Everything going down at London Fashion Week SS25

What?

A sensual pilgrimage across the Sahara desert, where models shuffled down the runway in the brand’s signature wet-look draping and gold nipple pasties.

Where?

Not the actual Sahara (obviously) but the Newgen space at 180 The Strand, central hub for all things young at LFW.

What went down?

There was an almost ritualistic vibe to the proceedings. Models stalked down the runway shielding their eyes as though blinded by the sun, some wearing gold crowns, others doing abstract performance art at random intervals. Naturally, the collection featured many new iterations of designer Dimitra Petsa’s wet-look technique, used on a tracksuit, sultry goddess dresses and bright, ombré two-pieces. But the real statement looks were the ones that leaned into taboo bodily functions – briefs stained with red dye to mimic period blood, for instance, or bodycon dresses printed with nipple sweat. Too daring for you? Try the two-inch spike-studded denim bikini instead.

And what about the beauty?

Skin was suitably glowy, hair was damp and encrusted with sand, and a handful of models had been covered in red powder to mimic sunburn, with empty space where a necklace might have been (sort of how the beauty looks in this FACE shoot).

In a few words?

Sunstroke but make it sexy.

What?

A subdued collection where striped back neutrals and a pillow-shaped bag catapulted the brand – best known for its viral cookie bag – into a new, exciting direction.

Where?

The Institute of Contemporary Arts, just round the corner from THE FACE HQ.

What went down?

Carly Mark’s plane had barely hit the tarmac before she began plotting her first collection on British soil. After making the decision to leave the Big Apple earlier this year, and shuttering the brand’s ready-to-wear line in the city she’s grown accustomed to showing in, Carly embarked on a new adventure – one that actually began 12 years ago during a trip to Tokyo.

It’s there that she stumbled across a stack of magazines held together by a latex strap on each corner, giving off a ​“fetish vibe”, as the designer put it. The result today? Grown-up, puffed-up leather bags in subtle shades and with kinky detailing.

The clothing allowed the accessories to shine. Models wore either dark-wash jeans, white polo tops or nothing at all (as one demonstrated with opera gloves covering her modesty). Kink was the game, and Carly’s good at it.

Oh, and trilby hats. Yes, the hat that even indie sleaze couldn’t bring back, and yet, Carly managed to make them cool again.

If the collection were a song, what would it be?

“Anything by Aphex Twin,” said Carly. ​“Hit play on any Aphex Twin playlist on Spotify and it’ll represent the collection.” Her stylist Taylor Thoroski landed on Otis the 3^rd’s tune Time. After an exhausting day, and let’s face it, few months, Carly and Taylor will be heading back to the hotel to eat fries and listen to Otis. Well deserved.

What?

An ode to female boxers, wrapped up in lots and lots of bows.

Where?

The Drill Hall in the London Scottish House. Once used to rehearse military operations, now hosts parties, posh dinners and the occasional fashion show.

What went down?

Frilly hooped tutus, tangerine satin boxing gloves and a helmet covered in nude and black lace. Yuhan Wang may have claimed to be inspired by legendary boxer Barbara Buttrick for SS25, but these were no looks to wear in the ring. Rather, it was a collection that brought a sense of whimsy and playfulness to the tomboy trope, layering kitten-printed T‑shirts under baseball shirts, or pairing shinpads with lace tights. Models’ cheeks were fresh-from-the-gym flushed, juxtaposed with hair in loose ringlets that had been either pulled up into buns or left to tuck into tops. The gymnasium illusion would have been complete if it wasn’t for the block coloured court shoes. And corsets and lace gloves and puffball skirts and…

The big trend takeaway?

Hyper-feminine textures, cuts and motifs aren’t going away any time soon, but nor is the blokecore impulse to throw on trackies and footie shirts. Level up by doing it all at the same time.

See you at the boxing gym, then?

Only if your gloves are custom.

What?

A lovingly crafted collection dedicated to Chet’s mum.

Where?

That Newgen space again – told you it’s where all the good stuff happens.

What went down?

Chet put your last Mother’s Day gift to shame. The designer’s inspiration this season was his mum Mai-Wah Cheung, a the computer science whizz turned teacher and painter.

The result? Strikingly sophisticated pieces that elevated the designer’s trademark spiky textures, now rendered in wispy, sheer chiffon and sharp tailoring. There were, of course, classic Chet knitwear pieces on display, too – figure-hugging dresses, asymmetric tops and preppy polo necks – but in a more muted colour palette of frosty mint, charcoal and midnight blue. Dare we say it was his best collection yet.

How did Chet level up his staple techniques?

“It was really fucking hard!” the designer told us backstage after the show. ​“I just constantly had to tell myself, ​‘tone it down, town it down, tone it down…’ It took forever and it kept changing. My team hates me, because it was just constant, never-ending changes.”

Who was there?

Bimini, Mahalia and Leigh-Anne Pinnock were all in attendance. But what made the audience at Chet’s show really special was the section for blind and visually impaired guests. The whole thing was set up with celeb hairstylist Anna Cafone, who’s also the founder Hair & Care, a non-profit that provides hair workshops for blind and visually impaired women. Guests were provided with a book of key fabric swatches from the collection, as well as audio descriptions narrated by Chet.

What did Chet’s mum think?

“I love the grey gown with the hood,” she told us, while proudly hugging her son. ​“If he only gives me one [piece], I’d take that one.” As if she’d even have to ask.

What?

After a hiatus from the runway, and an announcement in January that revealed Harry Styles as an investor, S.S. Daley is back on the London Fashion Week circuit. Just days before the show, Steven took home 2024’s prestigious Queen Elizabeth II Award for British Design.

Where?

Inside the opulent Royal Academy of Arts. If you’re returning to London Fashion Week, you’ve got to do it with a bang.

What was going on, then?

Predictable isn’t a word you could use for Liverpudlian designer Steven Stokey-Daley. In a move that no one saw coming (judging by the audible gasps from the the front row), Harry Styles, friend and minority shareholder, made a quiet entrance – well, as quiet as you can when you’re a mega popstar – to support Steven’s LFW return. Mullet and all, the star wore an S.S. Daley textured jacket, crochet pin, black trousers and Vans. Styles paused for approximately 10 seconds of photos before being ushered next to his seatmate Anna Wintour.

It was the perfect opportunity to introduce a new era of the brand, and Steven seized the opportunity with both hands. His womenswear debut intermixed refined tailoring, with punchy florals and blown-up garments that looked pixelated. There were moments in the collection where no clear-cut distinction between women’s and men’s designs could be made. Judging by the booming applause for the closing looks, blurring the lines suits Daley.

Who was there?

As well as Harry, actors Emma Corrin, Sebastian Croft and Golda Rosheuvel all turned up, dressed in S.S. Daley, of course.

What?

Porcelain dolls were resurrected in Harris’ surreal world for SS25.

Where?

Inside the Tate Modern and on the eve of London Fashion Week, where Harris has opted to show for several seasons now.

How was this season different from the last?

Eight seasons in, and the American-British designer’s admiration for regal figures still hasn’t waned. For AW24, Harris looked to royal references and, for SS25, larger-than-life crinoline structures, pannier skirts and corseted muses.

Kate Beckinsale, Jade Thirlwall and Grace Carter were a few of the starry guests who adhered to the designer’s glamorous dress code, fitting right in with the opulent ready-to-wear.

What was the music like?

A classical rendition of Nirvana’s Smells Like Teen Spirit felt like the audience had been transported into Shonda Rhimes’ Bridgerton. But it worked.

What was the main trend takeaway?

A bit of drama never hurt anyone.

What?

The design duo who have captured the hearts of It girls and editors across the globe.

Where?

A partially derelict space named ​“The Ditch” in the basement of Shoreditch Town Hall.

What went down?

Emma Chopova and Laura Lowena-Irons demonstrated why other fashion capitals look to London as a central hub for young designers.

It was sweet seeing a number of their family, friends and admirers kitted out in head-to-toe Chopova Lowena for the occasion – it felt like we were witnessing the evolution of a cool cult.

Their annual show (the brand only shows in September) continues to be one of the most anticipated on the fashion calendar. It was a delight for the eyes and the ears: an amalgamation of Victoriana, gothic glamour, sporty influences and the wild west.

Models stomped down the runway in varying designs ranging from transparent corsets with tutus, shirred trousers, blazers emblazoned with silver adornments, and the brand’s ​“carabiner skirts” even more lavish than last season.

“We wanted to look at America because of my New Jersey upbringing”, said Emma of their starting point for SS25. ​“Early Halloween, showgirls, folk heroines like Annie Oakley and Calamity Jane. Rhythmic gymnasts from the 1990s and 1980s were all on the moodboard.”

Spurs were attached to bejewelled (!) ASICS trainers as part of a new collaboration, along with a Hellman’s mayonnaise bag (you heard). Delicious and chic.

What was the music like?

A mash-up of news commentary, The Prodigy’s Fire Starter, and an eerie narration of what sounded like a Disney fairytale.

How would the pair describe the collection in one sentence?

“Folk heroine of the American West goes to gymnastic lessons,” they said.

What?

Priya Ahluwalia unveiled a collection filled with storytelling and substance. Titled ​“Home Sweet Home”, the designer transported the audience into her world – and we quite liked it there.

What went down at the show?

A mix of classical and Arabic music kicked off the show, via a silky smooth live performance from collective MassiveMusic and Syrian-Dutch Kanun player Shaza Manla.

Down the runway came printed linen shirts, beaded wigs (they seem to be all the rage at the moment), and tops crafted from vintage doilies further amped-up by beading. Priya introduced halter-neck dresses with pleats and knotting, and welcomed knitted vests into the men’s division.

Who walked in the show?

Wretch32 made a surprise cameo. The rapper’s smize was on point as he strutted down the catwalk in a rich brown knee-length coat with tile patterns, white trousers and loafers. After walking for Labrum last year, it seems the rapper’s found his true calling.

What?

Thumping techno music perfectly set the scene for the Ukrainian designer’s dishevelled muses.

What went down, then?

Bespectacled models walked the Newgen space in trench coats, and distressed jeans with affixed thongs. The collection was both fun and grown-up, as models in varying states of undress were sent down the catwalk. Think: towel-adjacent hoodies, bodysuits with flashes of bras and bare-chested models with leather jackets.

In one sentence?

For the denim-loving Y2K Masha woman who still loves some butt cleavage but has places to be and people to see.

What?

Aaron Esh oozes cool. The Central Saint Martins graduate has continued to climb the fashion ranks these last few seasons and when news broke that he was working with renowned stylist Katy England for SS25, there was no doubt bums would be filling seats.

Aaron’s ​“AE” trucker hats were spotted atop the heads of dozens of guests, while tastemakers were sporting the brand’s skinny scarves and new season collection (ahem, Tish Weinstock).

Satin dresses cascaded down the body like water, there was home for high-neck blouses, and leather trousers made an appearance. The highlights of the collection were the black trousers and vests that incorporated thinly cut pieces of material that draped along the sides and centre. There isn’t a world where Aaron would make a vest and trousers look boring.

Who was there?

Law Roach made a quick appearance backstage and praised the designer for his unreal collection.

What were the clothes like?

They made you want to put your glad rags on. Handy, since THE FACE’s big LFW party with Starface was later that evening.

What?

The talent incubator’s biannual showcase of fashion’s brightest young things.

Who showed this season?

Kitty Shukman and Sos Skyn set the mood with presentations as guests entered the showspace, followed by runway shows from Olly Shinder, Nuba and Loutre.

That’s a lot…

It always is! But this year’s cohort of designers had typically diverse points of view, which kept things interesting despite the sheer volume of clothes to take in.

Kitty Shuckman, for instance, staged a sort-of Y2K wonderland for her presentation, featuring a child on a swing wearing a sharp white suit, models in bikinis and oversized cargo shorts, and angel wing prosthetics embossed onto bare skin. Sos Skyn, on the other hand, used technicoloured secondhand fabrics and silicone to create rave-ready looks, layering prints, colours, textures and thongs to create an acid-trip fever dream.

And what about the runway shows?

Returning to Fashion East for his third season, Olly Shinder kicked things off with a kinky subversion of classic uniforms, running the gamut from emo Scout kits to futuristic delivery driver get-ups. The highlight? A ramped up Girlguide look, featuring a slick black pencil skirt, beige shirt with built-in tie clips and a braided ponytail so long the model had to hold it in her hands.

Next up: Nuba, the brand headed up by Jebi Labembika and Cameron Williams. Textures, tailoring and cut-outs reigned supreme, with metallic fabrics that tricked your eye into believing they were leather, and plunging necklines that swooped over the head to form hoods. Intricate pleating created an origami effect on jackets and coats, while shades of rust and khaki added a punch of colour to an otherwise monochromatic collection.

For the grand finale, Pia Schiele’s brand Loutre sent an eclectic array of looks down the runway, with models styled as though they’d just raided a goldmine charity shop. Think: baseball caps paired with plush fur coats, a velour track jacket with grey feathers peaking out the hem, and lots and lots of kooky headwear. We swear we even saw a leather bag on top of someone’s head.

So, the future of British fashion is…?

Playful and singularly forward-thinking – just how we like it.

What?

A hyper-functional collection that makes practical dressing a lot more appealing.

Tell us more…

Remember when you’d refuse to wear your pac-a-mac on school trips and teachers would retort with ​“it’s not a fashion show”? Well, Johanna Parv just answered the prayers of every teenage would-be fashionista. For SS25, the Fashion East alumnus took her focus on functionality to the next level, presenting looks that transformed and morphed to the wearer’s needs. We’re talking shoulder bags that could be clipped to the body for security; flowing train skirts that slotted into secret compartments to avoid getting caught in tube doors; jackets that unzipped and neatly draped around the waist. There was even a lime waterproof bag cover, ready to protect your latest splurge. Cuts were clean and sporty, while colours were muted save for splashes of purple and lime green. Who said you have to sacrifice style for comfort?

Mostly likely to be seen on?

Anyone who’s serious about protecting themselves from the elements in style. City dwellers, wild campers, festival goers… the list goes on.

In three words?

Pragmatism done properly.

What?

A dreamy and sensual immersive presentation that brought new meaning to ​“the divine feminine”. The Irish designer already showed her SS25 collection at Copenhagen Fashion Week last month, so her LFW offering was more about vibe curation.

Where?

The Newgen space again, this time transformed by wild shrubbery and video installations directed by Sharna Osborne – who, as it happens, recently shot Chappell Roan for our new print issue.

What went down?

As soon as you walked in, guests were stopped in their tracks by two models ensconced by hay and wild flowers, both wrapped around each other while kissing passionately. Once that scene had been, er, fully digested, you then made your way into a box in the centre of the room, where TVs and a large projection of footage shot by Sharna lit up the space: scenes of girls lounging and reading on lush grass, sitting on car bonnets while watching the sunset and traversing their way around the countryside. In the corner were more models, this time lounging in seductive but slightly less sexually-charged positions, all adding to the general atmosphere of a languid summer’s day spent with a lover.

What about the clothes?

There was lots of denim, slime green and brown cut-out bodysuits and off-white linen in puffball dresses and shibari-inspired harnesses. As Sinéad told us in Copenhagen last month: ​“I’m so excited about two new things: one is the denim category – that’s very key. The other is a technique I’m calling​’puff’ [which] incorporates a lingerie technique we’ve always used but with the structured pieces we’ve done for S/​S24, combining two worlds.”

Who was there?

We spotted Mahalia hanging out in that giant cube (the musician also featured in the installation’s film alongside model Alva Claire).

In a word?

Erotic!