Zuzana Vrabelova
Zuzana Vrabelova’s project “speculates on garments as beings or organisms—structures that emerge independently of the human body, yet engage with it,” according to the MA grad’s statement.
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Image Credit: The Swedish School of Textiles/Exit -
Zuzana Vrabelova
Image Credit: The Swedish School of Textiles/Exit “Bestiary” was first in Exit25’s running order and encompassed “garment beasts.”
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Andrea Rehbein
Image Credit: The Swedish School of Textiles/Exit Andrea Rehbein’s project “proposes garments as an intimate field in which to explore the liminal boundaries connecting subjects, bodies, and space,” according to the MA grad’s statement.
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Andrea Rehbein
Image Credit: The Swedish School of Textiles/Exit “Approximations to the Abstraction of Flesh” was second in Exit25’s running order and encompassed “subverting pattern construction through abstraction to explore new subjectivities.”
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Yuting Xia
Image Credit: The Swedish School of Textiles/Exit Yuting Xia’s project was born from the “irresistable freedom” of painting as “an instinctive act that flows without overthinking, guided purely by intution,” according to the MA grad’s statement.
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Yuting Xia
Image Credit: The Swedish School of Textiles/Exit “Body Drafts” was third in Exit25’s running order and encompassed “from drawn line to draped form sketching reimagined in fashion.”
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Matilda Oloffson
Image Credit: The Swedish School of Textiles/Exit Matilda Olofsson’s project “focuses on the construction of bridalwear and challenges traditional silhouettes,” according to the BA grad’s statement, to “offer a forward-thinking approach that balances innovation with tradition.”
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Matilda Oloffson
Image Credit: The Swedish School of Textiles/Exit “Always & Forever” was fourth in Exit25’s running order and encompassed “repositioning cut and volume: an exploration of the bridal sihlouette.”
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Gabriela Arias Egana
Image Credit: The Swedish School of Textiles/Exit Gabriela Arias Egana’s collection is an “attempt of comprehension and idealization,” according to the BA grad’s statement, asking “how can diasporic identities from conflicting cultural origins be manifested in contemporary contexts to stay relevant.”
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Gabriela Arias Egana
Image Credit: The Swedish School of Textiles/Exit “Lost in Los Andes” was fifth in Exit25’s running order and encompassed “reconstructing Chilean heritage expressions through textile folding practices.”
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My Willaume
Image Credit: The Swedish School of Textiles/Exit My Willaume’s project ‘positions itself as a quiet form of activism in creating ‘something out of nothing’,” according to the BA grad’s statement.
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My Willaume
Image Credit: The Swedish School of Textiles/Exit “Assemblage: Pistacia” was sixth in Exit25’s running order and encompassed “a series of peeled layers.”
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Jonas Gustavsson
Image Credit: The Swedish School of Textiles/Exit Jonas Gustavsson’s project “explores gender beyond binary limits, reimagining identity through knitwear as both material and metaphor,” according to the MA grad’s statement.
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Jonas Gustavsson
Image Credit: The Swedish School of Textiles/Exit “Astral Project” was seventh in Exit25’s running order and encompassed “addressing alternative perspective on gender, knitting and dress.”
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Frida Elise Henriksen
Image Credit: The Swedish School of Textiles/Exit Frida Elise Henriksen’s project “is the storyline of a process, manifested in the methods performed in the search for individualism and static self-expression within dressing,” according to the BA grad’s statement.
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Frida Elise Henriksen
Image Credit: The Swedish School of Textiles/Exit “Kleist Wrote Something Like; ‘After Self-Consciousness, Grace Will Reappear’ …” was eighth in Exit25’s running order and encompassed “a study of static emotions and fleeting souls.”
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Susanna Suojanen
Image Credit: The Swedish School of Textiles/Exit Susanna Suojanen’s project “explores how clothing can move beyond its original form and meaning,” according to the MA grad’s statement.
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Susanna Suojanen
Image Credit: The Swedish School of Textiles/Exit “Translating Wardrobes” was ninth in Exit25’s running order and encompassed “exploring dimension altering sewing techniques in upcycling post-consumer garments.”
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Margot Leverrier
Image Credit: The Swedish School of Textiles/Exit Margot Leverrier’s project “investigates the dialogue between opposing textile techniques,” according to the MA grad’s statement.
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Margot Leverrier
Image Credit: The Swedish School of Textiles/Exit “Contrasts in Dialogue” was 10th in Exit25’s running order and encompassed “exploring the constrast of lace and brushed felt while examining industrial vs. handcraft contrast in knitting textiles.”
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Wictor Ljunggren
Image Credit: The Swedish School of Textiles/Exit Wictor Ljunggren’s project “investigates transformable garments, using cord systems” according to the BA grad’s statement, “Aiming to revalue cord systems by proposing adjustable garments that can shift in silhouette and functionality, in alignment with the kinaesthetic structure of the human body.”
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Wictor Ljunggren
Image Credit: The Swedish School of Textiles/Exit “Cinched In” was 11th in Exit25’s running order and encompassed “functional silhouettes.”
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Siri Bratt
Image Credit: The Swedish School of Textiles/Exit Siri Bratt’s project “investigates new visual expressions of the paisley motif,” according to the BA grad’s statement.
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Siri Bratt
Image Credit: The Swedish School of Textiles/Exit “CTRL+Paisley: Print. Post. Repeat.” was 12th in Exit25’s running order and encompassed “investigating the paisely in wearable print and construction.”
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Lan Krebs
Image Credit: The Swedish School of Textiles/Exit Lan Krebs’ project “explored the potential of layering, wrapping and sculpting fabric directly on the body without imposing rigid definitions of what a garment should be,” according to the MA grad’s statement.
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Lan Krebs
Image Credit: The Swedish School of Textiles/Exit “Jersey Diversity” was 13th in Exit25’s running order and encompassed “reinventing application of single jersey material.”
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Anais Dahl Perret
Image Credit: The Swedish School of Textiles/Exit Anais Dahl Perret’s project “envisions fashion as resilient, adaptable and interactive, advancing sustainability through continuous aesthetic transformation and emotional connection,” according to the MA grad’s statement.
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Anais Dahl Perret
Image Credit: The Swedish School of Textiles/Exit “Morphogenesis in Motion” was 14th in Exit25’s running order and encompassed “shaping transformable fashion through modularity, circularity, and connection.”
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Josephine Jarlhem
Image Credit: The Swedish School of Textiles/Exit Josephine Jarlhem’s project is “a love story,” according to the BA grad’s statement, and “uses craft and textile manipulation as narrative tools.”
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Josephine Jarlhem
Image Credit: The Swedish School of Textiles/Exit “A Passage from Lover to Lover 1992-2025” was 15th in Exit25’s running order.
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Charlie Malmsten
Image Credit: The Swedish School of Textiles/Exit Charlie Malmsten’s project “celebrates excess and camp culture,” according to the BA grad’s statement, and “aims to reflect the excessive experience of being present on the boat.”
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Charlie Malmsten
Image Credit: The Swedish School of Textiles/Exit “Why Wonder if the Glass is Half Full or Half Empty, Refill It Instead” was 16th in Exit25’s running order and encompassed “embodying the excess and identity of life aboard a Finnish cruise ship.”
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Pawel Robuta
Image Credit: The Swedish School of Textiles/Exit Paweł Robuta’s project “explores the possibilities of stain for defining new body relations through draping methods,” according to the MA grad’s statement.
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Pawel Robuta
Image Credit: The Swedish School of Textiles/Exit “Liquid Relics” was 17th in Exit25’s running order and encompassed “staining as a form to explore body relations in fashion design.”