My final major project is a textile-led exploration of identity, memory, and materiality. Growing up half Russian, I was surrounded by traditions, language, and regular visits to Russia. My mother's photo archive served as a key source of inspiration, particularly her New Year's school photographs taken during Yolka, a Russian Christmas celebration. I also looked to the Soviet film Morozko (1964), whose festive atmosphere and use of folk costume influenced the collection. This research was further supported by studying traditional Eastern European garments within the V&A archive. To create contrast, I explored Russian gymnastics, inspired by greeting cards from the 1980 Moscow Olympic Games. This led to the collection title, For Christmas I Want to Be a Gymnast, combining festive imagery with sporting influences. As a former gymnast, the project became a personal exploration of childhood aspirations and cultural identity. In response to my research, styling and collage became key methods for bringing together the different elements of the project while capturing a sense of youthful energy. Elements of gymnastic training wear, particularly the tracksuit, became a defining silhouette as I challenged myself to modernise aspects of the classic sports uniform. Colour and textile development proved the most effective way to translate these references into a contemporary outcome, becoming a defining feature of my graduate collection. I developed textiles through hand knitting, crochet, and machine knitting. Exploring a range of gauges and yarns allowed me to test multiple possibilities, although I was particularly drawn to the development of crochet techniques. Throughout the sampling process, I referenced rug patterns from my primary research alongside the ribbon-like forms of rhythmic gymnastics. Texture, pattern, and metallic yarns became prominent design features within the collection. Lurex and tinsel yarns introduced reflective surfaces that echoed the festive nature of my research while contrasting with the tactile qualities of crochet. Through experimentation with colour, stitch structures, and blended yarns, I developed textile outcomes that are distinctive to my design practice. Sustainable sourcing remained central to the project, particularly when selecting fabrics. I worked exclusively with deadstock materials, carefully adapting pattern cutting to minimise waste. Denim, leather, and sequin tulle were selected to complement the knit textiles, balancing softness with structure and grounding the collection. My final major project marks a significant stage in the development of my design identity.