector to explore, Juliet opted for the circular economy. “I started delving deeper into current fashion trends and our role as designers in this pivotal era,” she explains. For Juliet, focusing on environmental impact isn't a burden; rather, it's a stimulating challenge. “It’s easy to simply draw a design, but it's harder to draw a design and then think about how can I make this the most sustainably?” she observes.

Model wearing faux brown leather jacket with faux wool and faux black leather pants
OBSCURE EPOQUE, Hanwei Cheng | Una Andzane 2024
Model wearing black oversized puffy cropped top, shorts and shoes part of the JAIM collection
JAIM, Juliet Aisling | Una Andzane 2024

Talking about the future provokes a mixture of emotions among the graduates. After completing a foundation year before her degree, Zoe reflects on four incredible years of creativity and learning, eagerly anticipating the next chapter. “Before I started the course, I couldn't even tell you how to make a knicker, so the fact I created the collection that I did just feels unbelievable to me,” she admits. Zoe has always aspired to design for herself, making it her goal to embark on a journey to fulfil that dream.

Hanwei confesses to feeling a bit uncertain about diving straight into the industry. “University gave us the freedom to create whatever we wanted, so I'm going to spend the next few years preparing and considering whether to continue studying,” he explains.

Therese, on the other hand, thrives on planning and is determined to develop the brand she created for her final project. “I want to get some more experience in the industry first, so I can learn how different brands do different things, but the future plan is to create Frank at my farm in Sweden,” she asserts. However, the design office might still be based in London, as moving the city’s dynamic energy and creative people to a tiny corner in Sweden might be a challenge.

For Juliet, graduating feels particularly rewarding given the challenges imposed by the pandemic during her course. “I was so terrified in my first year to use a sewing machine, but now I’m completely relaxed,” she reflects. Juliet is not sure yet what she’s going to do next, but sustainability certainly stays on the agenda. “It's a big world out there and I need to see what’s available, but I definitely want to stay a fashion designer and continue contributing to sustainability as much as I can."