The work of the latest clutch of Central Saint Martins M.A. graduates ran the sartorial gamut this year, and there was a slick execution to many of their often-experimental creations.

 

They channeled aesthetics that veered from the resolutely maximalist — as in Richard Quinn’s overblown floral prints, worked into face-covering body suits and voluminous opera coats — to the quiet, clinging knits in shades of cream and café au lait that Amélie Beluze whipped up.

 

As they have for the past few years, men’s wear collections stood out for their craftsmanship.

 

Among them was Abzal Issa Bekov’s lineup, which took a subversive approach to heritage men’s wear with high-waist Oxford bags in Prince of Wales check, paired with a black PVC top and matching rubber gauntlets. John Alexander Skelton, who was one of the winners of the L’Oréal Professionnel Creative Award, sent out sweeping great coats in rough-hewn hessian, along with another suit in weathered black leather. His looks, accessorized with flat caps and heavy boots, recalled turn-of-the-century workwear. Skelton won the award together with knitwear designer Harry Evans, who worked up inventive knits for men that blurred gender lines, such as a glittery red sweater dress, or off-the-shoulder, 3-D  sweaters, paired with a skirt layered over pants.

 

As for the women’s wear collections, among the highlights were Siiri Raasakka’s cocooning designs in ruched and structured cotton, such as tops with voluminous sleeves, paired with fluid, draped skirts. And Austin St. Maur Snyder’s collection had a minimal, Nineties feel, spotlighting draped, goddesslike gowns in layers of jersey and silk.

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