brand. Chopova Lowena
Basking in an uncharacteristically sunny stretch (with the occasional shower, of course), London Fashion Week’s spring/summer 2026 season brought energy, individuality, and heat – both on and off the runway. From established names to emerging talent, the city became a hub of innovation and self-expression. Whether it was Marques’Almeida’s (literally) sky high spectacle or Susan Fang’s transportive futuristic storytelling, these were the moments that defined the week.
Beneath the towering Crystal Palace-style glass roof of the Royal Opera House, Daniel Fletcher’s sophomore collection for Mithridate burst into action – Stevie Nicks’ “Edge of Seventeen” blaring from the speakers as models stomped down the catwalk. Aptly named after the song, the collection fused preppy British sportswear with 1980s city attire; a Sloane Ranger in a striped polo and sequin skirt combines daytime dressing and eveningwear. Button-down shirts were worn under cable knit sweaters, mini dresses, and striped jerseys, underscoring the brand’s delicious layering. The sequinned underwear and floral shorts on the bottom half kept each look playful, proving that it is town and country at its finest.
Evoking the spirit of 19th-century Parisian salon-style presentations, Noon by Noor created a similar atmosphere for its latest collection, ‘Mirage’. Beneath tall ceilings and framed by rounded bay windows, the Noon by Noor woman exuded effortless nonchalance – jackets were casually draped, blazers paired with loose-fitting trousers, and button-up shirts reimagined with personal flair. Inspired by the childhood memories of founders Shaikha Noor Al Khalifa and Shaikha Haya Al Khalifa beneath desert skies – along with Pre-Raphaelite paintings and vintage photographs of Veruschka – the collection radiated elegant romanticism. This was reflected in a palette of white, gold, sand, desert khaki, and Bahraini red.
Broken dolls – with cracked porcelain cheeks, glassy eyes, and faded dresses – haunted the Bora Aksu runway this season in the most beautiful way. Set in the sun-drenched courtyard of St Paul’s Church in Covent Garden, the show unfolded with ghostly, romantic silhouettes floating through the historic setting. Aksu’s signature tulle-frilled dresses, lace-adorned tops, and puff sleeves were ever-present, but this season also introduced a more structured sensibility: think crisp cotton eyelet dresses, intricately crocheted bodices, and tailored poplin jackets. Having collected a personal archive of broken dolls over the years, Aksu has found beauty in their imperfections – and this collection was a tribute to their resilience.
Inside the sports hall of the Harrow Club, Chopova Lowena’s very own sports team – complete with cheerleaders, of course – took to the runway to debut the brand’s ‘Cheerlore’ collection. The space was bombarded with the chaos of remixed Bulgarian folk songs, American cheer chants, giggling girls, furious NFL coaches, a high school jazz band, and even a Chopova Lowena cheer chant. It was the brand’s very own “fight song,” composed by Emma Chopova and featuring Laura Lowena-Irons. Models stomped down the runway in signature carabiner kilts, zip-up hoodies with cat ears, and graphic tees emblazoned with slogans like “Popular”, fusing elements of American football, cheerleading, and traditional Southern Bulgarian Karakachani silhouettes.
David Lynch’s Mulholland Drive, seen through the eyes of Yuhan Wang, began just like this: a dark-haired model emerged from the smoke of a car crash, clutching a head wound as she limped onto the catwalk, dressed in a white lace and baby pink top and shorts. Inspired by the 2001 neo-noir thriller, Wang’s collection ‘Roses of Armour’ took control of the narrative, weaving fragments of suits of armour throughout – thigh-high boots, chest plates, and sculpted shoulders. These protective elements collided with delicate, mid-century-inspired silhouettes: sheer lace, frilled tops, and airy dresses. A romantic rose motif bloomed across puffed-sleeve jackets, satin gowns, and soft tank tops, adding a contrast to the collection’s strength.
Ahluwalia’s latest collection, titled Affinity, was steeped in love. Even the setting – a modern-day Palm Court beneath a soaring glass ceiling – radiated romance, with a score composed by Tom Tripp performed live by violinist 4STRINGZ evoking the elegance of Bridgerton. Exploring how love is expressed, celebrated, and remembered, creative director Priya Ahluwalia drew inspiration from Bollywood films, Shakespearean tales, Motown and R&B ballads, as well as Indian miniature paintings and the Nigerian deity Oshun, goddess of love and fertility. Rippling fabrics hugged the body, with dresses featuring knotted and tied details, satin pantsuits plunging at the neckline, and romantic bustiers designed to accentuate the form.
Kent&Curwen transformed the Royal Horticultural Halls into a serene vision of an English summer for its collection, ‘The Blossoming’. A live soundtrack, composed and performed by Erland Cooper, added to the sense of calm as models strolled through the space, framed by screens depicting scenes from London’s Royal Parks. Each look introduced a familiar figure from the rhythm of British life: a lido swimmer, an early-morning runner, a dog walker, a commuter. The brand’s signature preppy codes were turned delightfully on their head, with flip-flops accompanying suits, button-up shirts featuring backwards collars, and frou-frou skirts peeking out from the bottom of fitted blazers.
Marques’Almeida took its collection to new heights this season – quite literally – on the 59th floor of 22 Bishopsgate, the second-tallest skyscraper in London. Soft light filtered through the floor-to-ceiling windows as sheer layers of fabric floated through the air. Ethereal dresses danced beside the brand’s signature denim, grounding the collection with a rebellious edge – baggy jeans slung low, paired with off-the-shoulder tops and sculpted bustiers. Embracing change through lightness, the colour palette shifted from olive green and burgundy to butter yellow, pale pink, and sky blue. The structured satin pieces that closed the show walked a delicate line between softness and severity.
Under the lush greens and Brutalist architecture of the expansive Barbican Conservatory, Susan Fang’s collection, ‘Air-Evolution’, came to life. Gigantic bubbles hung above the runway like spaceships, while live steel pan music and a performance by dancer Kat Collings transported guests into the future. The collection followed an imagined 11-year-old girl from the year 5025, who traveled through time carrying a message of hope – an idea that underscored the show’s focus on innovation. 3D-printed fungi and coral-inspired bags and eyewear designed by Fang’s husband, Orelio De Jonghe, complemented the brand’s signature “air flower” technique on drool-worthy gowns. Bubbles were a central motif throughout, inspiring a pastel colour palette, beaded headpieces, and shimmering jewellery.
backstage photography. Courtesy of Chopova Lowena
photography. Courtesy of Chopova Lowena + Kent&Curwen, Nifty50 Films (Mithridate), Alberto Maddaloni (Noon by Noor), Jason Lloyd-Evans (Bora Aksu + Susan Fang), Olu Ogunshakin (Yuhan Wang + Marques’Almeida), Stefan Knauser (Ahluwalia)
words. Amber Louise
