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London Fashion Week (LFW) was back in full swing this season with renewed energy and a schedule bigger than ever. For many years, London has been overlooked, but this season served as a reminder of what makes the city a powerful fashion capital: creativity, new talent and entrepreneurial innovation.
“This city has given rise to some of the world’s most original voices in fashion,” British Fashion Council (BFC) CEO Laura Weir tells Vogue Business. This season marked the first under her leadership. “I believe it is our collective duty as an industry and as a community to uphold London’s role as a global fashion capital. London offers a rare opportunity to make a statement with clarity and visibility, rather than risk being lost in the noise of a crowded calendar.”
Burberry brought in the crowds as always, with star power in the form of Elton John, Twiggy, Joanna Lumley, Jennifer Saunders, Central Cee, Maya Jama, Iris Law, Lila Moss, Skepta, Alexa Chung, Raye, Rosie Huntington-Whiteley and more. The show was hosted in Perks Field, among the grounds of Kensington Palace. Beneath the draped, blue-sky print of the tent, Daniel Lee showcased a vibrant collection of shorter length trenches, colourful leather suits, sequinned shift dresses and fringed bags, evoking cool, grungy ‘60s and ‘70s Britain. Backstage, the designer recalled growing up listening to his dad’s favourite bands, including Black Sabbath, AC/DC and Metallica, which inspired the mood. The night before the show, the British brand hosted a cocktail event at its Regent Street store to celebrate the opening of its first “scarf bar” — a new visual merchandising strategy that places one of Burberry’s most accessible core products front and centre.
Some of the (many) other highlights included Completedworks’s presentation, during which Jerry Hall played a psychic who could read the stories behind the brand’s jewellery and homeware, and Labrum’s five-part orchestral performance. Conner Ives’s show was equally lively, his first since the “Protect the Dolls” T-shirt he wore for his bow last season went viral. “[The show] was kind of my coming to terms with the wider pop culture [moment], with the T-shirt, digesting and finding my way through it,” Ives said backstage. “The times we find ourselves in are so perilous and scary, so I wanted to sit with that, confront it, find joy in it and give us something we could celebrate.”
Roksanda’s 20th anniversary show was a standout, hosted at the shiny and new Chancery Rosewood Hotel, in the former US Embassy building. “It’s been 20 years. I can’t believe I’m still here, but I am. This collection was very special, very personal,” the designer said backstage after the show. Another LFW mainstay Erdem — who will mark 20 years in February 2026 — presented a strong collection inspired by Hélène Smith, a late 19th century medium who believed herself to have lived other lives, including as a member of the French court.
Fashion East’s 25th anniversary also drew in crowds, hosted at the Institute of Contemporary Arts (ICA) with an exhibition of specially commissioned artworks and archival pieces from Fashion East alumni such as Simone Rocha and Kim Jones.
“The overall mood at London Fashion Week Spring/Summer 2026 was uplifting and optimistic — a true turning point for the city,” says Mytheresa chief buying officer and LuxExperience fashion venture officer Tiffany Hsu. “There was a palpable sense of renewal, not just in the collections but in the atmosphere across shows and gatherings. You could feel designers, buyers and editors genuinely inspired, giving the week a rhythm of progress and a strong sense of momentum.”
Here, we break down the key takeaways from the season.
Breaking down barriers
There were plenty of new names on the schedule for SS26, partly because Weir’s first act in her role was to remove fees for showing.
“For many, it’s one less barrier to being part of London Fashion Week, and that’s critical particularly for emerging talent who often operate on tight margins,” says Weir. She acknowledges that, for some, it barely makes a dent in the production costs, but says those designers have told her they appreciate the gesture. “[The fees] are just one piece of the puzzle. We are aiming to create a cultural experience that truly serves our designers and amplifies their work globally. This is a reflection of my longer term plan for the BFC to be less rigid, to remove resistance and promote flexibility of thought.”
British-born New Zealand-based designer Rory William Docherty debuted with a collection of airy shirts and trench coats in bold prints. Set at St Marylebone Parish church, where guests lined the pews, Kyle Ho’s debut portrayed romantic masculinity through a pristinely tailored lens. Dreaming Eli’s SS26 collection featured ripped, sheer layers and sensual corsetry.
Newgen recipient Oscar Ouyang, who grew up in Beijing and studied at Central Saint Martins, received a positive response from press and buyers. The designer presented a collection of intricate experimental knits inspired by folklore. “It’s a really amazing time to be debuting at LFW, with so much attention and buzz around Laura Weir’s first season. You can feel that people are excited for the future of LFW, and it’s great to be a part of the conversation at the beginning of this new chapter,” says Ouyang.
Girl power
Ashley Williams returned to the official calendar this season, after several seasons showing off-schedule, because of Weir’s vision. “I met with Laura and we talked, and it felt really positive,” the designer said backstage. “I like what Laura is doing, so it felt right to be back on the official schedule.”
Williams was one of 11 female designers to show on Sunday, which some editors fondly dubbed “girlie day” on social media. It felt encouraging in a luxury industry still dominated by men at most major houses, to see so much female talent thrive in the city.
Two-year-old brand Lucila Safdie’s debut depicted a sisterhood. The brand, which has built a cult following via its film club, dressed singer Addison Rae for her Wembley Stadium performance in July. The film club spotlights female directors and brings together a likeminded community of stylists, editors, designers and students. “The film club is a physical space where the brand has become real, not only an internet thing. With the presentation, it was more about bringing the world of the brand into an experience,” Safdie said backstage at her presentation. “[The response] has been so great, there are so many great designers in London and the energy of everyone showing together and supporting each other has been amazing.”
Trend forecasters predicted a more maximalist mood for SS26, and while New York largely missed the memo (save for highlight shows like Area and Diotima), London felt more playful. The city’s prominent female designers reflected on womanhood this season, and coquettish, Marie Antoinette-inspired fashion took centre stage, from Simone Rocha’s exploration of girlhood, with pastel tones, intricate florals, crinolines, bustles and panniers, to Yuhan Wang’s frilly, Mulholland Drive-inspired collection, featuring lace, ruffles and (once again) crinolines. Dilara Fındıkoğlu presented a darker exploration of the weight of womanhood in her Sunday night show, with plenty of dechirée, corsetry and chainmail.
Grappling with the commercial reality
This extravagance was bookended by a rise in jersey across collections, as London designers found creative ways to add intrigue to more affordable fabrics, reducing costs for the more price-sensitive young consumer — from studded, peplum and chainmail tracksuits at Chopova Lowena to intricately draped jersey at Ahluwalia, Ashley Williams and Johanna Parv.
“[Parv’s] work brought a refreshing sense of movement and functionality to the runway, offering a modern, dynamic vision that felt both relevant and wearable,” says Printemps divisional merchandising manager for womenswear luxury and designers Marine Humeau.
Harri — known for his bold inflatable latex pieces — presented his first ready-to-wear collection. Press and buyers remarked how the designer was able to strike a balance between commercial pieces and staying true to his brand DNA. Harri transformed latex into wearable blazers and beaded bags, while adding details to denim that emulate the signature balloon silhouette.
Many designers adopted this approach, creating classic tailoring and gowns with twists or embellishments to bring desire for consumers, after seasons of quiet luxury. Fringing was a major trend, by way of fringed bags and suits at Roksanda, burgundy and red fringing across gowns and blazers at Ahluwalia, and vibrant fringed jersey at Jawara Alleyne (a brand signature).
All eyes on London
The BFC’s investment in its international guest programme drew in a much wider audience. “I’m very excited to be at London Fashion Week because there’s such creativity and a really important emphasis on young talent,” content creator Luke Meagher (@HauteLeMode) said at the Fashion East show. It was his first time at London Fashion Week in three years. “It seems like there’s really support [for young designers] here compared to some of the other cities.”
Many international attendees were drawn in by the exciting talents in London, including Beka Gvishiani, founder of @StyleNotCom. Gvishiani notes that the challenge for London is when those talents “disappear from the radar”. “I hope with the new leadership and the support of BFC, we get to see all those new and missing talents back more consistently,” he says, noting that the feeling of new energy is already significant. “I also really think some of the big British brands should come back and stage their runways in London and stay in London, that would be a real power move.”
Nordstrom VP fashion director Rickie De Sole — a regular LFW attendee — says she can already feel the impact of Weir’s leadership, “with the expanded schedule and fresh faces in attendance”. She highlighted Chopova Lowena’s “free-spirited and rebellious sensibility”, as well as Simone Rocha’s “sensual yet romantic collection”. “As one of the first retail partners in the US for brands such as Simone Rocha and Paolina Russo, London plays an important role in our merchandising strategy,” says De Sole.
International attendees were particularly impressed by Aaron Esh. “I went to Aaron Esh [on Saturday night] and I really loved it,” says Vogue France culture director Dan Sablon. “I felt it was a cultural moment. The show was great, but I loved seeing the crowd that gathered. It was what you’d expect from London: the people, the vibe, it was almost a subculture.”
What’s next in Weir’s strategy? “My ask is to the government: that they continue to work collaboratively with us to recognise the fashion industry’s impact as well as our significant economic, trade and export potential,” she says.
With reporting by Elektra Kotsoni, Kirsty McGregor and Ella Graveney.
Comments, questions or feedback? Email us at feedback@voguebusiness.com.
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