175 Years of Design: Takeaways from Belfast School of Art’s Anniversary Show.

Written by Clara Potts. Photography by Darren Kidd. Hair by Andrew Mulvenna. Make-Up by Samantha Weightman.

In a celebration of artistic legacy and innovation, Belfast School of Art (BSOA) had its 175th-anniversary show on Thursday, 30th May. Established in 1849, it exists as the oldest provider of design education on the island of Ireland and one of the oldest creative art schools in the UK. 

Set against the backdrop of a rich historical tradition, the show highlighted the individual artistic journeys of its students and showcased the institution’s pivotal role in shaping the cultural landscape of Belfast and beyond. This milestone event fused a diverse array of works from forty-one talented students, each demonstrating the school’s enduring commitment to creativity and excellence. 

The audience observed a vibrant runway that featured sustainable art practices, a bold embrace and reflections on identity and heritage, innovative uses of traditional techniques, and a dynamic fusion of global and local artistic influences. These themes showcased the students’ ingenuity and highlighted contemporary art’s evolving landscape, a testament to the school’s enduring spirit and promising future. 

Keep reading to see the five takeaways and six designers to watch from last week’s show. 

Maxi(malist) knitwear for the bold. 

Lydia Eakin

At BSOA’s show, maximalist knitwear stole the spotlight, redefining cosy chic with an audacious flair. The runway saw numerous oversized cable-knit sweaters, voluminous cardigans, and elaborate dresses - each illuminating the art of exaggerated textures and bold colour combinations.

As a concept-driven designer using the medium of knit to create pieces for the body, Lydia Eakin’s, ‘The Rock’, ‘The Skyline’, and ‘The Water’ form her graduate collection, ‘An Island I Am’. Inspired by her year spent living on the Aran islands in Galway Bay, she explores themes of solitude, slow living, and serenity, encouraging the wearer to “embrace the beauty of the landscape.” Eakin’s collection was created using Irish wool from three generous sponsors: Donegal Yarns, Inis Meán, and Ulster Wool.

Instagram @eakindesigns

Aine Walton

Aine Walton is a knit artist based in Newry, Co. Down. Diagnosed with autism at age eleven, her designs, rich in detail and craftsmanship, are inspired by her journey with her condition and the perceptions surrounding it. Her collection, ‘HYPER’ aims to spread awareness and enhance the understanding of hypersensitivity within autism, featuring a delightful mix of colour and intricate stitches to create a tactile experience that is both visually striking and comforting. 

This show’s knitwear collections embraced a ‘more is more’ philosophy, with layers of knits and playful tassels adding a whimsical opulence. Ultimately, the collections made a powerful statement: knitwear can be both an eccentric art form and a cosy staple in our wardrobes. 

Stripes are here to stay.

Kiya Parr

Parr’s stripy knitwear with elongated sleeves emerged as a stand-out piece, captivating the audience with its unique blend of comfort and elegance. The bold horizontal stripes brought a playful yet sophisticated touch, while the elongated sleeves added a dramatic and elegant flair. Designing from a “passion for insects, the crucial role they play for the ecosystem [and] their risk of extinction”, Kiya Parr creates sustainable garments based around insects native to Ireland. Inspired by Mary Quant and André Courrèges, she transformed traditional knitwear into striking fashion statements. The collection demonstrated an organic approach to knitwear, aiming to “promote a slower, more mindful approach to fashion”.

Instagram@shie.knits

The dream duo? (Sculpted) leather and a head full of hair clips (yes, really).

James Magennis

Magennis had models strutting the runway in meticulously sculpted leather garments that boasted bold architectural lines, highlighting the material’s versatility and scope for sophistication. Viewing fashion as wearable art, his project focused on gothic architecture and his perception of fashion’s future. Originating from a paper-cutting technique, metallic paper strips were woven and manipulated to achieve his distinctive design, creating a visual feast that was both daring and delightfully unconventional, proving that in fashion, opposites attract. 

Instagram @j_m_genesis

Aprons are for anywhere and everywhere.

Eimear Magee

Magee’s aprons transcended their traditional kitchen confines, boldly stepping onto the catwalk. Inspired by her childhood in the countryside and deep-rooted love for Irish culture and music, her eclectic collection, ‘Singing Threads: Songs and Stories of Ulster’s Mill Life’ honours the resilience and creativity of the mill workers and connects Irish traditional music with art to form pieces that evoke sounds of her homeland while simultaneously commemorating them for the harsh conditions that they endured. She repositions aprons as versatile items, demonstrating impressive adaptability and challenging conventional expectations. This innovative collection underscored a crucial message: aprons are to be worn everywhere, anywhere, and by anyone.

Instagram@eimearmageeart

The bigger the bag, the better.

Elena D’Ignoti

Elena D’Ignoti’s collection showcased an array of oversized bags that were not just accessories. They were statement pieces in their own right. From enormous tote bags that could easily double as weekend getaway luggage to giant, structured clutches that commanded attention, these bags redefined functionality and fashion. Inspired by the 16th-century Elizabethan period, the Italian textile artist and designer utilised proportions, texture, and embroidery to ensure that each piece was practical and playful. The bold move towards larger bags signals a clear shift towards maximalism, embracing both utility and a strong visual impact, making it clear that in the fashion industry, sometimes bigger really is better.

Instagram@edi.textileart