CESINE FASHION SHOW: CLASS OF 2025
In the middle of the North of Spain, in Santander, a design school that celebrates their 10th anniversary with a show where we can see the proposals of the next generation of the region. The upcoming designers are presenting in a space where their work can shine, thanks to a development of the catwalk since 2020, one of the best productions out of a design school in Spain. During the three hours show, we could see the graduates collection and some of the work that bachelor students have been working in groups. It has been a pleasure to reach out to some graduate students and have the possibilities to ask them three questions that I think are very important at the moment. Firstly, the theme of their collection for obvious reasons, and then I wanted to know their perspectives on how challenging it is to design with a creative and practical approach, also what they would advise to young generations that want to enter into the Academy or to the fashion design world in general. Here goes a selection of 10 students that have captivated my heart and mind with the outcome and the process of their body of work. Give some respect to the incredible graduate collections that are coming out of Santander in 2025.
Virginia Peña presenting Lina Studio (@thelinastudio)
Alvaro Ramos: What was the conceptual starting point for your graduation collection?
Virginia Peña: My grandmother has always been my inspiration. I based the lines and shapes of the collection on things that remind me of myself, my childhood, but above all, of her.
AR: How do you strike a balance between creativity and practicality in your designs?
VP: I don’t think I design anything that I or the people around me wouldn’t wear. I think of something I can wear both in my daily life and at a special event. For me, garments tend to be a foundation, and the styling and approach you give them ultimately bring the garment to life (this is poorly worded, I don’t know how to express this, haha).
AR: What advice would you give to aspiring designers just starting their careers?
VP: Let them reflect in their collections what they are like, that beyond what is asked of them, what the collection requires and what the circumstances of the entire conceptual context of the collection seek, they should be who they are, that they feel above all comfortable with what they are telling, they will have time to work for others.
Carla Martinez Rodríguez presenting Oda (@odabycarlamartinez)
AR: What was the conceptual starting point for your graduation collection?
CM: Oda is a ready-to-wear collection with a distinct Y2K style, characterized by the use of vibrant hues inspired by the colors of sunrise and sunset: pink, orange, and yellow.
The collection was born from a practical study in which I explored the importance of traditions in the development of personal identity. As a practical case, I drew on my own roots and customs, integrating elements such as carnival, Catalan folk dances, religious figures from the patron saint festivals of my hometowns, and bullfighting.
It’s a fusion of tradition and modernity that seeks to send a clear message to Spain: to revalue our traditions through love, respect, and a deeply personal vision.
Oda is a collection that invites you to reconnect with your essence and show the world who you truly are.
AR: How do you achieve a balance between creativity and practicality in your designs?
CM: Oda was simply intended to be a practical study on the personal expression of traditions, so at no point did I consider being able to wear my pieces as a complete look on the street, even though they were ready-to-wear, but rather that they could be chosen separately. And at no point did I want to create something uncomfortable to wear, but rather I reflected a bit on the cuts of garments I would like to have or had already owned, so that there was a balance between creativity and practicality.
AR: What advice would you give to aspiring designers just starting out in their careers?
I would like new fashion students to feel the freedom of expression in their creations and to be true to their truth and feelings in each project. For me, fashion is another communication tool with many different channels to address, and you don’t have to be afraid of not finding an audience because there will always be someone who will be fascinated by your creations.
Mario Rodríguez Parra presenting RRAGUEZ (@rraguez_)
What was the conceptual starting point for your graduation collection?
The starting point was a reflection on the stagnation of human robotization. I was interested in exploring how technology is no longer something external, but an extension of our bodies and our decisions. From that idea, NeoCorpus was born, a collection that fuses human silhouettes with mechanical structures, drawing inspiration from medical implants, industrial materials, and devices that already inhabit our daily lives. All of this from a sustainable perspective, consistent with the values of Rraguez, my personal brand, which was born with the intention of projecting futuristic, ethical fashion with a very strong identity.
How do you achieve a balance between creativity and practicality in your designs?
This balance is something I try to maintain at every stage of the process. At Rraguez, I work from an approach where pattern making becomes the structural foundation that allows me to experiment with more conceptual shapes without losing the usability of the garments. I incorporate technologies such as 3D printing, recycled materials, and artisanal processes to bring innovation without disconnecting from the reality of the person who will wear that piece. I’m interested in ensuring that each design has visual and narrative power, but also that it is livable, able to move with the body and interact with it.
What advice would you give to aspiring designers just starting their careers?
I would tell them to allow themselves to search freely, without fear of error. To trust their intuition, even if it sometimes doesn’t fit with the established norm. This profession is full of comparisons and pressure, but what truly builds a career is authenticity and perseverance. Research, surround yourself with inspirational role models, but don’t try to imitate them. And above all, remember that design isn’t just about making clothes; it’s about presenting a perspective, an opinion, a way of understanding the world.
Arrate Pérez presenting desastre concept (@desastreconcept)
What was the conceptual starting point for your graduation collection?
The conceptual starting point for my collection is to celebrate the small joys I’ve experienced throughout my 22 years at the Los Molinos campsite in Noja. I’ve experienced so much growth and learning on a personal and professional level. I simply try to communicate where I come from, but above all, who I come from.
In other words, the theme of my work deals with the translation of abstract concepts, as a result of a creative impulse that drives creativity and interdisciplinary artistic collaboration through fashion. That’s why I wanted to collaborate with someone who has been creative since I was little: my mother. She’s a preschool teacher, and because of that, she’s always spent her free time making banners, dolls, and characters to try to teach her students new things. I think my personality draws heavily from that constant source of inspiration.
Currently, my owner, Natalia, crochets pieces for fun, and since we’ve always told her her work can be very marketable, even if it’s just to save her money on materials, I decided to suggest she create this collection in collaboration with me, to show the world where I come from.
The name of the collection, «CALLE 900,» alludes to the street where I grew up, the one where my apartment is located, where a large group of people lived, and where the first disaster took place.
How do you balance creativity and practicality in your designs?
Considering my urban style, I found it difficult to be creative when faced with clothing that offers comfort rather than aesthetics. That’s why, taking advantage of the opportunity to differentiate myself from other emerging urban brands, I wanted to give meaning to the textile so that it could narrate the texture of what I’ve experienced.
On another note, my research also touches on garments inherited from my father or grandfather, and I wanted to capture certain cuts or measurements for that reason. On the other hand, I’ve also used techniques like upcycling, which, after collecting unused denim garments, allows me to create a real narrative, where the lived stories of many garments come together to create a new one. As I said, I wanted to focus on textile design, adding some manipulations and painting techniques, in order to fully reflect the visual elements that inspire me about camping.
What advice would you give to aspiring designers just starting out in their careers?
As advice, I could say to enjoy it. I know it’s very cliché, but in these studios, there are people who come to compete from day one, and I’ve always been in favor of it, and I don’t know how to work in any other way than as a team. So, stick together, enjoy, and admire the person next to you; I’m sure they have a lot to teach you, and vice versa.
On the other hand, I’d like to emphasize that you take advantage of the interdisciplinary projects course and try to work toward a common goal from various disciplines. It’s quite a challenge, but it can, once again, teach you a lot along the way.
Finally, as I said at the beginning, I think it’s important to have people by your side that you admire and like as designers, because that will fuel a healthy competition. And because when they’re in their fourth year, organizing their events on their own and seeking honest feedback, it’s easier if you arrive with good friends willing to do their best for you, and believe me, it really shows.
Marina Brígido presenting VÉRTICE (@mbrigido.estudio)
What was the conceptual starting point for your graduation collection?
The starting point was traditional menswear tailoring, especially that developed in London on Savile Row, and its reinterpretation from a contemporary perspective. I was also inspired by the feminist movements of the post-war period, uniting these two powerful concepts and blending the feminine and masculine silhouettes.
From there, Vértice was born, as a meeting point between the classic and the modern, between the rigid and the fluid, between the masculine and the feminine.
How do you achieve a balance between creativity and practicality in your designs?
I try to make the garments convey a lot of attitude, but at the same time, they are easy to wear and combine. I believe anyone with any style could adapt these garments to their own unique style, but at the same time, the silhouettes would make it recognizable that they are my garments.
I am interested in the idea of empowerment, not just visually, but also the power of owning the garment, of making it yours.
What advice would you give to aspiring designers just starting out in their careers?
To research as much as they can, listen a lot, read a lot, go to many museums, and don’t be afraid to highlight what truly interests them; what’s real and natural is what works best. Don’t try to fit into a style, but rather create your own.
Elisa Ling Yi Hernández Guerrero presenting INDÓMITA, según mi madre (@indomita_smm)
What was the conceptual starting point for your graduation collection?
The concept for my collection, «Indomitable According to My Mother,» was born from a deeply personal need: to rebel against the religious, formal, and conservative standards that defined my childhood and adolescence. From a young age, whenever I showed independence or questioned authority, my mother would call me «indomitable,» with a reproachful tone that I now redefine as a symbol of strength, freedom, and authenticity.
I studied my entire life in a convent school, where a submissive and traditional attitude was expected of me, both personally and socially. However, as I grew up, I began to question many of the beliefs that had been imposed on me, especially regarding matters of religion, gender, and politics. This internal break with the established order was the seed that gave rise to this collection: a declaration of my own identity, a tribute to insubordination, desire, and the free expression of the body.
«Indomitable, According to My Mother» is a collection that channels that duality between what is expected of us and who we truly are or desire to be. It uses the language of fashion to transform repression into empowerment, and does so from an inclusive, sensual, and provocative perspective. My artistic calling—which no one else in my family shares—has always been my refuge, and this collection represents precisely that: a space where the different and the uncomfortable not only have a place, but are celebrated.
How do you achieve a balance between creativity and practicality in your designs?
For me, the balance between creativity and practicality begins with the selection of materials: I opt for quality fabrics, with good finishes, that not only provide aesthetic value, but also comfort and durability. I draw inspiration from the real clothes I see at techno events, observing how they move, how they adapt to the body during hours of partying, and the practical needs of those who wear them. Furthermore, a key element in this process has been the direct feedback from the models, many of them close friends, who participated in the fashion film of my collection (which can be seen on their Instagram profile). During fittings, they told me how they felt wearing the garments: if anything bothered them, if they would change any details for comfort or fit. This constant dialogue has allowed me to improve practical aspects without sacrificing the aesthetic and conceptual strength of my designs. Sometimes, details that might go unnoticed by me as a designer become very relevant when someone experiences them on their body, and listening to that has been essential to achieving a truly balanced design.
What advice would you give to aspiring designers just starting out in their careers?
I would tell them to seek solid training, at a university or school where not only technique is valued, but also creativity and personal development. It’s essential that they support you in discovering your voice as a designer, your inner world, what makes you unique.
I would also remind them that we all have something to contribute: there’s no one way to be a designer. Sometimes we need to stop, breathe, and find inspiration elsewhere to continue creating meaningfully. Listening to ourselves, nurturing ourselves, and trusting our own process is just as important as learning to sew or make patterns.
Lara Domínguez Pérez presenting Flopet (@itsflopet)
What was the conceptual starting point for your graduation collection?
My graduation collection stems from a reflection on the progressive loss of Spanish artisanal techniques, and specifically how the lack of generational renewal and the competition of industrial production are displacing crafts with extremely high cultural and artistic value. Based on this concern, I decided to focus on reinterpreting these techniques within fashion design as a form of vindication and revaluation.
Specifically, I worked with Cantabrian craftsmanship, integrating basketry and wood carving, traditionally used in varas and albarcas, into textile design. I was inspired by Elisa Strozyk’s approach, applying wooden sheets like a puzzle on fabric to achieve flexibility in a rigid material. My intention was to transfer this artistic character and attention to detail of manual work to the contemporary context of fashion design, creating pieces that are both visual and tactile, functional and conceptual.
«I am a soul that dwells between two worlds. In the land of Cantabria, craftsmanship is life, flowing slowly, with the scent of flowers. Everything is pure, natural, born from hands that shape tradition.
But I also walk among the bustle of the city, where the pace is swift and energy envelops everything. Here, craftsmanship takes on a new meaning, adapting, transforming, without losing its essence.
I am the bridge between these two worlds: between the calm of origin and the pulse of the modern. I find beauty in both, I breathe in both, and I flourish in the duality.»
How do you achieve a balance between creativity and practicality in your designs?
I think creativity can sometimes clash with functionality, and in fact, the real challenge is merging them. At Flopet, I focus on creating pieces that have a strong visual identity but also adapt to the pace of life of those who wear them. I like to play with unexpected cuts and textiles that have character, but always with comfort, movement, and the durability of the garment in mind.
In my designs, I like to focus on the pattern design and good workmanship, as this is what ensures high quality and, therefore, durability, making them more functional. This technical foundation, and sometimes more artistic thanks to the moulage technique, allows me to explore more daring aesthetic proposals, without losing sight of the actual use and comfort of the wearer.
What advice would you give to aspiring designers just starting out in their careers?
I would tell them to listen to their inner voice rather than following trends. It’s important to learn the technique, but also to dare to question it. Don’t be afraid to make mistakes; every mistake is an opportunity to find something unique. And above all, be patient, especially when trying something for the first time. This industry demands a lot of consistency, but when you do things with passion and consistency, the results will come.
Paula Montes presenting de Luelmo brand (@deluelmobrand)
What was the conceptual starting point for your graduation collection?
The conceptual starting point for my graduation collection, titled «Of Love and the Sea,» was deeply intimate and emotional. It was born from a desire to pay homage to my roots, to my hometown, Santander, and to the constant relationship I’ve always had with the sea.
I wanted to construct a visual narrative that spoke not of romantic love, but of a deeper, more stable, and lasting love: the love we feel for that which has built us, such as family, memory, and the places we feel as home. The sea is that refuge for me. Through the seasons, I unraveled how the landscape, the climate, and my personal memories shaped specific sensations, which were then translated into garments with their own identity.
Each garment in the collection represents a season, and with it, an emotion: hope, freedom, introspection, or resilience. The choice of materials, colors, and shapes always responds to that emotional connection with the environment and memory. This collection has been my way of expressing who I am, of dressing my story, and of transforming memories into something tangible, tangible, and shareable through fashion.
How do you balance creativity and practicality in your designs?
For me, creativity and practicality aren’t opposites, but rather complementary elements. Since De Luelmo Brand, I’ve learned that the real challenge (and also one of the brand’s distinguishing values) is designing pieces that move and, at the same time, work in real life.
My creative process always stems from a specific need or a personal experience that I translate into garments with a clear narrative. But at the same time, every aesthetic decision is designed to adapt to the body, movement, and routine of the wearer. I want the person to feel comfortable, protected, and free, without compromising on design.
I work a lot with patterns that allow freedom of movement, materials that provide comfort without losing elegance, and details that aren’t merely decorative but have a purpose. Functionality is the main language of my brand, but it’s always guided by an emotional and aesthetic vision that connects with the wearer.
What advice would you give to aspiring designers just starting out in their careers?
My advice for those starting out in fashion is to not be afraid to look within. In a world where everything seems to have already been invented, the only truly original thing is your personal story. Designing from who you are, from what you’ve experienced, gives authenticity and depth to your work.
I would also tell them to learn to balance the creative dream with the reality of the work. The ability to understand the client is as important as a good idea.
Be patient with your process, question everything a lot, learn from every mistake, and work with love and perseverance. And above all, don’t forget that a collection isn’t just the clothes: it’s a way of telling a story, of connecting with others. That’s what truly matters.
Alai Madruga presenting Cabero (@cabero)
What was the conceptual starting point for your graduation collection?
The conceptual starting point was the life of my grandmother. By compiling images from a family photo album, I’ve been able to create shapes, textures, etc.
How do you balance creativity and practicality in your designs?
This year, I’ve worked a lot on pattern making. I’ve wanted to create conceptual pieces like the 3D pieces, and I’ve also created bolder pieces like the ruffled pants and more common ones like the pleated pants. Regardless, I’ve always done a lot of testing to ensure the fit of the pieces is just the way I want it.
What advice would you give to aspiring designers just starting out in their careers?
Above all, I would recommend that they enjoy the fashion process, not get frustrated by not knowing everything, and take everything as a challenge where, if they work hard, they can achieve really cool things. Motivation is the most important thing.
Beatriz Acosta Bernal presenting utahia (@utahia_)
What was the conceptual starting point for your graduation collection?
The collection stems from the idea of uniting the two majors I studied: physical activity and sports sciences and fashion. I was clear that I wanted to tell something that came from me, that would be my most personal introduction to the fashion industry.
Uniting these two disciplines, I begin by investigating movement from a physiological, anatomical, and bodily expression perspective, treating the collection as a choreography that tells a story, my story.
Starting from the broad concept of movement, I focused on smaller concepts, always relating them to it: childhood and its free movement, adolescence with limited movement and the search for identity, the studied movement of cafyd, and the creative movement I experience in fashion.
How do you achieve a balance between creativity and practicality in your designs?
I always start with ideas that are more creative than practical; it’s the part of the process I enjoy most. I like to start with a conceptual, almost utopian collection, which I then translate into the real world. In this transition, I simplify silhouettes and shapes, but I always try to preserve the original essence.
Within each collection, I seek balance: to include both pieces that allow me to fully express myself and others that convey that same essence in everyday life.
Utahia was born as a brand where design is paramount, but also as a voice: a form of expression for the wearer. Finding that middle ground—between the conceptual and the functional, between the personal and the universal—is the true challenge, and also the heart of everything I do.
What advice would you give to aspiring designers just starting out in their careers?
I think the best advice I can give is to find their heartbeat, to design based on what they want and not what is expected of them.
Words: @alraco43