BA (HONS) JEWELLERY DESIGN 2021 - CENTRAL SAINT MARTINS
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CENTRAL SAINT MARTINS
BA (HONS) JEWELLERY DESIGN 2021
PB - 1
BA (HONS) JEWELLERY DESIGN
2-3
Central Saint Martins
University of the Arts London
Granary Building
1 Granary Square
London
N1C 4AA
www.arts.ac.uk/colleges/central-saint-martins
instagram @csmbajewellerydesign
CONTENTS
INTRODUCTION 7
MIKO BANKS 9
LAVINIA BO 11
IMOGEN BURCH 13
GONÇALO CAMBOA 15
PIRAN CASELEY 17
WEIYI CHEN 19
MUNESU CHINGWENA 21
NICOLA CONSTANTINA 23
LEO COSTELLOE 25
CATHERINE GRIFFITHS 27
XIAOBEI GUO 29
IONA HINDMARCH BISSET 31
ZOE CHUTONG HUANG 33
AMELIA KAY 35
YULIA KHOLDINA 37
4-5
BRONIA KIDD 39
RONI LEVY 41
YUANXING LIN 43
RUBY MELLISH 45
PEIXI MIAO 47
RUOMENG QU 49
CLOVA RAE-SMITH 51
FRANCESCA ROWLAND 53
IMMIE SPILSBURY 55
MARTA STOK 57
KHRISTINA STOLYAROVA 59
JULIA TYRRELL BUNGE 61
SI RUI WANG 63
MEGAN WILLIAMS 65
ORIA QI ZHANG 67
SWAROVSKI FOUNDATION SCHOLARS 68
ACKNOWLEDGEMENTS 72
WITH THANKS TO 73
The Worshipful Company of Tin Plate Workers
alias Wire Workers of the City of London
Also a big thank you to:
J&J
Margarita Wood
INTRODUCTION
It is our pleasure to introduce you to a Swarovski sponsored design project in
the work of the graduating BA Jewellery celebration of an exhibition of the work
Design students of 2021. of Christian Dior at the V&A; a leather
project with Louis Vuitton; a conscious
This year’s group of students deserve design project with Swarovski; the Cartier
a standing ovation for getting through portfolio project; material investigation
this extraordinarily complicated year. projects sponsored by the Worshipful
It is a testament to their personalities, Company of Tin Plate Workers alias Wire
creativity and tenacity that they worked Workers of the City of London and The
through the frustration and the moments Leathersellers’ Company; a live event in
when access to nearly everything was collaboration with Vitsœ in Munich as
denied due to the lockdowns and have well as projects set by Solange Azagury-
come through with a range of exciting, Partridge and Winterson. During the
innovative, challenging and relevant work year, the students have also benefited
that explores and questions the subject of from a virtual studio visit to Cockpit Arts
jewellery. and professional practice in-conversation
talks with Naomi Filmer, Annoushka Ducas
The course starts with taught technical and Cecily Motley.
and design skills, theory & material
understanding together with a series of Lectures by visiting speakers this year
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projects that facilitate an understanding were given by Räthel & Wolf, Maiko
of different areas and approaches of the Takeda, Caroline Broadhead, Mah Rana,
subject. At the end of year two some Benedikt Fischer, Francesca Amfitheatrof,
students opt to take a placement year in Jacqueline Rabun and Akiko Shinzato
industry whilst others continue straight
into the final year. The course encourages BA Jewellery Design would like to thank
final year students to explore and develop all of our donors, partners, friends and
their own view of what jewellery may collaborators for the generous support
be which in turn enables them to create given to the course which has a significant
unique and searching work. impact on the student experience.
During the course, the graduates of On behalf of the BA Jewellery Design
2021 have taken part in a wide range of course team and everyone who has
live projects with industry and cultural worked with this group, I would like to
institutions. These projects are invaluable wish all of the graduates every success in
and offer the students opportunities the future.
and insight into professional practice.
The projects this group were involved We are very proud of what this group
in include: a collaboration with the has achieved now and we look forward
Foundling Museum; a live project with to seeing how their work and careers
Miranda Konstantinidou from Konplott; a develop.
medal project with the British Art Medal
Society with several of the graduating
students winning prizes in their first year; GILES LAST COURSE LEADER
MIKO BANKS
Miko’s collection celebrates food in its simplest form. As
a counterpoint to the “flawless” photos of food we’ve
all become so used to seeing on social media, Miko
elevates what is normally overlooked – food scraps. By
casting leftover fruit and vegetable offcuts in precious
materials, she immortalises their neglected beauty. This
is both a reflection of her personal relationship to the
process of cooking and a commentary on society’s failure
to acknowledge the waste it creates when striving for
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perfection.
INTERPRETATIVE TEXT BY JAZI BLUE CHARBIT
BA (HONS) CULTURE, CRITICISM AND CURATION
mikobanks6@gmail.com | Instagram @mikobanksjewellery
LAVINIA BO
As we go through life, memories remain of the fondest,
the craziest or the most dreaded points in time. Lavinia’s
collection “Impressions of Time” is all about preserving
what is transient. The jewellery becomes a canvas for time
to make its mark: it soothes and scars, carving distinct
traces that commemorate the moment of their creations.
Lavinia is attracted by the rawness of the ephemeral and
uses gold to elevate this reminiscence. Relishing the
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memories through these one-of-a-kind pieces, her work
integrates numerals, representing the hours, days and
weeks that slip by and do not return.
INTERPRETATIVE TEXT BY HUI XU
BA (HONS) CULTURE, CRITICISM AND CURATION
lavinia.bo.adkins@gmail.com | Instagram @lavinia.bo.jewelleryIMOGEN BURCH
Traditionally, rings memorialise specific events. In
“Emotive”, Imogen steps beyond this, turning sober,
commemorative rings into light-hearted versions of
themselves while maintaining an emphasis on preciousness.
From heirloom to cocktail to engagement, each ring sets
aside weighty tradition, instead becoming fun, playful
and kinetic. By each representing an individual feeling or
emotion that is less present in traditional notions of ring-
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wearing, such as being tipsy, they collectively illustrate
a more developed picture of the intimate wearer–ring
relationship.
INTERPRETATIVE TEXT BY ASHA PALACIOS
BA (HONS) CULTURE, CRITICISM AND CURATION
imogen@imogenburch.com | imogenburch.com | Instagram @imogenburchGONÇALO CAMBOA
Gonçalo’s work “Losing My Grip”, comes from his
exploration of an intimate symbiosis between the jewellery
piece and the body. Here he displays a collection of
living sculptures. Ropes intertwine, they emerge from the
void and restrain the skin, while the body itself is nearly
absent, shimmering on the surface of resin alone. There,
indeed, lie the traces of a living body. It is bound up, it
is exposed and crystallised in the vacuum, leaving the
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viewer wondering: who was there before?
INTERPRETATIVE TEXT BY BEN CHUAN QIN
BA (HONS) CULTURE, CRITICISM AND CURATION
RECIPIENT OF THE SWAROVSKI
FOUNDATION SCHOLARSHIP
goncalo.camboa@outlook.com | Instagram @camboa.jewelleryPIRAN CASELEY
Uncanny and imperfect, yet familiar and intimate,
Piran’s “Jewelleryware” collection embodies a feeling
of charming discomfort. The pieces are bound up with a
feeling of both tension and intimacy; they demand human
interaction before they reveal their true nature. Deeply
personal, and not without an uneasy familiarity, the
objects provoke memories and the unconscious, leaving
a subtle effect of apprehension between object and user.
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INTERPRETATIVE TEXT BY MILLICENT BRAGG
BA (HONS) CULTURE, CRITICISM AND CURATION
caseleypiran@gmail.com | Instagram @madebypiranWEIYI CHEN
Humanity and nature are inextricably linked. Weiyi’s
collection explores our intimate relationship with plants
and the physical comparisons that can be drawn with our
biologies. In keeping with this theme, she uses natural
materials, such as cotton and silk, to create delicate pieces
that not only embellish the body, but appear as an innate
extension of it, following its movements and contours.
Weiyi wishes to make people aware of our symbiosis with
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nature and the care and protection we exchange with it.
INTERPRETATIVE TEXT BY LUCY DEARDEN
BA (HONS) CULTURE, CRITICISM AND CURATION
1065328557@qq.com | Instagram @wy_squirrelMUNESU
CHINGWENA
Supporting the plants’ journey through life, the garden
shapes its own existence. Intrigued by the adaptations
of nature’s cyclical processes, Munesu has cultivated his
inspiration. Working with metal, acrylic and wood, he
analyses the effects typically overlooked by the observer,
using similar energies to inform his own design process
and material-led exploration. By breaking down flowers
into modular design and complementary colours, he
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allows them to become synonymous with the garden’s
innate guidance and nurture.
INTERPRETATIVE TEXT BY ROXANNE TIFFANY
BA (HONS) CULTURE, CRITICISM AND CURATION
munesuchingwena@outlook.com | Instagram @finessu_cruiseNICOLA
CONSTANTINA
Countering the historical and hierarchical stigmatisation
of Black hair, Nicola highlights its beauty and diverse
materiality by remodelling human hair into objects of
luxury and desire. Her collection celebrates the rich variety
of Black hair, aiming to reframe negative stereotypes and
promoting freedom of choice when it comes to wearing
it. Delicately crafted from diverse samples, each piece
echoes the centuries of meaning, history and technical
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skill that Black hair encompasses.
INTERPRETATIVE TEXT BY MAJA RENFER
BA (HONS) CULTURE, CRITICISM AND CURATION
nicolaconstantina@hotmail.comLEO COSTELLOE
Leo’s work represents the idea of a comb as an extension
of a body. He explores the unconscious desire to provide
and receive care. Working with natural materials, Leo
creates a surreal narrative that occupies a liminal space
between functional and sculptural. The collection
embodies an autobiographical approach that centres on
materials – glass, shells, his mother’s hair – associated
with memorable moments from Leo’s past. These
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simple objects are instruments in an investigation of the
unconscious mind.
INTERPRETATIVE TEXT BY STANISLAVA BASKOVA
BA (HONS) CULTURE, CRITICISM AND CURATION
RECIPIENT OF THE SWAROVSKI
FOUNDATION SCHOLARSHIP
leo.costelloe@gmail.com | Instagram @leocostelloeCATHERINE
GRIFFITHS
Inspired by the solid shapes and thick shadows of
modernist architecture and experimenting with colourful
collage and layering techniques, Catherine has developed
a collection that appears at the same time kinetic and
static. Folding brass sheets so as to create monumental
forms that play with depth and volume, and harmonising
these with turquoise stone, Catherine bestows on her
sculptural jewels a selection of curious perspectives. The
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contrast of material and colour results in an embrace in
which the components make up an inseparable whole.
INTERPRETATIVE TEXT BY BIANCA MARIE TIRABOSCO
BA (HONS) CULTURE, CRITICISM AND CURATION
kt.g1999@googlemail.comXIAOBEI GUO
Xiaobei’s collection “Second Nature” began with
consideration of the Covid-19 pandemic from her point
of view as a Wuhanese studying in London. Our pandemic
habits have forced us to feel “off”, which Xiaobei explores.
She draws on the blurred identity of essential workers
in burdensome PPE under difficult conditions: wearing
jewellery everyday has been replaced by wearing masks,
which inspires her jewellery. She creates elastic-band
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earrings and uses precious materials to mimic the way we
wear medical masks. The result is a wearable testament to
the pandemic.
INTERPRETATIVE TEXT BY MARTHA LETHABY
BA (HONS) CULTURE, CRITICISM AND CURATION
emma802322@yahoo.com | Instagram @emmaguoooooIONA HINDMARCH
BISSET
Iona’s collection draws on notions of the morning rituals
we prescribe for women, such as shaving legs or putting
on lipstick. At the same time, she considers unrepresented
female masculinity through a queer lens. Iona uses
detailed mouldings of her own body to represent the
personal experience. The rigidity of her designs locks
these motions into place, paralysing movement through
their brick-like forms, each heavier than the last. Her
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jewellery thus becomes more than aesthetic; she invites
us to rethink our social constructs through our body
language.
INTERPRETATIVE TEXT BY AMY SWEENEY
BA (HONS) CULTURE, CRITICISM AND CURATION
ionahindmarchbisset@gmail.com | ionahindmarchbisset.com
Instagram @ionabissetZOE CHUTONG
HUANG
Stemming from her love of the language of Eastern
healing practices, Zoe’s jewellery works with potent
symbols: trees, acupuncture points and the flow of energy.
Prioritising aesthetics, her collection explores the infinite
correlations between organic and artificial objects. The
intricate yet abstract lacing of pearls and metal wires
closely corresponds to acupuncture points that have
healing effects. The design maps out a structure that
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resembles poetic syllables and beats, readily accessible
as a linear presentation but based on omnipotent spiritual
concepts. Indeed, Zoe’s pieces are a striking merger of
ethereal beauty and the grotesque.
INTERPRETATIVE TEXT BY VICTORIA HUANG
BA (HONS) CULTURE, CRITICISM AND CURATION
zoehuang613@yahoo.com | Instagram @zchjewelleryA M E L I A K AY
Metal may seem too heavy to wear, yet while armour
restrains movement, its metals offer protection and
freedom to the wearer within. Amelia’s collection “Circles
and Rods”, which draws on BDSM and shibari, sections off
the body and morphs it into a desirable figure, in which
soft and hard parts are accentuated and made aesthetic.
Altering the body’s experience of the world, these pieces,
worn individually or as a set, are nevertheless in harmony
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with the wearer.
INTERPRETATIVE TEXT BY JOHANNA CRAFOORD
BA (HONS) CULTURE, CRITICISM AND CURATION
amelia_kay@outlook.com | Instagram @_ameliakayYULIA KHOLDINA
Yulia’s collection stems from questioning value within the
context of jewellery. In response to this, her intricately
crafted pieces utilise atypical shapes and composition
to showcase alternative ways to create desirability. Her
use of facetting arrangements offers a futuristic outlook
that allows her to adapt her chosen materials to bring
her spatial illusions to life. Each piece interacts with light
and the body in a beautiful and unearthly way. Yulia pulls
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us into her world, asking us to cast aside our traditional
standards.
INTERPRETATIVE TEXT BY MOLLY HATCH-WHEATLEY
BA (HONS) CULTURE, CRITICISM AND CURATION
kholdinajwlr@gmail.com | yuliakholdina.com | Instagram @yuliakholdinaBRONIA KIDD
Bronia’s collection alludes to the societal crisis regarding
male violence and women’s rights. Through the lens of
aesthetics, she uses jewellery to make the body central
to rebellion. Her pieces and their materials (cardboard,
scrap leather, safety pins) are reminiscent of protest signs
and are strongly connected to the spirit of punks and their
fearlessness in expressing ideologies openly. Her pieces –
naturally text-heavy in their character and bold in colour
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– make statements. They ask us to challenge the structural
gender imbalances deeply embedded in society.
INTERPRETATIVE TEXT BY PAULINE HERRMANN
BA (HONS) CULTURE, CRITICISM AND CURATION
broniakidd99@gmail.com | Instagram @uglibabyRONI LEVY
Roni’s collection is a love affair with the onion. It’s an affair
that unfolds tear-jerkingly; in the quest for a nutritious
kernel of truth, each layer of the journey is just translucent
enough to invite deeper investigation. Composed entirely
of onion skins, her biodegradable pieces bring romance to
a material that has long been relegated to the scrapheap,
a by-product of the onion’s suspenseful shedding of
its layers. Roni embodies this shedding through her
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collection’s metamorphic narrative. She begins with an
intricate, defamiliarised composition of the onion, which
she then peels back to reveal its true organic form.
INTERPRETATIVE TEXT BY DANNI CHENG
BA (HONS) CULTURE, CRITICISM AND CURATION
RECIPIENT OF THE SWAROVSKI
FOUNDATION SCHOLARSHIP
ronile1993@gmail.com | Instagram @ronilevyYUANXING LIN
Yuanxing’s collection merges apparent opposites to form
a harmonious unity by playing with established forms
of the fan but using unconventional shapes and spatial
organisation. Utilising a poetic aesthetic, she conveys
the meticulousness of fan-making culture. Movement
and space are the leading concepts in her work as her
jewellery combines with the human body to form a
sculpture. Yuanxing plays a game of hide and seek: the
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act of revealing the fan simultaneously hides its holder.
INTERPRETATIVE TEXT BY ALEKSANDRA MORAŚ
BA (HONS) CULTURE, CRITICISM AND CURATION
laylalin1212@gmail.com | Instagram @pelagiclaylaRUBY MELLISH
Ruby’s collection draws on her personal experience of
isolation. Deprived of external inspiration, Ruby became
her own muse, questioning her own perception of identity
through the image of her eye. Her eyepieces subvert
conventions of traditional self-portraiture by enabling the
wearer to see from the artist’s perspective. Viewing the
human eye as a vessel of “the self”, Ruby uses acetate
to allow the wearer’s face to become part of each piece.
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By gradually distorting her eye, she shows the inability
to truly capture the self, which is constantly fluctuating,
inherently personal.
INTERPRETATIVE TEXT BY MOA JEGNELL
BA (HONS) CULTURE, CRITICISM AND CURATION
ruby.mellish@hotmail.com | Instagram @rubymellishPEIXI MIAO
The earthy colours and textures of Peixi’s jewellery pieces
remember the Chinese tradition of tea as a vessel for
emotions. Peixi did not only see her ideas, she smelled
them, touched them, tasted them and listened to them.
What moved her was the grassy aroma of the tea leaves,
the water overflowing from the rim of its carrier, the thumb
resting on the curved ceramic handle and the lip meeting
the cup. Tea is Peixi’s heritage and her collection tells the
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story of a search for roots, feelings and memories long
past.
INTERPRETATIVE TEXT BY DOMINIKA JAREČNÁ
BA (HONS) CULTURE, CRITICISM AND CURATION
mia17510063@163.comRUOMENG QU
Whether looking at Chinese mythology, the Qur’an or the
Book of Genesis, we can see that clay is fundamental to
many belief systems. It is often mentioned in relation to
stories about the creation of human life, but more than
that, it actually contains many of the chemical elements
found in human bodies. Reflecting on that fact, Ruomeng’s
clay-based collection explores life’s vital elements as
well as the power these elements hold and the way they
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ultimately connect us all.
INTERPRETATIVE TEXT BY MARIE LOOYENS
BA (HONS) CULTURE, CRITICISM AND CURATION
qrm@live.cnCLOVA RAE-SMITH
Living our lives at a contemporary pace, we have become
detached from notions of integrity in the artistic process. In
the wake of mass production, the blood, sweat, and tears
that go into producing art are largely unacknowledged.
Clova’s aim with these pieces is to return to these values,
reconnecting us to the intensity of the emotions that
generate art. Clova gives the wearer an opportunity to
feel as well as to recognise the passions felt by the creator.
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INTERPRETATIVE TEXT BY JASMINE CORTES
BA (HONS) CULTURE, CRITICISM AND CURATION
clovajewellery@gmail.com | clovaraesmith.co.uk | Instagram @clovajewelleryFRANCESCA
ROWLAND
Inspired by both the Renaissance and the gender-
bending New Romantics, Francesca’s pieces explore the
masculine and the feminine and how they are constructed
through what we wear. Her collection resolves contrast
through design, skilfully balancing between delicate
interpretations of the pearl and a very different maritime
object, the harsh and piercing fishhook. She boldly asks
us to rethink our understanding of how the gem can be
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held and worn. A truly contemporary offering, her incisive
fusion of these seemingly incongruous motifs speaks to
the increasingly porous boundaries of gender in fashion.
INTERPRETATIVE TEXT BY SAUL WICKREMASINGHE
BA (HONS) CULTURE, CRITICISM AND CURATION
francescarowland@hotmail.co.uk | Instagram @francescarowlandjewelleryIMMIE SPILSBURY
Since the beginning of human civilisation, many species
have been exploited by humans. Immie’s collection gives
voice to endangered animals and plants, including ants,
beetles and Venus flytraps, that are defenceless against
human destruction. By using their beautiful natural
weaponry as the main element of her designs, she reminds
the wearers of the continuous fight that these species face
in order to avoid extinction. The pieces intentionally pinch
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the body in slightly uncomfortable ways, reminding the
wearers of the importance of conservation.
INTERPRETATIVE TEXT BY LAM PUI LEE
BA (HONS) CULTURE, CRITICISM AND CURATION
1mmi3sales@gmail.com | 1mmi3.com | Instagram @1mmi3MAR TA STOK
Marta’s process-led collection explores our “civilised”
society’s threshold of disgust towards the animal body.
Transforming rejected fish skin into abstract pieces
inspired by objects – such as napkins and handkerchiefs –
associated with status and domesticity, her work straddles
the boundary between desirable and grotesque, familiar
and alien, “civilised” and “savage”. By integrating these
dualities, she creates pieces that confront us with the
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uncomfortable liminal space between human and animal,
a visceral reminder of how disconnected we have become
from our animal origins.
INTERPRETATIVE TEXT BY YONGXIN QIU
BA (HONS) CULTURE, CRITICISM AND CURATION
mrt.stok@gmail.com | Instagram @fartastokKHRISTINA
S T O LYA R O VA
Growing up in post-Soviet Moscow, where she witnessed
various converging cultures and ideas, Khristina’s jewellery
often places an emphasis on referencing literature or
visual culture. Her collection acts to reflect and compile
these different allusions. The overarching concept looks
to Western religious iconography and imagery. At the
same time, Khristina also poses provoking juxtapositions,
revelling in questions of the dramatic and the comic. There
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is a defined cultural underpinning that encompasses her
work, yet the bold exaggeration could be, as she puts it,
“part of a constructed pseudo-historical costume”.
INTERPRETATIVE TEXT BY ISAAC BENIGSON
BA (HONS) CULTURE, CRITICISM AND CURATION
SOLANGE AZAGURY-PARTRIDGE
AWARD WINNER
kh.stolyarova@gmail.comJULIA TYRRELL
BUNGE
Julia attempts to recreate the sickly body of the medieval
jester, immersed in a world of vanity and desire. The
malformed jester symbolises a lumpen figure who is far
removed from the sophistication of the modern world. The
jewellery here no longer serves as a flattering addition to
the body; instead, it disrupts and manipulates the self.
The tension that Julia highlights subverts our conventional
understanding of embellishment.
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INTERPRETATIVE TEXT BY SAMMY YE
BA (HONS) CULTURE, CRITICISM AND CURATION
jtyrrellbunge@gmail.com | Instagram @julia.tyrrellbungeSI RUI WANG
Traditionally, pearl has been a symbol of delicacy and
nature while metal embodies strength and artificiality. In
Si Rui’s collection, she combines the oppositions through
knotting so as to emphasise the symbiotic relationships
between grace and force, nature and manmade. In this
way, she enables them to coexist in a manner that benefits
them all. Si Rui’s mixed design not only allows wearers
to reimagine classical pearl jewellery, it also encourages
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them to recognise the idea of reciprocity in life.
INTERPRETATIVE TEXT BY LAM PUI LEE
BA (HONS) CULTURE, CRITICISM AND CURATION
siruiwang0615@gmail.com | Instagram @sirui_jewelleryMEGAN WILLIAMS
Megan has compiled a collection of illusionary handmade
pearl jewellery, which she has then stitched onto garments
and accessories. She overturns historical associations of
craft as “women’s work” by using pearls as a symbol of
female empowerment. In this way, she challenges the
undervalued nature of textiles as a medium. By exploring
the gender associations of such techniques, she makes a
contrast with traditionally “masculine” practices such as
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painting and sculpture. In the process, she demonstrates
the amount of skill and time required to produce these
unique and intricate pieces.
INTERPRETATIVE TEXT BY HOLLIE BAYNHAM
BA (HONS) CULTURE, CRITICISM AND CURATION
RECIPIENT OF THE SWAROVSKI
FOUNDATION SCHOLARSHIP
megandesignlondon@gmail.com | megandesignlondon.com
Instagram @megandesignlondonORIA QI ZHANG
Melding the aesthetics of Cyberpunk with the
industriousness of modern Japan, Oria has created a
range of statement pieces inspired by common Japanese
food. She abstracts foods like the instant noodle, creating
the “cyber noodle” in the form of 3D resin jewellery and
gold-plated bronze pieces, both bright and wearable. In
this way she comments on the juxtapositions of futuristic
living, which centres both advancement and ease in its
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principles. The designs fuse high-tech and everyday
experience, creating functional yet flamboyant jewellery
that reimagines the mundane for a tech-centric future.
INTERPRETATIVE TEXT BY ISOBEL GORMAN-BUCKLEY
BA (HONS) CULTURE, CRITICISM AND CURATION
674908887@qq.com | Instagram @oooriazSWAROVSKI
FOUNDATION
SCHOLARS
Congratulations to Gonçalo Camboa, Leo Costelloe,
Roni Levy and Megan Williams receiving a Swarovski
Foundation Scholarship to support their studies.
Work by Swarovski Foundation Scholar Roni
Levy, opposite page Megan Williams68 - 69
Work by Swarovski Foundation Scholar Leo Costelloe, opposite page Gonçalo Camboa
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ACKNOWLEDGEMENTS Khristina Stolyarova would like to thank Solange Azagury- Partridge Gonçalo Camboa, Leo Costelloe, Roni Levy and Megan Williams would like to thank The Swarovski Foundation for their Scholarships Photo & Image Credits: Page 12: Digital rendering by Saloar Hussain Page 32: Photography by Ethan Hart, make-up by Liz Li, model Zhuo Chen Page 50: Model Ethan Samuel Jacobs Page 52: Photography by Jazi Blue Charbit Page 58: Digital rendering by Sasha Srdkv Page 62: Photography by Shou Xu, hair and make-up by Lupinsa Lee, model Scarlet Robinson Interpretative texts and Graduate Showcase captions by BA (Hons) Culture, Criticism and Curation students at Central Saint Martins, with thanks to Joint Acting Course Leaders Janine Francois and Nathalie Khan and tutor Nick Kimberley. Thank you to Bella Christodoulides and all BA (Hons) Culture, Criticism and Curation students for collaborating Cover image by Ruby Mellish This catalogue is designed by Holly Browning and printed by Calverts
WITH THANKS TO
With thanks to staff who have supported this cohort of
students throughout their studies
Kangan Arora Jane McAdam Freud
Martin Baker Nicola McCartney
Caroline Broadhead Marlene McKibbin
Maisie Broadhead Maria Militsi
Lin Cheung Michael Milloy
Jack Cole Campbell Muir
Carole Collet Frieda Munro
Billy Dickinson Lina Peterson
Naomi Filmer Pervez Sethna
Lucie Gledhill Jane Short MBE
72 - 73
Andi Gut Jessica Turrell
Katy Hackney Jane Tynan
Tony Hayward Frances Wadsworth-Jones
Colin Henderson Margaret Wagstaff
Martin Hopton Max Warren
Chris Howes William Warren
Jet Jet Nathaniel Weiner
Volker Koch Paul Wells
Giles Last Scott Wilson
Royce Mahawatte Anastasia Young
Hannah Martin
Programme Administration Manager Hannah Cheesbrough
Programme Administrator Jenny Gallagher
External Liason Coordinator Sinead But
External Examiner Anna Gordon74 - 75
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