The Palestinian designer is taking over the industry, one collection at a time.
Ayham Hassan has successfully made his mark on the fashion industry – and it’s only the beginning of his reign. After impressively crowdfunding his way into Central Saint Martins (CSM) – something he never thought possible – he began to make waves at the university, eventually earning his way to the coveted BA graduate press show.
Ayham’s recent collection shot to fame after the press show, catching the attention of publications worldwide and going viral online. This was not only due to his unique and highly skilled designs, but also his subtle yet powerful political activism. Ayham hails from Ramallah in Palestine, and through utilising aspects of his heritage and rich history, he created his revered graduate collection.
Inspired by his life back in Palestine and how his people are portrayed in the media, Ayham’s collection explores the essence of Palestinian resilience shown through his use of traditional tatreez stitching and varied silhouettes. Living in Ramallah has meant that Ayham has experienced the occupation firsthand, meaning the processes that he pursues are wildly different to those of his CSM peers, “I’m moved by things that are hard to comprehend. The easiest way to express that is through garments, and how people move and feel in them, the restrictions it puts on their bodies and the freedom it gives them too.”
Ayham cites his reaction upon arriving back in London after one summer at home in Ramallah, immediately sensing a disconnect from himself. Because of this, he made the most of his time in Palestine to find new artistic avenues for his graduate show: “My collection was inspired by art collectors that I looked at, majdalawi fabric, sewing techniques from Jericho etc. I found technical skills that I was really fascinated by paired with cultural symbols, themes of talismanic power, motif placements, patterns and colours.”
Unsurprisingly, he was struck by Palestine’s beauty and power, coming to the realisation that these emotions took the form of the colour ‘magenta’, which wasn’t made anywhere in the MENA region at the time. Ayham explained: “The power of weaving that magenta is lost because the last family who does so is displaced in Egypt. So magenta became the focal point in terms of colour. Our historic beauty can be easily lost. We have to save our heritage. Thank God for these artisanal collectors, without them I wouldn’t have been able to make this collection.”
During his studies, he realised he was one-of-one at CSM: “When I came to London my work spotlighted Palestinian heritage and culture, because for the first time I was a minority.” Despite this, Ayham feels he was mostly accepted at university, becoming widely recognised as a rising talent, particularly after his graduate collection, “I’ve never had support like this or been asked to produce more work. I’ve never had these emotions and this validation. It’s a huge responsibility and has taken me a while to process it.” But with a strong support system and backed by tutors, sponsors and international cultural figures, Ayham became unstoppable.
Steadily weaving politics into his work, Ayham found the ideal platform to send a clear message: Palestine must not be ignored. His work addressed the question and viability of liberation. At the same time the violence was happening, we were watching people making videos about what they’re eating in Gaza. “The people are still living. It’s in our faith and culture that we can’t let this thing define and break us.” This resilience can be seen in Ayham’s own temperament, passion and sensitivity. He shares that when he originally shared his concepts with his tutors they were surprised his work didn’t come from a point of revenge or negativity, but rather a positive emotional point of view. He says: “That’s just the essence of what makes Palestinians incredible. I’m inspired by them. Gaza is not just suffering for the sake of it, it’s suffering because it’s exposing everything.”
His collection maintained a balance of what he can achieve as a designer who wants to revolutionise the fashion industry, as well as a human with something that needs to be said, “I came to CSM with the intention to always talk about important topics through my conceptual work.” Thankfully, Ayham feels he isn’t alone, as the future of fashion is heading towards a more culturally-driven direction, “It’s the age of focusing your work on your heritage as a central POV. I didn’t feel pressured because everyone was doing it, I just needed to create my own space to express myself.” The future of the industry lies in the hands of upcoming young designers, especially minority designers which Ayham has full confidence in, “There’s enough space for everyone, but who makes that space? The young generation will do what needs to be done.”
Ultimately, Ayham’s work acts as a call to show how severe it is that a culture like his can be erased in a second, “I want people to know that now is not the time to be neutral. Be rebellious, show your true self and why you’re choosing to be an artist at this time. I hope people find innovative ways of approaching these topics.” Rightfully so, he references London’s punk era, specifically McQueen’s and Galliano’s graduation projects which paved the way for the industry we’re in today. He exclaims: “That’s what’s sad about the industry now, it’s too beautiful and defined. Why spend millions of pounds on a show to say nothing? It doesn’t need to be political, but at least provide something new.”
Ayham’s collection showed him, and others, that the public reacts well to his work – and to Palestine. Fashion has its own agenda and standards, and it’s often difficult to tackle these topics, but as he expressed: “This is happening now – I’m not looking at it as a memory. It was a huge risk to take, but we need to push existing limits.” He shares that he doesn’t get easily offended and hopes people who view his work don’t either – especially since it’s creating a much-needed global conversation.
With regard to the future, Ayham wonders if he’ll be supported enough to explore his own narratives to their fullest potential – judging from his current trajectory, FACT has no doubt he’ll be just fine.
Contact: @ayham_hassan_99