photography. Lee Scullion
designer. Keburia
In the brief interludes between downpours, London Fashion Week’s autumn/winter 2026 season cut through the city’s seemingly permanent grey with flashes of brilliance. Beneath skies that threatened rain at any moment, runways buzzed with optimism, ingenuity, and a welcome sense of theatrical escape. Emerging talents and established names alike delivered collections brimming with innovation and unapologetic individuality. Annie’s dialled opulence all the way up, Keburia delivered a characteristically sharp cultural statement, and The Vxlley elevated wearable art into something immersive and transportive. And that was only the beginning. From flower-filled fantasies to razor-sharp tailoring, the week proved that even in the gloomiest of weather, London’s creative spirit refuses to be dampened.
Set in the low-lit centre of the Village Underground warehouse, Agro Studio transported guests into the heart of an immersive autumnal forest. Titled ‘The Wanderer,’ creative directors George Oxby and Angus Cockram examined characters and archetypes embarking on an endless journey, both physical and psychological, tracing themes of endurance, solitude, and self-discovery. Models slowly traipsed around tree stumps, half-dead shrubs, moss, and scattered orange leaves, their pacing deliberate and contemplative, in looks that blended seamlessly with the muted, earthy surroundings. Rust-coloured Icelandic sheepskin trimmed the collar of a camouflage-adjacent printed parka, while rich brown embroidered leaves snaked across a ram-and-bull printed corset. Soft yellow, brown, and burnt orange pinstripe, plaid, and houndstooth converged in a sweeping floor-length wool coat. Armour-like metallic slip dresses, tinsel-covered oversized jackets, and fluid satin sets introduced a heightened contrast, lending an elevated edge to the eveningwear.
There’s always a subtle sense of foreshadowing in the venues Annie’s (formerly Annie’s Ibiza) chooses for its shows. This season, Spencer House echoed the opulence, escapism, and elevated spirit of creative director Annie Doble’s collection, ‘Return to Self.’ The designs signal a new maturity in Doble’s work: while the garments retain their signature playfulness and expressiveness, they evolve into a more refined and sophisticated vision of femininity. Floral motifs, ever-present in her collections, drew inspiration from the hydrangeas in the garden of her Dalt Vila, Ibiza home, while rare antiques sourced from around the world – including a Louis XVI bed, 19th-century Venetian wallpaper, and early 1900s vases – informed a rich tapestry of colour and embellishment. A saffron-gold suit was embroidered with wisteria, evening gowns were styled with fringed lamé boleros, and burgundy velvet separates were hand-embellished with crystals.
St Paul’s Church in Covent Garden has become almost synonymous with Bora Aksu, having hosted the brand’s shows on numerous occasions. It’s easy to see why: the Etruscan-style temple architecture has long complemented Aksu’s ethereally haunting designs. Deeply rooted in history, this season Aksu turned to an 18th-century English tale of innocence and betrayal. Legend has it that Suki, a young barmaid at the George & Dragon Inn, was cruelly lured by local boys to the Hellfire Caves with a false promise of elopement, accidentally killed during their taunts, and now haunts both sites in her white dress. Aksu translated themes of life and afterlife into tailored bodices, utilitarian aprons, layered tulle skirts, crocheted flowers, and veils that obscured the models’ faces. The palette moved between cream, blush, sky blue, black, and white, recounting Suki’s story through colour alone.
Tbilisi-based brand Keburia once again made a bold statement, with large screens projecting videos of spiders alongside ornate pots of white roses, setting an intentionally uneasy tone within the show space. Following last season’s viral “Bye Anna” graphic tee, a similar design appeared on the runway, this time emblazoned in all caps with “Hi Lauren Sanchez Bezos.” The gesture felt less like a playful provocation and more like pointed cultural commentary, aligning with creative director George Keburia’s signature blend of strength, sharp structure, and theatricality. Matador-inspired and braided military jackets were finished with faux fur trims, exaggerated ruff collars, and antique-style brooches, while cinched, cropped silhouettes introduced a contemporary edge. Metallic fabrics, baroque jacquards, and ruched lace softened the severity, weaving femininity and fluid movement through the collection and striking a compelling balance between discipline and romance.
Upon entering Tate Britain, a beacon of violet light pulled guests into the gallery’s depths. Framed by towering columns, the source soon came into focus: a grand wisteria tree stood at the centre of the space, symbolising Mithridate’s Chinese heritage and its new home in London. Creative director Daniel Fletcher’s third runway collection reflects this journey as he told Schön! backstage, “The wisteria, for me, was about finding the roots of Mithridate. The original plant that was brought over from Guangzhou is still blooming today, more than 200 years later, and I really hope that’s the same for Mithridate.” Quintessential British tailoring was paired with Fair Isle jumpers, green bottle-printed pencil skirts, and semi-sheer tops, many of them adorned with visible white Mithridate labels, diamanté brooches, and feathers – creating the kind of striking juxtaposition Fletcher has become known for.
Held in the iconic Sunbeam Theatre in Ladbroke Hall, the 1903 Talbot wall crest and grand staircase created a light, airy backdrop for designer Daniel Del Valle’s debut show for his brand, The Vxlley, underscoring the seamless union of fashion and art. Titled ‘The Narcissist,’ the collection of wearable sculptures blurred the line between runway and presentation, its immersive staging transforming Del Valle’s inner world into a lush garden. “When people come to see the collection, I don’t want them to expect to learn anything deep. I just want them to feel like they’re walking through a garden, surrounded by life,” he said in a release. A ceramic tank was adorned with a three-dimensional bouquet; flowers seemed to sprout from models’ shoes; a vase-turned-top was encrusted with snail shells; and a wooden cage-like sculpture held miniature vases in every square.
Backdropped by the white-painted brick walls of Yeomanry House in Bloomsbury, Toga’s ‘Pull, Crumple, Pressed’ collection was an experiment in material. Creative director Yasuko Furuta set out to create the illusion of liquidity and movement within the garments – and the result was a mélange of natural and synthetic fabrics designed to adapt to our ever-changing society. Gathered satin skirts and boxy blazers caught and refracted the light, while cotton wide-leg trousers rippled as air passed through them. Pops of sequinned fabric shimmered as fish scales, and silk dresses cascaded down the body like waterfalls. Even the more structured button-ups, faux fur jackets, and woollen pieces carried a sense of ease, softened by layered textures and scattered colour. Thin cardigans were buttoned only at the stomach, cinching shirts beneath knitted vests, suits, and denim.
Showcased during an intimate luncheon and exhibition, Steve O Smith’s ‘Metropolis’ collection reflects the layered character of the city, where intimacy and spectacle exist side by side. Drawing on Otto Dix’s 1928 triptych, the collection channels both glamour and unease through elongated, exaggerated figures, vintage glass-beaded lines, and delicate bow motifs. The wit and theatricality of Edward Burra sit alongside the clarity and restraint of Madeleine Vionnet, influences that feel seamlessly distilled through Smith’s meticulous craftsmanship and unwavering focus on detail. Working predominantly with tulle, the linear embellishments mimic his signature drawings, as though a pen has been taken directly to fabric, bringing a dynamic sense of movement to both mannequins and live models. For the first time since his MA collection in 2022, Smith reintroduces vibrant colour – bursts of red, pink, and gold carefully matched to his original illustrations – marking a confident and expressive new chapter.
photography. Lee Scullion (Annie’s, Bora Aksu, Keburia + Steve O Smith), courtesy of Agro Studio, Mithridate, The Vxlley + Toga
words. Amber Louise
