Rewrite
Mithridate by Holly Lavelle.
Nothing about London Fashion Week ever behaves the way you expect it to, and Spring/Summer 2027 carried on that tradition with real enthusiasm. Alongside the big returns, Mulberry’s Christopher Kane debut, McQueen back on home soil and Marks & Spencer finally joining the official schedule, the week’s real energy sat with a run of independent designers using the runway as something closer to a personal manifesto. Politics turned up uninvited more than once, grief got stitched into fabric and at least one designer spent six months hand embroidering lace as an act of patience. Churches, warehouses and hospital wings all stood in for conventional runway space, and craftsmanship, in Labrum’s case, became the entire subject rather than a footnote.
Schön! went backstage to capture the highlights of London Fashion Week, through the magical lenses of Holly Lavelle, Morgan Layla Williams and Lee Scullion.
Mithridate by Holly Lavelle.
Mithridate by Holly Lavelle.
Mithridate | Fade to Grey
Mithridate opened the season with a collection built on London’s ‘New Romantic’ scene, drawing on the Blitz Club era and figures like Steve Strange for a mash-up of Victorian military tailoring and theatrical excess. Feather-covered bodices, tulle-trimmed gowns and candyfloss-pink tutus sat alongside oversized studded denim, shrunken cable knits and broad-shouldered jackets, while Bicorn hats by milliner Noel Stewart and cummerbunds worn over silk shirts rounded out the styling. Creative director Daniel Fletcher pushed proportion throughout, pairing micro shorts with billowing trenches, and leaned into an unconventional palette of hot pink, scarlet, cornflower blue and acid tones rarely seen together. Fletcher has spoken about wanting the collection to reflect Mithridate’s own growing ambitions, and on this evidence, self-expression without much restraint seems to be exactly where the brand is heading next.
Agro Studio by Morgan Layla Williams.
Agro Studio by Morgan Layla Williams.
Agro Studio | Glass Body
Agro Studio returned to London Fashion Week for its third season on the official schedule with ‘Glass Body’, a collection built around transparency and distorted surfaces. Thousands of antique and discarded buttons were embroidered into garments to mimic shattered glass, while corsetry pulled tight against featherlight tulle and Chantilly lace, marking the first season the London duo’s ready-to-wear has actually been available to buy. If Madonna’s ‘Confessions II’ has been the summer’s unofficial soundtrack, lilac made a solid case for being its visual equivalent here, turning up across the palette with enough conviction to claim the unofficial title of colour of the season. George Oxby and Angus Cockram, the pair behind the brand, continue to lean on the couture techniques that first made their name dressing Lady Gaga and Madonna, proving those skills translate just as convincingly into ready-to-wear as they ever did into a red carpet showstopper. Dusty purple and muted blue rounded out the palette, giving the whole collection a slightly worn, lived-in quality instead of expected prettiness.
Bora Aksu by Holly Lavelle.
Bora Aksu by Holly Lavelle.
Bora Aksu
Bora Aksu took his Spring/Summer 2027 collection inside St Cyprian’s Church in Marylebone, building an entire show around the life of Mary Beale, one of the first women to establish herself as a professional artist in 17th century England, whose own husband gave up his career to manage her studio. Structured menswear tailoring, waistcoats and masculine closures were softened through lace, embroidery and delicate fabrics, with Antep embroidery from Gaziantep, Turkey, some pieces taking up to six months to complete, adding intricate texture throughout. Veils lent the collection a ceremonial quality, whites and powder blues sitting against black and deep oxblood red, while the show closed with the full cast standing together, a tribute to Beale’s own defiance of the constraints placed on women in her time.
Susan Fang by Hyunji Kim.
Susan Fang by Hyunji Kim.
Susan Fang | Air-Illusion
Susan Fang took over the Barbican Centre with ‘Air-Illusion’, a collection unfurling a narrative of fantasy and seduction through pearls, petals and porcelain-inspired detailing. A white mini dress arrived covered in delicate cobalt-blue flowers, while an organza gown carried layers of pale blue and white three-dimensional blooms, and broken porcelain was reworked into jewellery alongside jade repaired with gold in the Japanese kintsugi tradition, worked with a Beijing-based jade master into petal-shaped earrings. Fang pushed further into 3D printing this season too, rendering lace patterns drawn from porcelain motifs in neon filaments layered over transparent blouses and shorts. The collection’s headline collaboration came via Crocs, introducing the ‘Echo Blume’, the first design built on Crocs’ new Echo Lume silhouette, its surface smothered in metallic 3D-printed wildflower clusters ahead of a global release next spring. Elsewhere, 3D-printed flip-flops looked like a simple thong from the front and revealed a pixelated, geometric sweep from the side.
Dreaming Eli by Holly Lavelle.
Dreaming Eli by Holly Lavelle.
Dreaming Eli | Dreamers in Exile
Dreaming Eli presented ‘Dreamers in Exile’ at St Bartholomew’s Hospital’s North Wing, with designer Elisa Trombatore reworking memories of a Sicilian childhood and the experience of building a new life in London. Distressed silks, hand-painted surfaces and screen printing referencing Baroque Sicilian churches and tattoo imagery gave the collection real narrative weight, while denim, lace and vinyl were combined to fake a leather-like finish. Ruffles and pearls were layered to resemble fragments of old photographs, and the returning Wild Hearts Bleed platform heels came back in new blush and rose satin colourways, tying the collection’s romantic distress back to something wearable.
Keburia by Holly Lavelle.
Keburia by Holly Lavelle.
Keburia
Keburia brought its first ever menswear showcase to a warehouse space at Truman Brewery, opening with a look that had nothing to do with equestrian tailoring at all. The first model walked out with a guitar strapped to his back, painted in red with the words ‘Hope you burn, Putin,’ a blunt political statement from Georgian designer George Keburia that set the tone before a single Western reference even appeared. From there, exaggerated shoulders, architectural collars and oversized pockets ran through the collection under a loud techno soundtrack, while camouflage and metallic tweed added a utilitarian edge. Rhinestone saxophones and French horns brought unexpected humour, alongside a pig insignia stamped onto belts, all set against a base palette of black, cream, khaki and tobacco lifted occasionally by flashes of red and turquoise. Keburia has never shied away from politics on the runway, and this season proved no exception.
LABRUM by Lee Scullion.
LABRUM by Lee Scullion.
LABRUM
LABRUM closed its ‘Osmosis’ trilogy with a Spring/Summer 2027 collection staged once again in the grand hall at One Great George Street, this time turning attention to craft itself and the knowledge carried in people’s hands. Handcrafted raffia trousers drew on Mende masquerade traditions, while woven headwear made with British milliner Lucy Barlow and sculptural leather bags connected techniques from West Africa, India and Britain. One of the collection’s most personal moments came through embroidery depicting Foday Dumbuya’s grandmother, who worked as a produce seller in Sierra Leone, her story stitched directly onto the garments. A geometric motif referencing Olokun, the Yoruba deity of the sea, ran across white fil coupé, while the label’s signature passport jacquard motif returned once more, built from the dates and destinations stamped across Dumbuya’s own family passports, mapping migration in fabric.
Grete Henriette by Holly Lavelle.
Grete Henriette | Mourn
Grete Henriette closed the week with ‘Mourn’, the latest presentation from a designer best known for turning chainmail and gemstones into wearable armour. Having built a cult following through pieces worn by Tems, Tyla and Lil Nas X, Henriette continues to explore ritual, protection and the body as a surface for storytelling, this season leaning into a more elegiac mood than the mythic, divine femininity that shaped her earlier collections, swapping celebration for something closer to reckoning.
photography. courtesy of Holly Lavelle, Hyunji Kim, Morgan Layla Williams and Lee Scullion
words. Gennaro Costanzo
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
Mithridate by Holly Lavelle.
Nothing about London Fashion Week ever behaves the way you expect it to, and Spring/Summer 2027 carried on that tradition with real enthusiasm. Alongside the big returns, Mulberry’s Christopher Kane debut, McQueen back on home soil and Marks & Spencer finally joining the official schedule, the week’s real energy sat with a run of independent designers using the runway as something closer to a personal manifesto. Politics turned up uninvited more than once, grief got stitched into fabric and at least one designer spent six months hand embroidering lace as an act of patience. Churches, warehouses and hospital wings all stood in for conventional runway space, and craftsmanship, in Labrum’s case, became the entire subject rather than a footnote.
Schön! went backstage to capture the highlights of London Fashion Week, through the magical lenses of Holly Lavelle, Morgan Layla Williams and Lee Scullion.
Mithridate by Holly Lavelle.
Mithridate by Holly Lavelle.
Mithridate | Fade to Grey
Mithridate opened the season with a collection built on London’s ‘New Romantic’ scene, drawing on the Blitz Club era and figures like Steve Strange for a mash-up of Victorian military tailoring and theatrical excess. Feather-covered bodices, tulle-trimmed gowns and candyfloss-pink tutus sat alongside oversized studded denim, shrunken cable knits and broad-shouldered jackets, while Bicorn hats by milliner Noel Stewart and cummerbunds worn over silk shirts rounded out the styling. Creative director Daniel Fletcher pushed proportion throughout, pairing micro shorts with billowing trenches, and leaned into an unconventional palette of hot pink, scarlet, cornflower blue and acid tones rarely seen together. Fletcher has spoken about wanting the collection to reflect Mithridate’s own growing ambitions, and on this evidence, self-expression without much restraint seems to be exactly where the brand is heading next.
Agro Studio by Morgan Layla Williams.
Agro Studio by Morgan Layla Williams.
Agro Studio | Glass Body
Agro Studio returned to London Fashion Week for its third season on the official schedule with ‘Glass Body’, a collection built around transparency and distorted surfaces. Thousands of antique and discarded buttons were embroidered into garments to mimic shattered glass, while corsetry pulled tight against featherlight tulle and Chantilly lace, marking the first season the London duo’s ready-to-wear has actually been available to buy. If Madonna’s ‘Confessions II’ has been the summer’s unofficial soundtrack, lilac made a solid case for being its visual equivalent here, turning up across the palette with enough conviction to claim the unofficial title of colour of the season. George Oxby and Angus Cockram, the pair behind the brand, continue to lean on the couture techniques that first made their name dressing Lady Gaga and Madonna, proving those skills translate just as convincingly into ready-to-wear as they ever did into a red carpet showstopper. Dusty purple and muted blue rounded out the palette, giving the whole collection a slightly worn, lived-in quality instead of expected prettiness.
Bora Aksu by Holly Lavelle.
Bora Aksu by Holly Lavelle.
Bora Aksu
Bora Aksu took his Spring/Summer 2027 collection inside St Cyprian’s Church in Marylebone, building an entire show around the life of Mary Beale, one of the first women to establish herself as a professional artist in 17th century England, whose own husband gave up his career to manage her studio. Structured menswear tailoring, waistcoats and masculine closures were softened through lace, embroidery and delicate fabrics, with Antep embroidery from Gaziantep, Turkey, some pieces taking up to six months to complete, adding intricate texture throughout. Veils lent the collection a ceremonial quality, whites and powder blues sitting against black and deep oxblood red, while the show closed with the full cast standing together, a tribute to Beale’s own defiance of the constraints placed on women in her time.
Susan Fang by Hyunji Kim.
Susan Fang by Hyunji Kim.
Susan Fang | Air-Illusion
Susan Fang took over the Barbican Centre with ‘Air-Illusion’, a collection unfurling a narrative of fantasy and seduction through pearls, petals and porcelain-inspired detailing. A white mini dress arrived covered in delicate cobalt-blue flowers, while an organza gown carried layers of pale blue and white three-dimensional blooms, and broken porcelain was reworked into jewellery alongside jade repaired with gold in the Japanese kintsugi tradition, worked with a Beijing-based jade master into petal-shaped earrings. Fang pushed further into 3D printing this season too, rendering lace patterns drawn from porcelain motifs in neon filaments layered over transparent blouses and shorts. The collection’s headline collaboration came via Crocs, introducing the ‘Echo Blume’, the first design built on Crocs’ new Echo Lume silhouette, its surface smothered in metallic 3D-printed wildflower clusters ahead of a global release next spring. Elsewhere, 3D-printed flip-flops looked like a simple thong from the front and revealed a pixelated, geometric sweep from the side.
Dreaming Eli by Holly Lavelle.
Dreaming Eli by Holly Lavelle.
Dreaming Eli | Dreamers in Exile
Dreaming Eli presented ‘Dreamers in Exile’ at St Bartholomew’s Hospital’s North Wing, with designer Elisa Trombatore reworking memories of a Sicilian childhood and the experience of building a new life in London. Distressed silks, hand-painted surfaces and screen printing referencing Baroque Sicilian churches and tattoo imagery gave the collection real narrative weight, while denim, lace and vinyl were combined to fake a leather-like finish. Ruffles and pearls were layered to resemble fragments of old photographs, and the returning Wild Hearts Bleed platform heels came back in new blush and rose satin colourways, tying the collection’s romantic distress back to something wearable.
Keburia by Holly Lavelle.
Keburia by Holly Lavelle.
Keburia
Keburia brought its first ever menswear showcase to a warehouse space at Truman Brewery, opening with a look that had nothing to do with equestrian tailoring at all. The first model walked out with a guitar strapped to his back, painted in red with the words ‘Hope you burn, Putin,’ a blunt political statement from Georgian designer George Keburia that set the tone before a single Western reference even appeared. From there, exaggerated shoulders, architectural collars and oversized pockets ran through the collection under a loud techno soundtrack, while camouflage and metallic tweed added a utilitarian edge. Rhinestone saxophones and French horns brought unexpected humour, alongside a pig insignia stamped onto belts, all set against a base palette of black, cream, khaki and tobacco lifted occasionally by flashes of red and turquoise. Keburia has never shied away from politics on the runway, and this season proved no exception.
LABRUM by Lee Scullion.
LABRUM by Lee Scullion.
LABRUM
LABRUM closed its ‘Osmosis’ trilogy with a Spring/Summer 2027 collection staged once again in the grand hall at One Great George Street, this time turning attention to craft itself and the knowledge carried in people’s hands. Handcrafted raffia trousers drew on Mende masquerade traditions, while woven headwear made with British milliner Lucy Barlow and sculptural leather bags connected techniques from West Africa, India and Britain. One of the collection’s most personal moments came through embroidery depicting Foday Dumbuya’s grandmother, who worked as a produce seller in Sierra Leone, her story stitched directly onto the garments. A geometric motif referencing Olokun, the Yoruba deity of the sea, ran across white fil coupé, while the label’s signature passport jacquard motif returned once more, built from the dates and destinations stamped across Dumbuya’s own family passports, mapping migration in fabric.
Grete Henriette by Holly Lavelle.
Grete Henriette | Mourn
Grete Henriette closed the week with ‘Mourn’, the latest presentation from a designer best known for turning chainmail and gemstones into wearable armour. Having built a cult following through pieces worn by Tems, Tyla and Lil Nas X, Henriette continues to explore ritual, protection and the body as a surface for storytelling, this season leaning into a more elegiac mood than the mythic, divine femininity that shaped her earlier collections, swapping celebration for something closer to reckoning.
photography. courtesy of Holly Lavelle, Hyunji Kim, Morgan Layla Williams and Lee Scullion
words. Gennaro Costanzo
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
