Runway
Beyond trends, University of Westminster's BA Fashion 2026 show leaned into something deeper: identity, memory and belonging. A look at the collections redefining what it means to tell a story through fashion.
Updated 11:48 am EDT, August 21, 2026
Published 06:36 am EDT, June 18, 2026
Photo Courtesy: University Of Westminster
Special Thanks: Lily Cook (The Lobby PR)
Beyond trends, University of Westminster's BA Fashion 2026 show leaned into something deeper: identity, memory and belonging. A look at the collections redefining what it means to tell a story through fashion.
Updated 11:48 am EDT, August 21, 2026
Published 06:36 am EDT, June 18, 2026
Photo Courtesy: University Of Westminster
Special Thanks: Lily Cook (The Lobby PR)
Graduate fashion showcases often offer insightful glimpses into the fashion industry’s future, particularly when it comes to styling and expression. However, the University of Westminster graduate show 2026 show seemed less about chasing trends and more about exploring deeper themes of identity, belonging and memory. Safe to say, almost every collection challenged viewers to look beyond the patterns and silhouettes.
What the designers collectively put forward had inherent personal narratives. At the same time, rather than being insular, through many of the pieces, these masterminds translated deep individual experiences into art that somehow naturally felt universal.
One of the strongest examples was Aliyah Dankwah’s In Tension, where the designer showcased an unapologetic contrast between structure and fluidity, while drawing from her Ghanaian heritage. Through elements like the Ghanaian smock and an intentionally bold use of solid colour blocks, she kept alive the vibrance and depth of her personal West African culture. While the blocks lent enough drama to the assemblage, she furthered her eye for controlled loudness through unconventional layered silhouettes carrying just the right amount of volume where needed; this is where the intentional play of contrasting elements particularly revealed its beauty.
Largely delivering a structured appearance, the collection also experimented with unconventional styling techniques rendering a delicate mix of unexpected composure with rigid shapes. With the occasional laid back outerwear pieces, once again, the takeaway was clear. Tension; finely threaded in weaves. Suffice it to say, the welcome cultural clash in womenswear with purposefully nonchalant outerwear was a nod to peak artistic expression.
Sumi Kim’s Cut by Light, on the other hand, was an interesting take on atmospheric perceptions, clarity and movement. Inspired by the way sunlight enters through a window and transforms interior spaces, the collection portrayed a refined understanding of construction. As clarity was one of the overbearing themes, most of the silhouettes had sharp seams, clean lines and controlled silhouettes. At the same time, the diffusive quality of light came through in the form of soft classy gradients and fluid drapes. Once again, the designer successfully translated the tension between delicacy and structure with crisp seams and fluid forms, inventive bias-cut satin and draped shapes. Unlike other collections in the showcase, Kim’s relied on smart technical execution for storytelling.
Aside from nostalgia, and atmospheric perceptions, identity and its multiple faces were a prominent focal point throughout the showcase. While Rachael Adegoke’s Bridging Aso fused Nigerian visual language with British menswear tailoring traditions, Aliyah Dankwah’s In Tension explored the relationship between Ghanaian textile heritage and contemporary London life. Viewers saw refreshing new takes on Black Dandyism in menswear, and a welcome cultural clash in womenswear with purposefully nonchalant outerwear.
Sustainability also made recurring appearances throughout the show. Unlike what the average onlooker may imagine, the portrayal went far beyond the cliché buzzwords that typically accompany the concept. Georgia Tennant’s fully compostable The Entomologists stood out for its holistic approach and thoughtful versatility (courtesy, button-off waistbands), while designers such as Chienjui Tseng, Elise Cullen and Alex Lyons made a convincing case for how deadstock and donated materials can serve creative expression beautifully, rather than limit it, as one would imagine.
A common denominator among all collections in the show was a remarkable display of technical confidence. Most of the designers demonstrated how classic tailoring can sit comfortably alongside experimental textile constructions, and how sculptural silhouettes can coexist with thoughtful wearability. Furthermore, designers like Leqi Zeng and En Zhi Khoo served an impressive understanding of restraint, proving that innovation is not always a grand spectacle.
The most encouraging part of the showcase was the resounding interest of the entire graduating class in focusing on craftsmanship, storytelling and emotional resonance over virality and trend-chasing. Considering the algorithm-driven era we will live in now; this decision was refreshing and subtly but surely radical.
According to University of Westminster graduate show of 2026, the future of fashion is also a means for reminiscing, remembering, questioning and reconnecting; not just novelty. In many ways, the showcase subliminally represented a generation searching for meaning along with aesthetics. The future of fashion may after all, have more stories to look forward to.
An introverted personal stylist and writer, Bhagya has a flair for dissecting runway looks and translating them for real life. When she’s not analyzing colors, silhouettes and putting together OOTDs, she spends time reading, shopping, and taking care of her little fur-gang.
Get the latest fashion, culture, and art updates, including magazine releases release parties
Sponsored Content
