Hometown glory: highlights from London Fashion Week spring/summer 2026

Aaron Esh’s brand of sexy London cool is razor sharp in its precision. Think Savile Row tailoring meets East End leathercraft mixed with slinky trench coats, satin Harrington jackets, laddered knitwear layered over shirts or skin. Leather pants and bias-cut jersey dresses hug the body, and jeans come in the perfect shade of worn-in blue. Tailoring is in partnership with north London-based Charlie Allen, the same tailor who made Aaron’s father’s wedding suit. Couture techniques were used to make several handmade pieces, including chiffon feathers applied to a coat’s lapel and a herringbone jacket adorned with hand-cut sequins. The vibrant energy that's unique to London life is evident in spades in Esh's work. Models wore AAA passes that nodded to the fact that with this wardrobe the best invitations would come your way.  “Perfectly ordinary,” declares the show notes and that’s the beauty of Esh’s clothes, they look like you already own them.

Turkish-British designer Dilara Findikoglu opened her namesake label in 2016 after studying at Central Saint Martins and interning under John Galliano at Maison Margiela. Since then she has dressed Cate Blanchett, Kim Kardashian, Charli XCX and Lady Gaga. A queue of adoring admirers (in mostly black) trailed as far as the eye could see, hoping to gain entry to Findikoglu’s show at the Ironmongers’ Hall on Sunday evening. The SS26 collection, titled “Cage of Innocence”, is centered around the architecture of constraint: the rooms, walls and cages that have confined women, physically, socially and spiritually across generations. The designer herself said, “I feel like women have been kept in cages of innocence and purity, being told they have to be clean and represent virginity, but we come out of this cage today.” The show started with the eerie sound of a cage and shackle creaking open, releasing the models who stumbled and shook down the runway with tear-stained faces. A lighter colour palette of white and nude was suffocated with flesh-coloured latex, caged corsetry and one gown was even stained with the juice of rotting cherries. Supermodel Naomi Campbell made her third appearance of the season, wearing a faux croc leather dress and silver jewellery, while Amelia Gray closed the show in a red mermaid style midi-dress and stacks of heavy bangles.

For SS26, designer and 2025 LVMH Prize finalist Tolu Coker stepped away from the traditional catwalk show and instead chose to showcase a short film and series of stills during London Fashion Week. Directed with her sibling Ade, the film stars Naomi Campbell, a long time supporter of the brand who is accompanied by a cast of Black British women and girls. The collection, titled “Unfinished Business”, celebrates the importance of legacy and how her clothes are created with the intention to outlive their wearer, designed to be passed down, adapted and imbued with new stories. Continuing her path of using sustainable materials, buttery up-cycled leathers in teal and brown, dead-stock cottons, reclaimed satins and natural fibres are sculpted into silhouettes that reflect the evolution of womanhood. From gathered skirts in vibrant yellow and mutli-coloured stripes, as well as crafted corset dresses and sculptural tailoring, each piece nods to life’s transitions. “When I design for women, I think about the different stages we go through and how our bodies, and our needs, evolve. I want the clothes to move with you, support you, and become part of your life’s story,” she said.

Daniel Lee, Burberry’s chief creative director, drew on fashion’s love affair with music for his SS26 show. Twiggy, the 60s supermodel, sat in the front row, a hint of things to come, the lineup of musicians, as diverse as the collection itself, with a mix of K-pop stars, Sir Elton John, Skepta and Gene Gallagher. The latter had appeared in the campaign for the brand’s capsule summer festival collection alongside his siblings and their dad, Liam. “Musicians have always had incredible style and together with fashion they form a really strong culture,” said Lee. The collection kicked off with short A-line coats covered in checks in Pop Art tones from bright green to yellow, models wore long skinny scarves, a soon-to-be big trend,  and carried fringed whipstitched bags. The look was led by haircuts reminiscent of the mod styles of the 60s through to the shaggy Gallagher brothers’ cut. Men’s suiting came with a narrow silhouette, craftwork was key, from tops and skirts comprising entirely from beads and edges finished with fringed leather. Even the preppy trench was reimagined with a rockier edge in a denim-effect waxed cotton, wore over check chainmail mini dresses and cropped leather bootcut trousers.

India-born, London-based designer and artist Harikrishnan grabbed headlines with his graduate collection of inflatable latex trousers in 2020, but where do you go from there? The answer: Museumwear. Which bridges “the gap between the art you stand back and marvel at, and the art you carry with you,” Harikrishnan said in his press notes. “This collection isn’t about performance. It’s about access. It’s about translating the surreal into the everyday without losing its pulse.” Shown alfresco against the brutalist backdrop of the Barbican’s Sculpture Court, there were nods to what came before in the inflatable armband sleeves on a latex top and bolero jacket and the comically miniature blow-up bags toted by models, that raised a smile from the audience. Elsewhere, wooden beaded tops were made utilising a 200-year-old Indian craft. The denim pieces hit the right note as did the latex bomber jackets and wide leg trousers.

Conner Ives could never have anticipated that the slogan T-shirt he wore for the final bow at his AW25 show in February 2025, would become one of his most influential designs to date. Printed with the phrase “Protect the Dolls”, a statement that highlights the global discrimination and unjustified hatred faced by the trans community. In a statement released on social media a couple of days before the SS26 show in London, Ives said in regard to the sale of the “Protect the Dolls” T-shirts: “We have raised and donated over $600,000 to Trans Lifeline (a US-based charity providing life-saving services to the trans community). This T-shirt has changed my life, and I’m hoping it will in due course change so many others.” The SS26 collection drew on the designers love for pop music with a sound track of songs that included Robyn’s Dancing On My Own and You Got The Love by the Source. A cast that included many trans models was cheered by watchers as they paraded acid-dipped rugby shirts, puffed shorts and pencil skirts in neon green and club tropicana orange down the runway. Ives’s signature chiffon dresses were given a fresh update, adorned with feathers and fringe that twirled to the music. You couldn’t help but leave this show feeling a restored faith and hope in humanity.

The essay, “My Dress Rehearsal: or How Mrs Clarke taught me how to sew” by Maureen Freely inspired Simone Rocha to explore the stages of girlhood throughout her SS26 collection. Set against the grandeur of Mansion House, the audience was transported to Rocha’s prom ballroom where youthful, almost teen-like models appeared, as the show notes explained, as if in an “awkward moment”, each looking slightly off. Opening with a flower organza skirt laid over crinolines worn with a sequin bralette that slipped off the shoulder, bringing to mind the uneasiness of dressing for a first school dance. Insecurities were conveyed through the styling and body gestures: shrugged shoulders, crossed arms, a glossy lip and messy hair. A sense of dress-up ran throughout the collection, with skirts and dresses formed by hoops, bustled and trapeze silhouettes in rich organzas, scalloped taffeta and silver sequins. A handful of men’s looks were scattered throughout with built-in bouquet detailing on jackets or wrapped in transparent floral-print plastic. Skew-whiff accessories, from tiaras to off centre necklaces, real lilies or pressed flowers in organza to awkwardly clutched silk pillow bags completed the looks.

Ashish’s shows bring insight and energy, accompanied by a subtle and important commentary on the state of the world. His SS26 showcase titled “Fresh Hell” saw the runway filled with a diverse cast of dancing models who perfectly showcased his fluid designs. Chiffon maxi dresses floated, sequin shirts shimmied and fringed mini-dresses flew down the runway in a sea of colour. The designer also took the opportunity to present a new collaboration with Debenhams – Designers at Debenhams x Ashish – a longstanding retail concept that brought world-class designers to the high street and made luxury fashion more accessible. The collection includes a swirl print mini dress (£110), multi-coloured maxi faux fur coat (£195) and sequin print skirt (£85). On each seat in the showspace a poem titled Autobiography of a Dress provided a poignant insight into the designer’s inspiration behind this collection. One line reads, “I am cross-cultural by necessity, an antidote to anti-boats, a love letter from home lands. On to me a million sequins are sewn, tiny mirrors reflecting and blurring the troubled times I am born into.” A poignant and moving commentary on the all-too real social division, which scarily seems to be growing in both the UK and around the world.

Winners of the BFC/Vogue Designer Fashion Fund, Chopova Lowena, return to London after a season off with their SS26 collection “Cheerlore”. The duo behind the brand, Emma Chopova and Laura Lowena, continue to explore the juxtaposition between Bulgarian folklore and sportswear, drawing inspiration from American football, cheerleading and the silhouettes of Southern Bulgarian Karakachani costumes. Varsity sweaters, tracksuits, logo T-shirts and pleated skirts were embellished with silver hardware, faux fur and animal charms. The inspiration behind the collection was not just reserved for the models walking the runway, the venue for the show was transformed into a football field-side experience with large display screens and life-sized mascots serving crisps to the crowd in attendance. Football lace-up bras, studded boxing boots and mutli-coloured pompom jackets pushed the ordinary to opulent and edgy. The accessories were equally as elevated and included a line of reusable water bottles made in collaboration with the brand Chilly’s, which were strapped into leather harnesses. Like many before it, the fashion brand has recently branched out into the world of perfumery; the scent of which filled the air.

Founder and creative director Foday Dumbuya provided showgoers with a case-study in cultural osmosis and an epic show that explored diverse communities interacting and inspiring one another. “Fashion is a conversation, and every collection should invite dialogue rather than dictate terms,” noted Dumbuya. Performances included spoken-word artist Julianknxx and music by Balimaya Project led by Yahael Camara Onono, accompanied by a chamber orchestra. Rooted in West African rhythms, the show’s score blends Mandé musical heritage with UK jazz, street soul, and contemporary improvisation. Tailoring was a key component of the collection with a passport-stamp print and a cowrie shell woven textile print the standout pieces. The cowrie shell, which symbolises wealth and currency across several African nations, appears throughout the collection on headgear and in jewellery. Longline shorts sets in bold turquoise and a deep orange satin were eye-catching. The partnership with Adidas continued with a preview of an Adidas Originals x Labrum collection for End that will launch next year.

Caymanian-Jamaican designer and artist Jawara Alleyne named his SS26 collection Tabanca. Derived from Trinidad and Tobago dialect; it means the ache that follows the absence of a carnival celebration. “The way you feel after a good night out when you look dishevelled, but you don’t care, because the elation of an unforgettable night is all that matters – and that’s the feeling I’m trying to capture with the collection,” Alleyne said via his press release. The post-party spirit was strong with the cast of models who sashayed slowly through the stately rooms of the Institute of Contemporary Arts. Vibrant outfits in Allenye’s signature shredded jersey and safety-pin construction confirmed a great night out. Relaxed shirting and jersey pieces referenced the ease of Caribbean streetwear. The collection was punctuated with reworked deadstock T-shirts printed with Caribbean wildlife artist and conservationist Guy Harvey’s iconic marine imagery and a capsule with Japanese rock band Bo Ningen that utilised old band merch and saw broken cymbals and drumsticks transformed into jewellery.

Shown in the airy atrium at the Nomad hotel, Priya Ahluwalia’s SS26 outing took love as its central theme. The collection drew on references from a diverse mix of inspirations, including the opulence of Bollywood films, the timeless drama of Shakespeare, Indian miniature paintings and the Nigerian deity Oshun – the goddess of love, beauty and fertility.  Wrapping and fringing were key motifs throughout, representing the way love can be a gentle embrace or an unyielding knot, with a men’s sleeveless cobalt blue top with dramatic, almost ankle length fringe, a standout look. Jacquard knits drew inspiration from Nigerian Ichafu head wraps and Bollywood motifs. Recycled denim featured laser-printed graphics of cherubs and mix tapes. The show also saw Ahluwalia collaborate with eBay’s Endless Runway, incorporating archive and pre-loved materials directly into the collection. A curated selection of runway looks made from pre-loved materials will be available for sale on eBay following the show, with proceeds supporting the Circularity Project which provides grants to small businesses to invest in and bring new technology and services to the circular economy.

Titled, “Ordinariness, Mediocrity, Versatility”, Toga’s designer Yasuko Furuta, had watched a 30-minute interview on the artist Claes Oldenburg, known for his public art installations, typically featuring  large replicas of everyday objects, such as shuttlecocks or Swiss army knives. The designer explained in her show notes: “It was a question of how a simple thing can be made unexpected and unique.” The idea grew from the designer simply taking something ordinary and looking at it in a different way to create a new form. This has become Furata’s signature, taking a simple polo shirt and splicing the sleeves, rolling them to create a puff shoulder. Skirts and trousers were also spliced and appeared as if unraveling, cactus and flower prints with playful detachable collars and ruffles gave a 50s retro impression. Craftsmanship and fabrication shone at the heart of the collection, such as a thick floral jacquard top cut with precision, followed by a crinoline boned miniskirt in a delicate fabric that oscillated with each step, it’s clear Furuta’s skill is in the detail.

Roksanda Ilincic took inspiration from the work of modernist sculptor Barbara Hepworth. Drawing on the artist’s exploration of form and space with nature-inspired shapes. Opening with a dramatic full-black look, an asymmetric top echoing Hepworth’s iconic cut outs and her engagement with negative space was teamed with a flowing satin skirt. This was followed by exquisite tailoring, a trouser suit with voluminous cuffed trousers and trench coats in mélange-textured silk wool came with removable collars and fluid back vents, each piece cut with architectural precision. Pieces, evocative of Hepworth’s sculptural motifs, appeared as fine detailing on laser-cut bonded velvet dresses forming architectural silhouettes that sat alongside delicate wire-worked gowns that had both deconstructed and slashing and folding techniques that interplayed between structure and softness. Standout pieces included cocoon coats, one in a lustrous black fabric with a delicate flowing feel, the second in a rich cinnamon leather with an exaggerated collar. In celebration of the brand’s 20th anniversary, Ilincic reimagined a handful of her signature silhouettes, the Margot revived in bold orange and lapis blue bonded duchesse satin and the Anya and Cataline dresses returned in painterly prints.

Erdem Moralioglu took inspiration from Hélène Smith, the late 19th-century Swiss psychic and artist, whose trances supposedly carried her across centuries, continents, and planets. Smith believed herself to have lived other lives: as a member of the French court, as an Indian princess and as a traveller among Martian skies. For Moralioglu characters often form the bases of his collections, taking Smith’s three incarnations as the creative thread that appeared throughout the SS26 collection – 18th-century antique fabrics: florals and stripes with detailed embroidery appeared in opening pannier molded dresses, dressing gown coats and capes. Scattered throughout came the influence of the Indian princess, vivid sari-like silks floated in the breeze of the pillared walkway at the front of the British Museum. Smith’s vision of the traveller among Martian skies had led her to create a Martian alphabet which appeared as strange plastic coding on the breast of opening looks. Ever present was the designer’s signature tailoring in the form of exquisite striped trouser suits and a noteworthy black tuxedo.

Main image: Ashish SS26 at London Fashion Week by Karen Stanley