London Fashion Week has arrived, this year celebrating its 40th anniversary with a packed schedule counting 43 live, on-schedule shows.
The line up includes London’s flagship labels including Burberry, JW Anderson and Simone Rocha, as well as a host of the emerging brands the city is known for cultivating, from Dilara FındıkoÄlu to Conner Ives.
Here, the Evening Standard fashion team bring you all the shows, trends and gossip, as it happens:
Dilara FındıkoÄlu, Conner Ives and Paolo Carzana excel with confidence
Sunday of London Fashion Week was, without doubt, a triumph for this city’s emerging designers; our greatest asset. Dilara FındıkoÄlu, the Turkish-British designer who counts Madonna as a fan, concluded the day with a fiery confidence. Having pulled out from her show due to lack of funding last September, hundreds attempted to cram into the St Michael’s Church, Shoreditch, to watch her return. At 8:45pm, as Barbie actor Hari Nef draped herself against pillars in a banker’s shirt and jacket coiled into a skirt, they were not disappointed. “A world built by the hands of men is destined to destruction by those very hands,” read her show notes. And her “femme vortex” vision for the future was all gothic, undone lace pannier dresses, conical-breasted football shirts, and brides of Dracula, exposing sheer cream gowns.
There was no deficit of will power at Conner Ives’ show that afternoon, either. In a Savoy Hotel ballroom, the American designer based here dedicated a collection to the Swans of 1970s New York high society (a set recently dramatised by FX series Feud: Capote vs. The Swans). He did so by casting London It-girls Ella Richards (granddaughter of Keith Richards), Bella Broekman-Tilbury (Charlotte Tilbury’s niece) and Tish Weinstock, friend of Kate Moss, in the show. The latter closed it wearing a headphone wire embroidered, sheer wedding dress — leftovers from a factory next door to his embroidery factory in Kolkata, India. There were none of the upcycled t-shirt panelled dresses which he is best known for, swapped out for taffeta skirts with spaghetti strapped tops and ruched rugby shirts. “I don’t want to just be the T-shirt designer or the Y2K designer,” he said post show. “Y2K is over, we are all sick of hearing about it. I’m ready for something a little bit more grown up, a little bit more elegant.”
But it was at 2pm, at the Old Selfridges Hotel, that the most quietly confident collection shone through. Paolo Carzana, a graduate of Central Saint Martins, proved himself to be one of the city’s most promising rising talents with a whimsical collection that built from delicate, skin hugging mesh body-stockings into rocky, bulbous forms. “I make the clothes myself, it’s a lot of sleepless nights,” he said backstage afterwards. An incredible feat, given the intricacy of the garments on offer, and the rich tones he is able to achieve through hand-dying, using natural resources like sapele wood. “For me it’s amazing when you can make someone walk with strength,” he said. And his models did so more than most. JB
JW Anderson’s grannies
Question: does the world’s coolest designer watch Australian kids TV hero Bluey? Anyone with primary school aged children was taken back to the iconic Grannies episode at JW Anderson’s latest outing for his agenda-setting brand.
Either way, a twisted look at nostalgia and melding of generational touch points were his reference points for this autumn winter show which took in 1970s Marks and Spencer pointelle matching vests and knickers, fleece-lined moccasin boots and Mrs Merton curly grey wigs.
Giant, chunky knitted shorts and tops offered a fuzzy, cosy comforting mood, as did giant oversize tweed overcoats which had a stolen from Grandpa feel. Sheer slip dresses came with twisted curtain tassel details paired with care-home-coded slippers.
Anderson was looking at the idea of repackaging nostalgia, and how ideas of the past change when we look at it again and again. After the show he offered that for him it was “this idea of glorifying age [and] at the same time glamorising it.”
He added that “there is something happening in terms of younger people discovering [things]. Kate Bush suddenly becoming number one or Tracy Chapman [performing at the Grammys]. Younger people discovering nostalgia [and] it becomes glorified, which is quite future thinking, it’s mixing things that we all know, or [that] my parents know and reconfiguring them, and they feel new again. There’s something quite fascinating about [how] a song from forty years ago can be number one with the same energy.” VM
10 years of Labrum
At 8:30pm on Saturday night, Labrum London’s late evening show came rich with emotion. In the Tate Britain — proving to be a popular venue this season — designer Foday Dumbuya celebrated the 10 year anniversary of his label, tagline: “designed by an immigrant.” Stigma around the sentiment might have fluctuated in a decade, but last night it felt as important as ever to take stock, and celebrate. “We're talking about global migration here,” Dumbaya said post show. “We're celebrating this whole movement. It's not just Africans that move. When I did the casting, I wanted to make sure it was for everybody — Asia, Europe, America as well.”
The results were a tapestry of inclusion, starting with copper passport prints on caped, short sleeve shirts before ascending into colour block tailoring; pale greens suits came both printed and plain, in places with matching, technical-detail hats, before bright yellows, whites, blues and finally blacks emerged. Singer Ella Eyre walked, models wore suitcases as hats, and there were statement punctuation points, especially a huge, multi-nation flag structure which was worn as a backpack.
In matching, tailoring wools, tracksuits were expertly cut; women wore suits but also beautifully cut, silk printed halter neck dresses. These were easily movable, well made, and, refreshingly, not interesting for their sheerness. Collaborations Dr. Martens and adidas shoed the collection, and Dumbuya hinted at an “interesting” drop with the latter coming this July. To finish, where before Dumbaya has brought in gripping performances, from choirs to drum bands, a soundtrack by close collaborator Julianknxx played “we are what’s beautiful” are on loop. “When you leave the show, I wanted you to think about that,” the designer said. JB
Simone Rocha’s Victorian lambs
The next history lesson in the schedule came from Simone Rocha, who on Saturday evening took a cue from Queen Victoria’s mourning dress to produce a collection which allowed the designer to neatly meander through her signature explorations unpicking femininity.
The show came as the third part of her Triptych which began last September with “The Dress Rehearsal”, moving to “The Procession” with her recent Jean Paul Gaultier haute couture triumph last season in Paris. This final piece “The Wake” was fittingly set in the medieval, 12th century St Bartholomew the Great, in Farringdon, with models walking across gravestone memorials from centuries prior.
Her interrogation of the idea led her to looking “specifically at the underpinnings of the mourning”. Thus there were gossamer light sheer dresses punctuated with sprinkles of crystals; a play on texture with faux fur accents, playfully popped onto shoulders and at the top of bottoms. Corsetry details - on tops as well as coats - gave a nod to her work with Gaultier. Crystal laden Crocs anchored the looks with a punkish modernity. Further whimsy came with what appeared to be toy lambs, carried in lieu of a handbag. These were in fact her version of The Grim, folklore spirits said to protect the church. Still, they offered a usual twist, and off-kilter reading in a collection which exhibited Rocha’s skill and maturity as a designer. VM
Erdem’s classicist moment
Last season Erdem had plundered the archive, cupboards and curtains of Chatsworth house and its late resident the Duchess of Devonshire. For autumn winter, he brought guests to the Parthenon galleries of the British Museum and unveiled his homage to Maria Callas’ 1953 Leonard Bernstein conducted performance of the Medea, Euripides’ 431BC tragedy of maternal filicide. Which, for this ancient history graduate, was quite the nerdy thrill.
After the show the designer explained that he had found symmetry between the two women’s stories. “There was something about this interesting parallel between Maria Callas’ life, born in New York, brought back to Athens and then kind of very much about this kind of nomadic life controlled by her own talents and some of it in her own power and a lot of it not. And, of course, sacrificing her talent for, falling in love, walked away from her career and then, of course, that ends in great tragedy, and she dies a recluse in Paris.”
The show skirted through her life in states of dress, “the kind of push and pull between the dressed and undressed.” Models had their hair taped back which portrayed Callas’ post performance “stripping off her wig”; eye makeup was her heavy Cleopatra-like sphinx like black kohl. Extravagant silk pyjamas mirrored her off duty decadence; shoes swept the floor with plush marabou feathered soles. The undone was seen in glimpses of bralettes exposed. Heavily embroidered floral opera capes were worn clutched together, mimicking Callas’ post-show exits. Rich satin dresses flowed with Grecian folds, echoing the chitons worn by the goddesses in the sculptures punctuating the room.
Callas’ was 34 when she performed the Medea, the clothes were exquisite but it would have perhaps felt stronger if the casting had more realistically reflected the age and might of the woman centred here. We seem to be entering a season where model show casting has reverted back to a singular type, which is starting to feel a little flat. VM
Molly Goddard’s seismic colour thrills
Goddard’s show location - the main hall of Cecil Sharp House, which is wonderfully brought to life by the expansive abstract mural by Ivon Hitchens, triggered at least one guest who’s last visit had been some years prior for a six hour Chaucer exam. Still, the backdrop offered an intelligent framing to the designers play on proportion and shape. Layering smocks over smocks, paired with billowing skirts to create her signature voluminous silhouettes in cheeringly vibrant, rich colours. Backstage she explained that “it’s very much about the clothes and how I like to make clothes which is a lot to do with texture, volume and developing silhouettes, so this season was a lot about pushing out, blurryness..” As well as nods to 1960s Balenciaga and Dior gowns, other inspiration came from her “eBay watchlist, [which included] lots of miniature cowgirl outfits and things like Oilily and weird patchwork kids clothes.” VM
Roksanda’s greatest hits
Upstairs at the Tate Britain, Roksanda unveiled an exceptional collection which blended together her signature elements of rich colour play, sculptural detail, sportswear touches and richly woven textiles. Her work took its cue from Le Corbusier’s modest holiday home Le Cabanon, near Monaco, nestled in the Modernist hub of Roquebrune where Eileen Gray’s E-1027 house also stands. Roksanda had visited both. Speaking backstage after the show she said that “the little cabin which is literally tiny, a bathroom behind a curtain, one bed, it’s done like a piece of art. I was really blown away by that modesty. I wanted to take it back to our beginning of who we are, stripping it down taking very simple things back to the beginning.” The work fused “all of my elements from studying architecture, loving art loving interiors bringing them all back.”
The show opened with a look which Zendaya had worn earlier this week on her Dune press tour. Forget straight off the runway dressing, this was a very high profile new season preview — pre-catwalk. Highlights included a billowing red gown, and beautiful draped richly woven textile pieces interlaced with bright blues, red and green threaded through again nodding to Le Corbusier’s murals. Trousers were layered under skirts and dresses, extravagant tasseled details swung elegantly, peeking from underneath coats. Over the soundtrack, Dame Judi Dench read Victorian poet Christina Rossetti’s “I wish I could remember the first day“ complementing Dame Joanna Lumley’s spoken word performance at CompletedWorks jewellery presentation on Friday. One more Dame for a fashion week trio trend please. VM
Dunhill’s Saltburn moment
The dunhill collection, a creative debut by Simon Holloway, really was a treat for the senses on Friday evening. In the green and deep red rooms of the National Portrait Gallery’s table strewn Duveen Wing, martinis and champagne coupes were passed around, before high tea — all salmon and caviar — was served.
It certainly set the scene for the 1893-founded menswear brand, which raced through staple uniforms of their 130 year history in 42 looks. There was something smart for Dunhill boys in every eventuality; night walks in upturned, wool tailored overcoats and fedoras; Saltburn-suitable, high waisted corduroys with white socks and embroidered velvet slippers for fireside games, and gleaming white tuxedos worn with white shirts, bow ties, and sneakers. There were silk cravates, tan driving gloves, knitted, striped rugby shirts and belted black, leather trenches. It all pertained to fashion’s current drive away from streetwear, and towards all things posh.
Well dressed gents James Norton and Ted Lasso’s Phil Dunster, who sat front row, completed the vision with their matching navy neckerchiefs — but it was the model’s swagger and intense eye contact that sold this dream. JB
Sinéad O’Dwyer gets to work
Office-core is the next aesthetic mood coming your way, as the vogue for hyper casual wear wanes. We might have all moved onto hybrid working patterns, but designers are all aping the 9-5 workwear codes of old. Twisting it all, of course, with their own frisson of modernity Sinéad O’Dwyer is a case in point. The Royal Academy trained Irish talent developed her signature shirting iterated in tempting champagne satin and brisk cotton poplin, oversized and cut close, paired with wide legged billowing tailored trousers.
A foray into denim produced cool low slung maxi skirts and jeans, waistbands left raw. Threaded through the styling were flashes of her knitted body harnesses edged with pops of Swarovski crystals. O’Dwyer maintains her commitment to showcasing and creating clothes for all bodies — her shirts cut close around the bust to actually fit rather than hang- and plots a singular course that more should be following. VM
Paul Costelloe goes Downtown
At 9.30am on Friday, Paul Costelloe started the official schedule with a New York tableau, smoke machines and blaring car horns. “Where Limerick meets Downtown New York” was the Irish designer’s concept, and his show at Lindley Hall, Westminster, opened with seven, cream wool looks complete with rose appliqué trims and knitted leg warmers.
The best designs this season were in dark tweeds and navy wools, cut into imposing trench coats with upturned, dark chocolate collars, or as fishtail peplum skirts which made for strong silhouettes when worn with Aran knit turtlenecks. Ending on a more Uptown note, ball gowns came in merlot, floral printed velvets complete with puffy, leg o mutton-style sleeves — pinched from Emma Stone in Poor Things. “It’s still a privilege to be part of London Fashion Week,” Costelloe said. The designer was absent from the final bow, which was taken by his son William Costelloe and members of the design team, due to a virus. JB
Resourceful Reed kicks things off with all things bright and very beautiful
Harris Reed’s Thursday night show was a spectacle-first collection shown in the Tate Britain Museum. The 27-year-old kicked fashion week off with his typically queer flourish; stadium-appropriate spotlights bathed distorted, super-structured silhouette gowns (trimmed with feather arrows, no less), in warm yellow light. All quite Bridgerton — certainly with the series’ Golda Rosheuvel and Charithra Chandran sitting front row, alongside Maya Jama and Nick Grimshaw.
In the seven seasons since Reed graduated from Central Saint Martins, he has made it a habit to source his fabrics dead stock. This can lead to one note collections — last year, every look was black velvet and gold lamé. In a shift, it was all things bright and beautiful for autumn winter 2024 — this thanks to a new partnership with Fromental, the West London based silk, hand-painted and embroidered wallpaper makers. It’s resourceful of a designer who well knows the cost of embroidering fabric in house; he is also creative director of Nina Ricci, the Parisian fashion house.
Icy silks painted with birds and branches were cut into corseted, wide-pannier mini dresses which harked back to John Galliano’s Madame Butterfly-inspired Christian Dior couture collections. “We did a 120,000 blue beaded gown which took five months, I almost wanted to quit because it was so time intensive,” Reed said, of his team’s haute couture adjacent hours of work.
In casting, the American designer doubled down on his gender fluid brand foundations. Last season, he noted that promoting trans models and performers “runs the risk of turning off some of my Middle Eastern and Asian clients.” And he has noticed a plateau of new clients since — but doesn't care. “We’ve only grown a couple of clients, but those we have have ordered more. I think they’ve appreciated me sticking to my messaging,” he said last night. “It’s slower to grow when you’re a queer brand that puts trans and non-binary people on the runway, but I can’t keep my mouth shut.” JB
Preen return - and bring the bustle back with them
London Fashion Week’s 40th year kicked off on Thursday lunchtime (just after Erin O’Connor had helped to open the London Stock Exchange) with a delightful return from a grand favourite of the schedule. Yes, the husband and wife team Justin Thornton and Thea Bregazzi of Preen by Thornton Bregazzi have thankfully brought their sexy witch-y singular vision back to the catwalk.
Gloriously, they also delivered the first sunshine of spring, too, as they presented their succinct collection on the gently rocking quayside by Waterloo bridge, the sun shone brightly with the Houses of Parliament twinkling behind. A fabulous London moment, and one that makes you think the riverside is an excellent and underutilised show venue.
True to form, the duo washed gothic references through with their 23 looks. Their signature Nineties grunge and sportswear touches featured - bomber jackets spliced with blazers, giant trapper hats paired with swathes of a quilted wrap house skirt fashioned from a quilted eiderdown - a nod to their homeware collection, which will soon expand to include wallpaper and furnishing fabrics.
“We looked back at our archive and we were thinking about our favourite collections. What we enjoy doing best is patchworking things together and taking old things and making them new” offered Bregazzi backstage - which brilliantly was a moored Thames clipper.
Thornton added that “the things we find really beautiful are usually a little bit broken or a bit raw or a little bit damaged. That’s what we love in art and music, anything that’s not perfection. Perfection feels a little bit boring.”
There was certainly nothing dull about the show, which took its cue from Mary Shelley, the queen of gothic literature. “She’s probably one of the most amazing Victorians and such a strong woman” said Thornton, of the reference that threaded through in their black lace looks complete with the sweetest, delicate ruffle bustles - cleverly attached as a belt, intended to be mixed and matched with different outfits.
There were also blazers with feathers almost exploding out of the arms, fabulous additions of extravagant purple sheepskin collars on shiny black trenches, and strewn floral ruched frocks. All in all a delightful opening to proceedings. VM
