Here at H! Fashion, London Fashion Week is a little bit like Christmas. Only swap mince pies for matcha and Santa for a hard-working street style photographer throwing caution into the wind and running into oncoming traffic to get the shot.
The build-up involves a lot of group chats, outfit planning (which is more stressful than you might think) and many, many spreadsheets.
© LaunchmetricsThen suddenly, the circus is in town. You see friends from the industry that you might not cross paths with again until round two - AKA, September.
It's lots of friendly hellos and hugs and frantically mouthing at someone: "Where did you get that top?" across a frenzy of photographers.
© Jed Cullen/Dave Benett/Getty ImaThis season, we were blissfully ferried from show to show by a very sleek Volvo (a godsend) and our unflappable driver, Faizen. But I can say with authority that LFW is chaos in the best possible way.
You run on adrenaline, you never drink enough water, and then perhaps unwisely, you knock back a glass of wine or two at a fabulous afterparty.
One of the great joys of London Fashion Week is its ever-changing stage. We've sat in church crypts, drifted through magnificent, Grade II-listed buildings and watched the skyline glitter from vertiginous heights at The Shard.
And then, of course, there are the clothes. The reason we brave the blister roulette and the inbox abyss. Collections that make you remember why this beautiful, bonkers industry still feels like magic.
© LaunchmetricsThis season, there were so many standout moments. King Charles III made a surprise appearance at the Tolu Coker show (plus the brand's collaboration with Topshop was announced the same day), and Girls star Jemima Kirke rustled up Bloody Marys for Completedworks.
We saw incredibly exciting designers such as Foday Dumbuya at Labrum, plus Erdem had an absolutely stellar front row to celebrate their 20th anniversary, including the likes of Keira Knightley and All's Fair star Glenn Close who looked spectacular in the label teamed with Manolo Blahnik heels.
So let's take a look at the biggest trends spotted at London Fashion Week AW26...
Georgian Drama
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© LaunchmetricsVintage references are nothing new for fashion week, but for AW26, the clock was knocked back a century or two with designers looking at the 1700s through a thoroughly modern lens.
At Bora Aksu, the collection was inspired by an 18th century tale of a barmaid who succumbed to a tragic fate, weaving in tailored bodices and utilitarian aprons in a muted palette.
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© LaunchmetricsModels' faces were heavily powdered (also spotted at Dreaming Eli), teetering towards costume territory but utterly beautiful and wearable. Meanwhile, at Erdem, necklines were satisfyingly high and ruffled and Simone Rocha's dresses were laced with lashings of silk ribbon.
Bridal Moments
© Suleika Mueller / Courtesy of Harris Reed
© Suleika Mueller / Courtesy of Harris ReedLFW AW26 was rippling with incredible bridal moments that made me feel sad that I am already married and have no reason to buy another wedding dress.
At Harris Reed, they debuted Fluid Bridal with four looks - ranging from a sheer embroidered lace dress to flared trousers and a matching top, plus glorious coloured veils. As the brand stated post-show, "In the fluid Harris Reed world, the term bridal refers to the individual and their celebration of love, embracing 'brides' of all genders." Hear hear.
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© LaunchmetricsMeanwhile, at Patrick McDowell, the collection was inspired by photographer George Platt Lynes and the bridal look, which closed the show, was a reflection of the soft intimacy the artist was renowned for.
The New Minimalism
London is often perceived as the more eccentric of the Big Four, but AW26 shows felt cleaner and smoother - leaning into fashion's rampant appetite for minimalism but with a London spin, naturally.
© Umberto Fratini/launchmetrics.com/spotlight
© Umberto Fratini/launchmetrics.com/spotlightWatching the incredible Joseph show - a new appearance on the LFW calendar - silhouettes were slick, and lines were clean, but I was struck by the moments of drama that 'pared back' dressing can offer.
It's how I would imagine Joan Collins would approach minimalism - fantastic tailoring, peppered with colossal gold jewellery, sweeping fringing and luxe textures. It was no surprise to hear post-show that the inspiration for the collection lay in sculpture.
Paul Costelloe also showcased super broad 80s shoulders that would have pleased Joan immensely, I'm sure.
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© LaunchmetricsMeanwhile, at Karoline Vitto, shapes were inspired by late 90s and early 00s silhouettes - minus the frighteningly skinny beauty standards touted by those decades.
And at Toga, tailoring was impeccable, but teamed with quirky touches such as mega fluffy cuffs and giant safety pins. At Mithridate, I felt an urge to run onto the catwalk and rip the perfectly pristine trousers straight from the models' bodies. You'll be pleased to know that I refrained.
Modern Femininity
The corsetry at this season's LFW was beautiful to behold. At Annie's, dresses were sculpted to perfection, meanwhile Dreaming Eli's sheer lace offerings felt ethereal.
But rather than feeling restrictive or limiting for the wearer, the pieces felt powerful and modern - often thanks to accessories that felt a bit aggressive to dampen the delicacy of the pieces (think mega platforms or stompy boots).
Sure, this is femininity, but dictated by and for women.
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© LaunchmetricsKaroline Vitto's show saw slivers of midriff and hips peeking through cut-outs, while at Richard Quinn, classic silhouettes were given a subversive touch thanks to a flash of latex.
Meanwhile at the Sinead Gorey show, the collection was an ode to the pub, with models sporting the signature curve-enhancing shapes beloved by the designer, but lounging across pool tables and drinking beer as they strutted down the runway.
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© LaunchmetricsPost-show, the Irish designer commented: "Some people meditate, I go to the boozer." A woman after my own heart.
The Beauty of Collaboration
© LaunchmetricsNo man is an island, and no fashion show is just a designer. There are so many people whose hard work goes into producing these incredible collections.
From design to manufacture to organising the show itself and the PRs who run the proceedings. This season, teamwork was celebrated, with Labrum and Dreaming Eli bringing out the whole team for the runway finalé.
Meanwhile, at Edeline Lee - a surprise book launch instead of a traditional runway show - attendees were given a copy of the tome, celebrating 15 years of the brand. And in a rousing speech to kick off proceedings, the designer gave heartfelt credit to all those who had helped her on the way.
A Good Old Sequin
Julien Macdonald made a welcome return to the London Fashion Week schedule, showing on the 68th floor of The Shard with guests enjoying Martinis (I opted for a water in a rare moment of good behaviour) and a whole lotta sequins. Well, this is Julien, after all - this is the man Beyoncé calls Tina Sparkle.
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© LaunchmetricsAll in all, this was a very grounded London Fashion Week - not unusual given the turbulent state of affairs the world is currently experiencing - but with moments of whimsy proving that this city's sparkle can never be dulled.
Now onto Milan!
