Though London Fashion Week began shrouded in an air of uncertainty, the event forged ahead in its signature spirit, producing conceptual, classical, and artisanal mastery.
Appearing to be in limbo with a precarious gap after New York Fashion Week and a trimmed-down schedule, it's now clear that—with over 40 years under its belt—there would be a London-shaped hole in fashion month if the week ceased to go ahead. Even without the prestigious ateliers, superstar attendees, and unmatched social media attention of Milan and Paris, there’s nowhere else that produces ideas that reflect the culture in the way London does. In fact, with the pressure off, some of the most groundbreaking moments of the season might have happened this week.
In the absence of JW Anderson, 16Arlington, Chopova Lowena, Nensi Dojaka, KNWLS, and Molly Goddard, there was plenty of subversive action and sculptural artistry to fill the shoes of the big players. Simone Rocha, Erdem, Burberry, Harris Reed, and Richard Quinn who continued to hold court with ethereal, dynamic and technical runway shows. Meanwhile, independent labels and emerging designers gained the advantage of more intimate scenes within the less-hectic schedule to really hold the attention of showgoers, editors, and buyers. While creativity reigned, most designers presented the next chapter in their brand lexicon, rather than an upheaval of house codes; a protective buffer to keep their customers engaged in such tumultuous times for luxury fashion. That said, there was a great absence of the safe, refined minimalism seen throughout the major cities in the last few seasons.
A particularly significant moment of the week was the Dilara Findikoglu show. A remarkable study in dangerous femininity, silhouette, and storytelling, the Turkish designer’s Venus in Chaos show bordered on couture with an intricate shell and pearl breastplate, next-to-nothing body stockings, and tattooed tan leather. Without leaning too heavily on comparisons to Alexander McQueen's work, if the fashion world was looking for a designer to succeed in these particular attributes, look no further than Findikoglu.
Great use of storytelling was a key theme that continued across the week, notably at S.S Daley whose wardrobe of duffle jackets, bermudas, and pea coats was a humorous take on British archetypes, as well as Simone Rocha who looked to high school characters to craft a classroom of (high-end) misfits, emos, and rugby jocks. Inclusivity was a driving factor for LVMH Prize finalist, Sinead O’Dwyer, whose close-fit bandaged styles, leather kilts, and slashed stockings dresses were triumphantly shown on a variety of body types.
The week was farewelled by one of Daniel Lee’s most impactful shows for Burberry, who looked to ‘country classics’ in the likes of quilted coats and skirts, house trenches, checks on checks, jacquard pajama suits and double-breasted tailoring. And, if the rumors are true, he just might have farewelled the label with this outing.
The opaque and organza silk trends that have dominated the last few London seasons finally seem to be an afterthought, with sculptural layers, voluminous skirts, and delicate, experimental knitwear in their place. Giant furs, shearling collars, and fuzzy coats and clutches took center stage as they did in New York, with the furry bra and knickers seen at Simone Rocha sure to be an editorial favorite. Outerwear was a big component, literally, with larger-than-life raincoats, trench coats, and fisherman jackets crafted for every kind of weather, while protective leather coats, capes, and biker jackets continued their momentum from as seen in New York.
Burgundy, plaids, khaki and rich jewel tones were kept alive through multiple shows, while grey, black and white kept their rightful positions in the British winter wardrobe.
Let’s take a look at the themes, looks, and key styles that took over this London Fashion Week Fall Winter 25.
Caped crusaders
Capes and cloaked silhouettes were back on the map for FW25, with London’s designers taking the comfort piece to sartorial heights in leather, wool, and even organza silk. Blanketed at Toga, Keburia, and Roksanda, deconstructed at Jawara Alleyne, and sleek and mysterious at Sinead O’Dwyer, the top-heavy shapes are set to get a workout next winter.
Dark matter
Amid all the fun and fantasy there was a dark, gothic undertone to the London runways that showed up in high Victorian-style collars, tightly corseted silhouettes, and rococo-inspired silks and lace. Simone Rocha looked to harnessing, lingerie, and ruffles, Pauline Dujancourt spun delicate gothic webs in mohair knitwear, and Dilara Findikoglu merged gothic Botticelli-style hair with corsets and lace. Just as Pinterest predicted, fashion and accessories are set to be gothic-inspired in 2025, thanks to a 110% spike in searches for terms like medieval-core.
Art of layering
What’s that saying? Throw it at the wall and see what sticks? Introducing the fashion equivalent of “throwing on” an outfit. The art of extreme layering was at play this season with the most impactful results seen by the labels that clashed their prints and fused contrasting fabrics. The stranger the proportions, the better, especially in the case of Roksanda who took event dressing to a new level with 3D foam sculptures.
Super feminine
Among all the experimental garb and heavy focus on outerwear, there were moments of pure, unbridled femininity in full skirts, cinched waists, and shifts. Floral motifs stood out on romantic and nostalgic silhouettes at Emilia Wickstead and Paul Costello, Erdem presented 1950s nipped-waist dresses and suits, cocoon coats, and sheath dresses, and Richard Quinn’s runway spoke to 1960s haute couture silhouettes in pannier skirts and sweetheart necklines complete with rosettes and satin bows.
