London Fashion Week: A Creative Crucible in a Changing Landscape
London Fashion Week, a stalwart of the international fashion circuit, faces a perennial question: how to maintain its status as a vital laboratory for creative expression? This challenge becomes more urgent each season for the British Fashion Council (BFC), the organization responsible for orchestrating the event. Following its 40th-anniversary celebrations in 2024, the recent edition of London Fashion Week presented a notably reduced schedule, highlighting the pressures facing the British fashion industry.
The thinning ranks of participating designers tell a story of economic hardship and strategic realignments. Brands like Molly Goddard and Rejina Pyo, once mainstays of the London scene, have temporarily receded from view due to financial constraints. Others, such as JW Anderson, opted to "skip" this season, perhaps seeking alternative platforms. More significantly, established names like Victoria Beckham and Dunhill have permanently relocated their shows to Paris and Milan, respectively, signaling a potential shift in the center of gravity within the fashion world.
Despite these setbacks, the remaining designers were determined to showcase London’s enduring creative spirit and unique perspective. From February 20th to 24th, designers based in the United Kingdom presented collections deeply rooted in British artistic heritage. This approach served as both a tribute to influential figures and a means of imbuing their clothing with deeper meaning and cultural resonance.
Erdem Moralioglu, a seasoned explorer of historical narratives, exemplified this trend. In past seasons, he drew inspiration from iconic women of the past, such as the writer Deborah Cavendish and the poet Radclyffe Hall. This season, Erdem took a different approach, collaborating directly with contemporary Scottish artist Kaye Donachie. "It’s fantastic to work with someone who is alive!" he quipped, emphasizing the dynamic nature of the collaboration.
Within the hallowed halls of the British Museum, their partnership resulted in a collection of stunning visual impact. Dresses resembled canvases, adorned with printed or embroidered depictions of female faces crafted from delicate organza. Cocoon-like coats featured paintings by Donachie, while alpaca sweaters and skirts were intricately re-knitted with decorative motifs. The soft pastel palette contrasted with Erdem’s signature penchant for a touch of decadence, evident in frayed lace dresses, jacquard fabrics with subtly eroded embroidery, and floral-overprinted coats evoking the faded grandeur of antique tapestries.
Roksanda Ilincic paid homage to the late sculptor Phyllida Barlow, known for her monumental installations constructed from humble materials. The show was staged atop the brutalist Space House tower, offering panoramic views of London. Barlow’s affinity for inexpensive materials like cardboard, polystyrene, plaster, and plywood inspired Ilincic to create architectural and abstract dresses from recycled paper, raffia, wool, and sponges. More commercially appealing were her double-breasted blazers paired with sequined skirts and tailored suits veiled in delicate organza.
For her debut runway show, French designer Pauline Dujancourt presented a poignant collection featuring models clad in Dr. Martens boots, wearing mohair and alpaca dresses and jackets, or intricately crocheted ensembles. Ribbons of silk satin and ethereal tulle floated around them as they moved. The color palette was dominated by black and grey, punctuated by the deep red of a Vriesea, a plant favored by her late grandmother. This shade also served as a subtle reference to the visceral, blood-like hues found in the works of Tracey Emin, a prominent figure in the Young British Artists movement who profoundly influenced Dujancourt.
Steven Stokey-Daley drew inspiration from the Scottish Colourists, a group of early 20th-century painters celebrated for their luminous, impressionistic landscapes. He translated their compositions into a knitted polo shirt, a belted coat, and leggings, and extracted hues of butter yellow, pale pink, and tangerine to inject into a collection that felt somewhat eclectic, blending the image of a tormented artist with that of a Victorian gentleman.
After a two-year absence from the runway, Ashish Gupta returned with a collection infused with the provocative and pop-infused collages of Liverpool-born performance artist Linder Sterling. This admiration further amplified the ironic glamour that has been the hallmark of the British-Indian designer since 2001. His playfully disheveled models looked as if they had just emerged from a riotous queer nightclub. As always, sequins were omnipresent, embellishing Diana Ross-esque disco dresses, trompe-l’oeil jeans, slogan t-shirts ("Not in the mood"), and even briefs. "The world of nightlife continues to inspire me. Beyond its hedonism, it’s a vital community space that must be defended in the current reactionary political context," insisted Gupta, a vocal advocate for LGBTQ+ visibility, who emblazoned a vest with the message "Fashion not fascism."
Burberry, like the previous season, chose the Tate Britain as the backdrop for its show. Within this temple of British art, enormous curtains in shades of ochre, brown, and black were erected. "The palette of the great masters of the museum," explained creative director Daniel Lee, referencing artists such as Mary Beale, William Turner, and John Everett Millais. These same hues colored his controlled and effective autumn collection, which combined grey tartan coats, trucker jackets, ribbed jodhpurs, floral-print quilted jackets, impeccable outerwear, and impactful fringed dresses. The collection, however, was marred by less successful experiments, such as tartan trousers designed to resemble kilts from the front.
The film Saltburn, a salacious aristocratic thriller released in 2023, served as a starting point for Daniel Lee. "I loved the bohemian spirit of the film, these characters who live in an old manor house, dress eccentrically for dinner, and throw wild parties. Through period films, I tried to analyze the idealized vision of Great Britain that the world may have."
Consequently, a certain patina permeated the collection, with vintage weekend bags, dresses and suits in dated jacquard fabrics, and waxed parkas with a delicately cracked appearance. The collection was presented by a cast of established British actors from films and television series such as The Crown, Downton Abbey, and Bridgerton, adding a layer of authenticity and nostalgia. Each carried an umbrella as part of their look.
While avoiding clichés, Daniel Lee, who has been at Burberry since 2022, continues to assert his distinct silhouette. Despite rumors of his impending departure following the arrival of a new CEO in July 2024 and Burberry’s exit from the FTSE 100 index in September, Lee remained optimistic. "Things are improving, we are all very positive," he declared backstage, surrounded by paintings by James Ward and George Elgar Hicks. "Everyone learns from the past."
London Fashion Week continues to be a space for experimentation and innovation, facing the challenges of a changing global landscape. While established names may seek opportunities elsewhere, a new wave of talent is emerging, drawing inspiration from British art and culture to create unique and thought-provoking collections.
