June 18, 2026 |
For years, fashion has carved out its place as a leading ground for culture and technology to meet. But what does that dialogue look like, especially at a time when technological advancements seem to be accelerating at breakneck speed? Defining the answer is no easy task, yet Graduate Fashion Week 2026 did not shy away from the challenge. Across a programme packed with thought-provoking talks, interactive installations and technology-led showcases, the event placed innovation firmly at the centre of the conversation. Day 3 was the perfect example.
One of the most anticipated events on the schedule was the live talk organised in collaboration with CLO, one of the industry’s leading digital fashion design platforms. The panel explored how emerging technologies and digital fashion innovations are reshaping creative processes, consumer experiences and future career opportunities, placing particular attention on the ethical questions surrounding AI’s growing influence on the industry. Digital fashion designer and Metaverse consultant Louise Laing championed the role of AI as a tool to support designers – not a barrier hindering or replacing creativity, but a means to streamline production processes and enable a more seamless and powerful transmutation of ideas into reality.
But the conversation did not end there. Technology’s influence was equally present on the catwalk throughout the day, beginning with the GFW International Collective, kicking off the day with an impressive showcase of looks, cultural narratives and design approaches from GFW’s global partner universities.
The international presentation was quickly followed by the Winchester School of Art runway, where the visionary 3D-printed creations of menswear designer Jiaheng “Augustin” Liu immediately caught our attention. The industry took notice, too – Liu has recently secured a place on the prestigious master’s programme at the Institut Français de la Mode in Paris, where he will continue to develop his distinctive approach to 3D-printed design. Compelled by Liu’s fusion of traditional tailoring and technological innovation, we invited him to walk us through the creative vision behind his collection.
Hello Augstin! Could you tell us a bit about your collection?
My collection, The Contour of Them, explores the relationship between the development of technology and masculinity. I have always thought of the evolution of masculinity and innovations in fashion technology as mutually interdependent. I believe that when masculinity is redefined, garments are allowed to become gentle boundaries between the body and identity.
How did you approach this exploration of masculinity?
I tried to trace transformations across different historical periods – from ancient times to the Industrial Revolution and the AI generation – and capture the fundamental shift that contemporary masculinity is undergoing.
I also wanted to interrogate the drivers of this transformation: changes in social structures, perceptions of gender and bodily consciousness that collectively propel men to break free from traditional frameworks and move towards more authentic forms of self-expression.
What was the crafting process like?
I combined classic elements and deconstructed traditional menswear tailoring, particularly tailored jackets, before reimagining them through technologies like 3D printing and laser cutting. I really wanted to explore how we might maintain our identity in the future and how masculinity might continue to be redefined.
Do you remember what initially sparked your inspiration for the collection?
A film that really inspired me was A Clockwork Orange, as well as the work of Eadweard Muybridge that Kubrick draws on. The image of the Animal Locomotion was my first source of inspiration and became part of my exploration of masculinity. I then reinvented this visual symbol through 3D printing and combined it with traditional fabrication techniques.
What look from the showcase are you most proud of?
I’m particularly proud of my first look: the bow-knot jacket, the suit with both bow fabric and pink silk styled with a small 3D-printed accessory bag. For me, it represents a broader definition of masculinity: I wanted to show that masculinity can be soft, it can be strong and in the future, it can become more comprehensive and inclusive.
Something that caught everyone’s attention during the show was the bird accessories accompanying the looks. Can you tell me more about them?
While working on the collection, I became increasingly interested in how accessories can be part of the whole garment. They shouldn’t simply exist as separate additions – they should work together with the clothing as one complete design. For the birds, I used 3D modelling to capture different movements and poses of the animals, then worked with manufacturers to print them and finish them with a special shining texture that gives them a more lively appearance.
And what is the story behind the pink handbag?
That bag is probably one of my favourite elements from the collection. I did extensive research into human anatomy, looking at historical sketches and studies of muscles. I then digitally deconstructed those muscle structures, recombined them into the shape of a bag and realised it through 3D printing.
Looking towards the future, what words would describe the fashion industry you’d like to help create?
I would say: inclusivity, technology and innovation.
Thank you, Augustin. What’s next for you?
I’m very excited to be starting an accessories design course at Institut Français de la Mode later this year.
Photography courtesy of Jiaheng “Augustin” Liu.
