photography. Ines Bahr
After five days of fashion – amidst the city’s notoriously unpredictable weather – London Fashion Week (LFW) has wrapped up another successful season. Renowned for its vibrant atmosphere, LFW is not only a platform for established luxury houses but also a fertile ground for emerging talent eager to make their mark on the industry. From Daniel Fletcher’s debut at Mithridate to KENT&CURWEN’s imaginary world (and everything in between), here’s London’s best in show.
The concrete interiors of Space House – lined with wooden chairs following the curve of the circular building – buzzed with anticipation of arguably the most anticipated show of LFW: Daniel Fletcher’s debut collection as creative director of Mithridate. Elvis Costello’s song ‘She,’ recorded for the quintessentially British film Notting Hill, serenaded the space, foreshadowing Fletcher’s inspirations. He tells Schön! backstage, “The starting point was taking my influence – British heritage – and then incorporating Chinese craft techniques.” One of those techniques is a type of knot, which is local to where the studio in China is.
Layering was less complementary than juxtaposing – think vertical striped tees over horizontal striped shirting, tailored coats over drop-waist gowns, and sequined pencil dresses tied at the waist with knitted jumpers. Of this, Fletcher says, “In the collection, you see that it was taking things that might’ve been in your wardrobe forever – a trench coat, a double-breasted blazer, a wide leg trouser, a polo shirt – and putting them together in a way that feels unexpected and is unique to the way that British people dress.”
Enveloped in the sweeping ceilings, sumptuous gold detailing, and stained glass windows of St. Paul’s Church in Covent Garden, Bora Aksu’s hauntingly beautiful designs felt right at home. Tragic beauty queen Empress Elisabeth “Sisi” of Austria became Aksu’s muse this season after he visited Vienna for research and toured her former residence. Her grace and complexity were imagined as structured jackets over flouncy maxi skirts, white lace dresses with black tulle draped over the top, and 19th-century inspired hats, some of which featured a veil. The dynamic contrast between the crisp tailoring and ethereality of layered tulle and lace dresses is a signature design of Aksu’s, varying this season with a deepened colour palette, including deep pinks, reds, and purples.
Lottie McCrindell’s poem, ‘Empress Elisabeth,’ written for the show, perfectly encapsulates both the vision of the Empress Aksu wanted to bring to life and how it has manifested into the clothing, reading, “I see you rebelling in asymmetric ruffles,/ trompe l’oeil tricks of printed lace,/ polka-dotted play,/ waltzing, swirling trimmings.”
Ever wonder what a modern-day vampire would dress like? Look no further than Mark Fast’s latest showing at LFW. Through the use of colour, texture, and silhouettes, Fast transported attendees into a different dimension – one where vampires emerged from a haze of fog wearing Juliet-sleeved zip-up jackets with ruching at the waistline, flared high-low skirts, and double-breasted blazers tucked into voluminous floor-length skirts. Black ribbon chokers, dark eye makeup, and cross emblems dotted throughout the collection infused a gothic feel, while crocheted mini dresses with corsets and chains – which were reintroduced from last season – added a lighter, but still rebellious quality. The Mark Fast woman, as mysterious and mythical as she may be, was, once again, wrapped in romance.
Entering the venue for Richard Quinn’s autumn/winter show felt like stepping through a wardrobe into Narnia… Instead of Narnia, though, you found yourself on a snow-swept street in London, the runway framed by a Georgian townhouse, wrought iron gates, and lined with Victorian lamp posts. As snow fell silently – and cinematically – long-sleeve satin ball gowns with floral prints, feather-lined capes, and crystal embellished bodices that trickled into full tulle skirts floated over piles of snow. Black bows cinched the gowns at the waist and adorned the necklines, while opera gloves, cuffs, and semi-sheer tights provided a striking contrast to the pastel hues of yellow, green, pink, and cream.
The collection served as both a love letter to the city and a tribute to classic Hollywood icons like Grace Kelly and Audrey Hepburn. The flattering drop-waist silhouettes, full skirts, and sweetheart and rounded necklines were reminiscent of Christian Dior’s the “New Look” and Charles James’s signature ball gowns yet retained a contemporary touch. Quinn aimed to encapsulate femininity and memory within his designs, suggesting they could be passed down from generation to generation without losing their wearability – and magic.
In an underground parking garage, the Sinead Gorey girl emerged from the shadows wearing plunging v-neckline corseted mini dresses, matching striped chainmail tops and mini skirts, and plaid shrouding capes tied with big bows at the neck. In her hand, a to-go KFC bag, a see-through purse containing all the essentials, or maybe even a cigarette. Gorey’s collection encapsulated the ultimate party girl lifestyle after the clubs close – looks were more thrown together than they were curated, building this carefree persona. Faux fur jackets sat off the shoulders, covering studded mini dresses, co-ords, and semi-sheer tights. While the collection remained a representation of the Gorey girl persona, it felt slightly more grown up.
Familiar characters populated the runway in the concrete basement of 180 The Strand, showing off Sinéad O’Dwyer’s ‘Character Studies’ collection. Being the final show as a recipient of the BFC NEWGEN scheme, O’Dwyer’s collection was a celebration of her work, amalgamating her past designs and elevating them to new heights. Silk organza criss-cross harnessed tops sat over fitted button-up shirts, bubble mini-skirts peeked out under polished cowhide belted jackets, and light-wash denim leotards were buttoned over matching spiral-seamed straight-leg jeans. It would be remiss not to mention O’Dwyer’s commitment to body diversity on the runway – which not only adds so much truth and reality to the characters she features in her shows but also proves that fashion is for every body.
Watching Pauline Dujancourt’s first LFW catwalk show, ‘Everything is moving, Nothing feels safe,’ was like observing a Vriesea plant – which reveals its vivid red flowers only occasionally – bloom; layers of deep red sliced airy fabrics floated ethereally from the body, dancing to Billie Eilish’s ‘WILDFLOWER.’ In the 80s, her grandmother received the rare plant as a gift, and after her passing, the plant was preserved so that each descendant would receive an offshoot – tying the family together. With Dujancourt’s offshoot yet to bloom, she made it blossom within her work. Crocheted flowers cascaded over shoulders, down opera gloves, hand-knitted mohair jumpers added weight to lighter looks, and silk satin skirts were ruched to create a bubble effect. This clash of memory and modernity implored attendees to see Dujancourt’s work as more than just fashion but a way to process loss and rediscover lightness.
The marbled columned walls, gold leaf detailing (which shimmered under the light), and intricately painted ceiling of the Great Hall in One Great George Street in Westminster, may have been thought to be quite a distracting backdrop, especially with the two sizable crystal chandeliers dangling at either side of the room. Not for an Annie’s Ibiza show, though. Instead, hand-beaded mini dresses, architectural silhouettes, and metallic lace demanded attendees’ attention.
Looking at the Renaissance period of 15th-century Italy is where Annie Doble’s fourth collection was born, more specifically, the feminine strength and grace of the women during those times – think Joan of Arc and Caterina Sforza. A mini dress and matching bolero – made from golden disks and floral motifs linked together with a cascading beaded fringe at the hem – was inspired by Florence’s Gates of Paradise, while the striped marble of the Duomo di Firenze prompted a fitted beaded floor-length gown with a square neckline, waist draping, and a mermaid train.
Emerging as a contemporary take on Victorian-era dressing, Keburia’s show saw exaggerated silhouettes, expert contrasts, and luxurious fabrics infused with fun. 19th-century codes were reinterpreted, with bell sleeves lengthened dramatically, metallic Chantilly lace thrown over structural maxi dresses, and cinched waists enhanced with oversized shoulders and bubble hems. There was a theme of excess fabric running through the collection, coming to a head with three pieces: a headpiece made from multiple berets stacked on top of each other, a turtleneck covered in various knitted jumpers, and a dress made of several collared jumpers sewn together. Ginormous hats were just another way of subverting the norm.
Pondering whether formal dressing is now outdated, Yasuko Furuta of TOGA’s latest collection, ‘Formal, Informal, Anti-formal,’ took formalwear and reinterpreted it, framing it as informal… or anti-formal, if you will.
Set in the white walls of a hall in the Royal Academy of Arts, and with a shiny white runway, the space allowed the clothes to speak volumes – and almost stopped attendees from assuming the formality of the garments. Inspired by the way that American photographer William Eggleston dresses – the untied bow tie around his neck, the carelessly rolled up sleeves of a button-up shirt – Furuta wanted to exude the same effortlessness within her work. White button-ups featuring supersized collars were worn under blazers cinched with a belt at the waist. Shaggy feathery trousers were dressed down with a mossy green tank top and dad trainers. And, of course, untied bow ties hung around the necks of open shirts tucked into pleated wide-leg trousers. A ring micro skirt, an idea influenced by the brand’s 2017 collection, brought an inflated silhouette to the collection, adding shape to the thinner jackets worn over the top.
Reimagining chinoiserie from an Asian perspective, Chet Lo’s ‘Modern Antiquity’ collection challenged the colonial legacy of Western depictions of Asian art. By reclaiming and reshaping these motifs, Lo transformed them into contemporary designs that maintained a distinct and authentic Asian identity. Lo’s signature merino wool spikes appeared as strapless mini dresses, body-hugging maxi dresses, long-sleeve tops and matching shorts combos. An abstract tiger print found its way onto a long-sleeve button-up cardigan and low-rise straight-leg trousers while a mini floral print appeared on pencil skirts and colourful ties. As said in his show notes, “This collection is not just fashion – it is an act of cultural reclamation, reinvention, and celebration.”
Stepping into the Durbar Court – located in the former India Office at the Foreign, Commonwealth & Development Office in Westminster – its Italian Renaissance-inspired interiors, four stories of columns, and marble floors played a cardinal role in the storytelling of KENT&CURWEN’s ‘Crossing Thresholds’ collection. C.S. Lewis’ childhood adventures were a source of ingenuity within the show as Chief Creative Officer Daniel Kearns leaned on the idea that dressing up is a gateway into imaginary worlds.
With the green clock in the middle and the soundtrack of ringing bells, train announcements, and the murmuring of crowds, attendees were transported to a train station – one where all the travellers were sumptuously dressed in tailored blazers cinching at the waist, tartan wool coats with exaggerated rounded shoulders, rugby shirt inspired babydoll dresses, and flared argyle skirts. Showcasing the tension between adults and children – and what they’d choose to wear – button-up shirts featuring drawstring hoods were placed under argyle jumpers and striped rugby shirts, and prints and colours clashed throughout. This blend of classic British style and nostalgia created a collection that encapsulated the carefree essence of childhood.
photography. Ines Bahr
photography. Ines Bahr (Mithridate, Bora Aksu, Sinead Gorey, Sinead O’Dwyer, Pauline Dujancourt, Keburia + Chet Lo), Iker Aldama (Mark Fast), Richard Quinn, Chris Yates (Annie’s Ibiza), James Cochrane (TOGA) + Filippo Fior (KENT&CURWEN)
words. Amber Louise
