As the lights dimmed and the first models took to the runway, London Fashion Week A/W 2025 felt different, more reflective, deliberate, and emotionally charged than in recent years. Designers moved away from fast-paced trends and fleeting novelty, presenting collections that embraced heritage, craftsmanship, and storytelling. There was a sense of looking back to move forward, of reinterpreting the past while forging a new vision for the future.
From Burberry’s countryside escapism to Simone Rocha’s delicate gothic romance and emerging designers’ raw, rebellious energy, this season was about contrasts: luxury versus practicality, nostalgia versus modernity, and restraint versus excess.
Burberry stole headlines with Daniel Lee’s meticulously crafted vision of British heritage with a contemporary twist.Set against a stately home-inspired backdrop at Tate Britain, the collection featured oversized outerwear, quilted jackets, and signature tartans, evoking the elegance of country life while keeping a firm grasp on modernity. Adding to the spectacle, actors Richard E. Grant, Lesley Manville, and Jason Isaacs walked the runway, blurring the line between fashion and performance.
Simone Rocha once again proved why she remains one of London’s most beloved designers. Her collection felt like a whispered love letter to gothic romance, filled with intricate lace, voluminous skirts, and beaded embellishments. Models wore pearlescent eyebrows and sheer veils, giving the show a haunting, dreamlike quality that resonated deeply.
Over at Erdem, fashion met fine art. Inspired by Scottish painter Kaye Donachie, the designer translated the moody, poetic brushstrokes of Donachie’s work into sheer, layered dresses, sculpted waistlines, and shimmering textures.
Roksanda explored bold sculptural forms, balancing fluid drapery with sharp tailoring. Exaggerated silhouettes and color-blocked fabrics played with proportion, while rich textures and layered construction reinforced the brand’s signature elegance.
London Fashion Week has long been a platform for rising talent, and this year’s emerging designers proved that the future of fashion is in good hands.
Maximilian Raynor’s debut solo show at London Fashion Week Fall/Winter 2025, titled “Welcome to the Un-United Kingdom,” transported audiences to a dystopian future set in the year 3025. The Derbyshire-born designer, a Central Saint Martins alumnus, envisioned a world ravaged by unchecked technological advancement and environmental neglect. The immersive theatrical experience in Shoreditch featured a barren woodland shrouded in scarlet light, with models donning deconstructed chunky knits, patchwork plaid ensembles, and netted halter tops woven from thick cords. Raynor’s collection seamlessly blended raw, untamed energy with meticulous craftsmanship, offering a provocative commentary on the trajectory of capitalism and climate decline.
Several themes emerged across collections, reflecting broader fashion movements. Designers incorporated protective elements such as structured corsets, metallic detailing, and sculptural outerwear, signaling a shift towards strength and resilience in dressing. Layered volume took center stage, with oversized bubble skirts and tiered tulle gowns adding movement and dimension to many collections. Unconventional footwear choices stood out, with furry boots, bedazzled Crocs, and deconstructed sneakers making playful and bold statements. Gothic elegance made a strong return, with black lace, high collars, and floor-length silhouettes lending a Victorian-meets-modern feel to numerous runway looks. Rich fabric manipulations were a focal point, with quilted, woven, and ruched details bringing depth and tactile interest to garments.
British fashion has always thrived in times of change and uncertainty, and this season was proof that creativity and craftsmanship will always be at the heart of its evolution. As the final show ended and the lights came up, one thing was clear: London remains one of the world’s most exciting, unpredictable, and thought-provoking fashion capitals.
