Creative Knitwear Design: How Accademia Costume & Moda students are reshaping fashion

In 2025, fashion students are still too often perceived through outdated stereotypes. There is a widespread notion that they approach this world more for its aesthetics and the glamorous imagery of the fashion system than for a real design-driven motivation. Talent is often seen as measured more by the ability to build an image than by actual technical skills, and appearance seems to prevail over craftsmanship, especially in an industry increasingly influenced by artificial intelligence. And yet, clichés like these are challenged when encountering educational paths that place technique, innovation, and material research at the core. A clear example was the final runway show of the First-Level Master's in Creative Knitwear Design at Accademia Costume & Moda, in collaboration with some of the most advanced manufacturing companies in the Italian textile district, including Brunello Cucinelli, Iceberg, Max Mara, Marina Rinaldi, and Falconeri. Knitwear—traditionally seen as a technical specialization and sometimes marginal within the more pop-oriented fashion design landscape—becomes fertile ground for a deeper reflection on the identity of the contemporary designer. The students demonstrated not only creative flair but also structural mastery of the medium, presenting collections that reflect a rare awareness: that fashion design starts from the material.

Project in collaboration with Brunello Cucinelli

Project in collaboration with Iceberg

Project in collaboration with Falconeri

Project in collaboration with Marina Rinaldi

Project in collaboration with Max Mara

Among the most striking collections were those of three students who made the “concept” the core of their work. Madalyne R. Cunningham, for example, drew inspiration from Slacker, a cult film from the 1990s portraying a disillusioned generation resisting imposed productivity. Her collection doesn’t glorify laziness, but rather reclaims its subversive power in an era of hyper-capitalism. «Being a slacker today can be an act of rebellion», she explained. With striped sock shoes, earthy tones, and layered silhouettes, Cunningham successfully brought the essence of ‘90s grunge back to the runway—a style long overdue for a revival. Similarly, Alma Breun turned inward and found her own version of Versailles, shaped by her Anglo-Danish-German roots. The city of symmetry and tradition was reimagined as a playful dreamscape of Pinocchios and princes in oversized knitwear, contrasted with pearls, miniskirts, and Nordic prints evoking the countries she calls home. «It was a way to express my personal vision of Versailles, but also to speak about my sense of difference», she said. The most intimate of the three was Vittoria Saccalani, who drew inspiration from a close friend’s experience with depression. The bed, in this context, becomes not just a place of rest but also emotional confinement—a refuge and a prison for the mind. Aligning with this year's “bedcore” trend, Saccalani’s collection explores a dreamlike world through large volumes and concave shapes: «I wanted to address this difficult theme in a universal and gentle way—without making it even heavier».

Project by Madalyne R. Cunningham

Project by Alma Breun

Project by Vittoria Saccalani

What connects all these visions is a strong emphasis on the idea behind each collection. None of the projects relied on aesthetics alone—each narrative was supported by meticulous material and structural research. «The concept is fundamental», said Madalyne. «It’s my favorite part—thinking it through, developing it, bringing it to life through garments». Alma emphasized the balance between imagination and construction: «Concept alone isn’t enough. It has to walk hand in hand with technique». The relationship with materials—especially knitwear—was one of the most significant aspects of the course. None of the students initially imagined how many possibilities knitwear could offer. «I didn’t even know half of what you can do with knitwear», Madalyne admitted. Vittoria also discovered a surprisingly expressive and liberating dimension through working with yarn: «There’s still so much to explore in knitwear. It’s often treated like a side element of design, but in reality it holds enormous narrative and artisanal power».

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The passion for knitwear of the youth of Accademia Costume & Moda