01
Printing & tie-and-die
Graffiti alphabets are printed and tie-dyed onto flat cloth. At this stage the letter is still an image — something applied to a surface.
graduation projectFashion Design
Steve Stanly
Steve Stanly
Scribble
to
Rebel
An avant-garde collection that takes graffiti off the wall and builds it into the body. Thirty-two plates, three garments, one alphabet.
01Origins
Where it began
A trip to Britain lit the fuse. Wandering London, every alleyway and wall seemed to be telling a different story — the city was an open-air gallery that rewrote itself between visits.
At the Leake Street Arches the work was raw and impermanent: painted over, painted again, never finished. That impermanence — art that refuses to sit still or ask permission — became the brief.
every wall a page, every visit a new edition
02Brainstorm
One word, seventeen directions
The whole collection unpacks from a single page of handwriting. Graffiti was pulled apart into everything it could mean — a vocabulary, not a style. Trace a thread to read it.
Hover a word
Graffiti
03Reference
The voices in the room
04The alphabet
Letters you can wear
The graffiti alphabet is the foundation of the collection — every letter cut, printed and built into the garment itself. Taking it off the wall and onto the body democratises the form: no longer fixed to one surface in one city, it travels with whoever wears it.
EXPRIMER
the fabric letters spell exprimer — French, to express
The name of the label that came next was already here, cut in cloth on plate 25. See where it went.
05Construction
Flat, stitched, filled
Three operations turn a printed graphic into a garment with volume. The letter never changes shape — only how much room it takes up.
02
Quilting
The printed cloth is stitched into a grid. The letter stops being printed on the fabric and starts being built into it.
03
Puffing
Each cell is filled. The letter lifts off the plane and becomes volume — a shape you can walk around.
06Iteration
Hundreds before three
Letter positioning across nine dress forms. Twelve grids of croquis. Fourteen full ideations. The final collection is the residue of a very large amount of drawing.
07The collection
Three garments
Printed, quilted, puffed. Shot cut-out on black, so the silhouette reads the way it was drawn — as a letterform standing up.
01
The Squiggle Suit
A full puffed suit and balaclava in cobalt and white. The scribble is no longer a mark on a wall — it wraps the body completely, head included.
02
The Tower
Checkerboard quilting stacked into an architectural silhouette. Read straight on, the garment is a letterform standing upright.
03
The Cape
Puffed coral tubing spelling CAPE down the back. The garment names itself — signature and object at once.
08Reflection
Streets into a runway
The collection set out to challenge what counts as wearable, and to hand the language of the wall to whoever puts the garment on. Graffiti stops being fixed to a place and becomes portable — carried, not visited.
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