With JW Anderson skipping the season and other notable absences from the show calendar – local favourites like Nensi Dojaka, KNWLS, Standing Ground, Harri, and 16 Arlington, who typically show only once a year – London Fashion Week transformed into an intimate celebration that placed emerging talent front and centre. While stalwarts such as Burberry, Simone Rocha, Erdem, and Richard Quinn maintained their iconic presence, rising stars like Dilara Findikoglu, Chet Lo, and S.S. Daley injected fresh energy into the event. Even amid turbulent economic times, these diverse presentations proved that London remains one of the world’s most creative fashion capitals, buzzing with innovation and a wealth of new perspectives.
“At London Fashion Week, we have all these incredible independent creative businesses,” explains Caroline Rush, the outgoing President of the BFC, who has held the role for more than sixteen years and is now preparing to pass the baton to Laura Weir. “Every London designer brings a unique perspective on the fashion industry, culture, and community. Attending a show here is like stepping into a different subculture each time – it’s an overwhelming, immersive experience. For instance, Lueder transformed their 1 pm show into a rave party, while 16 Arlington opted for an intimate dinner instead of a traditional runway. In London, creativity has no limits.”
Here are seven key takeaways from London Fashion Week.
VELVET IS BACK.
At his Burberry show — heavily inspired by the great British outdoors and the bohemian spirit of Londoners escaping the city for grand stately homes — Daniel Lee reintroduced velvet into the modern wardrobe. His collection featured velvet dresses, trenches, and corduroy suits adorned with floral motifs that echo the flocked wallpapers and heavy curtains found in country houses. One of the season’s most dazzling moments came on Richard Quinn’s catwalk, where a red velvet dress embellished with rose buttons was showcased against a snowy backdrop, capturing the beauty of winter in London in a truly unforgettable way. Meanwhile, Dilara Findikoglu, for her “Venus of Chaos” collection, presented a mini dress and a jacket in sumptuous red velvet that underscored the luxurious revival of the fabric. Mark Fast also joined the trend, adding ultra-short skirts and mini cocktail dresses in vivid hues of red, black, and chocolate velvet to his collection.
WEDDING BALL.
This season, Richard Quinn concluded his snowy fashion extravaganza—dedicated to the special moments that define our lives and the timeless elegance of dressing up—with a series of bridal looks. His collection featured classic A-line and maxi dresses, as well as a striking lace catsuit paired with a detachable atlas skirt. On Di Pesta’s catwalk, bold, sensual brides made a statement alongside an army of grooms sporting matching white briefs. Meanwhile, Bora Aksu, in his show paying homage to Empress Elisabeth of Austria, emphasized delicate lace dresses rendered in a crystal white and beige ecru palette. Finally, in the charming universe of Dilara Findikoglu, the wedding gown was reimagined as an elegant sheath dress adorned with beaded fringes that seem to move on their own, producing delicate ASMR-like sounds with every step.
GREY’S ANATOMY.
If one colour defines the season, it’s grey—reminiscent of the ever-changing London sky. Grey dominated the British catwalks in a myriad of forms. The most ethereal interpretation came from Pauline Dujancourt’s debut catwalk show that featured the most delicate hand-knitted dresses embellished with intricate crochet flowers. Other notable grey silhouettes included chunky knits at Louther, a standout of the Fashion East incubator lineup, asymmetrical suits at SRVC that serve as daily armour, showcased on the top floor at London’s BT tower, with a panoramic view of the city, and enchanting semi-transparent organza dresses at Dilara Findikoglu’s magnetic show.
FUNKY KNITS.
Chet Lo’s “Modern Antiquity” collection redefined knitwear with body‐con, clingy knitted padded sweaters, cardigans, graphic figure‐hugging jackets, and pencil skirts that played on traditional Chinoiserie motifs. Tiger prints emerged from exaggerated, repeated patterns, while classic cloud graphics were transformed into delicate floral formations. In her collection inspired by childhood memories, Simone Rocha reinterpreted cosy knits with a romantic twist. Some pieces were adorned with vintage-inspired brooches that added old-world glamour, while others showcased intricate floral patterns. At S.S. Daley, knitwear became a modern study of British heritage. The collection featured meticulously structured knit jumpers and layered silhouettes that reworked classic elements—like cardigans and pullovers—with asymmetrical cuts and unexpected textural details. Meanwhile, Erdem elevated knitwear to an art form with ensembles that showcased soft, sculptural textures reminiscent of watercolour brushstrokes. Roksanda, for her part, played with exaggerated proportions and dramatic silhouettes, creating bold, statement-making knitwear.
ART & FASHION.
Roksanda Illinic’s powerful collection drew inspiration from renowned British artist Phyllida Barlow, whose pioneering approach to materiality, form, and sculpture resonates deeply with the brand’s aesthetic. The collection’s oversized silhouettes and unexpected layering evoke the tactile quality and transformative power of art, making the garments appear “sculpted” rather than merely constructed. This season, SS Daley found his starting point in Francis Cadell’s mid‑1920s painting Iona Croft — a key work by one of the prominent Scottish Colourists. Daley infused his collection with subtle yet powerful art historical references by juxtaposing textiles with bold, arty prints that mimic the expressive brushstrokes characteristic of the movement. Collaborating with painter Kaye Donachie, Erdem translated the delicate, emotive quality of her watercolour portraits — most notably a tribute to his late mother — into his garments, imbuing his designs with a profound sense of intimacy and artistry. In his collection entitled All that Jazz, Conner Ives made a specific reference to Gilbert Adrian’s 1945 evening dress design, where the designer applied paint directly to the fabric to create a silhouette of a horse—a symbol rich in both power and grace. Finally, set against the dramatic backdrop of Tate Britain’s storied galleries, Daniel Lee’s collection for Burberry reinforced the brand’s commitment to supporting and celebrating British art institutions. His work seamlessly merged the worlds of fashion and fine art in a mutually inspiring collaboration.
STATEMENT SKIRTS.
This season, statement skirts are more than just garments — they’re bold declarations of artistry and craftsmanship. Toga’s designs featured delicate, hand-stitched floral embellishments, transforming classic silhouettes into romantic, garden-inspired works of art. At Erdem, in a collection influenced by painter Kaye Donachie’s ethereal watercolours, shimmering fabrics and layered organza skirts caught the light at every angle, turning them into wearable canvases that bridged fine art and fashion. Burberry gave its iconic check pattern a contemporary update, reimagining the classic tartan into statement skirts with unexpected proportions that fused heritage with urban sophistication. Meanwhile, Roksanda’s skirts, lavishly covered in XXL paillettes, drew inspiration from the sculptural art of the late Phyllida Barlow. Their reflective surfaces and bold, structured silhouettes transformed each piece into a luminous, three-dimensional artwork.
MEDIEVAL CORE.
One of the most talked-about moments at LFW was the unexpected appearance of a Burberry knight, seated front row next to actor Nicholas Hoult — an image that quickly went viral and set the tone for the broader resurgence of medieval influences across the catwalks. Annie’s Ibiza channelled the romance and mystique of 15th-century Italy, merging medieval court aesthetics with the island’s signature bohemian energy. The collection showcased intricate metalwork, metallic lace, and elaborate beadwork, where engineering and artistry converged in dazzling, armour-like garments. Di Petsa pushed the medieval theme further with a provocative reinterpretation of the “knight in shining armour,” crafting figure-hugging, shimmering metallic fabrics that exuded sensuality. Denzilpatrick’s menswear took a more structured approach, celebrating strength and masculinity with bold, architectural silhouettes inspired by knightly armour — featuring heavy fabrics, strong cuts, and protective layering. Dilara Findikoglu brought medieval romance to the runway with her meticulously crafted corsets, while Sinead Gorey fused medieval and streetwear aesthetics by incorporating hoods and chainmail-inspired details, unexpectedly styled with Converse sneakers.
