WORDS Madeline Reid, Chiara Maculan & Hannah Kitty Brown
London Fashion Week SS26 kicked off with a new face at the helm: British Fashion Council’s recently appointed CEO, Laura Weir, whose presence across multiple shows sent a clear message: she’s here to be hands-on. Her visibility coincided with a season that felt unusually grounded in purpose and experimentation, with a surge of energy from both emerging and established names.
NEWGEN talent delivered some of the most compelling work of the weekend. Oscar Ouyang’s debut was a sharp and confident start, while jewellery designer Octi impressed with a sculptural vision that blurred wearability and art. Fashion East alum Johanna Parv returned with her strongest collection to date: a taut, sensual lineup featuring body-conscious tailoring and utilitarian leather backpacks that doubled as statement accessories. Meanwhile, this season’s Fashion East showcase saw Nuha step back into the spotlight, flanked by fresh faces Mayhew and Jacek Gleba. Mayhew leaned into raw deconstruction with wired earphones-as-jewellery and unravelled edges, while Jacek’s colour-blocked performancewear hinted at a future-forward approach to sport aesthetics.
Themes of girlhood threaded their way through the week. Sinead Gorey and Lucila Safdie each staged intimate presentations exploring the rites and rituals of femininity. Gorey staged a messy rave encapsulating a chaotic girl’s night out, while Safdie’s Sunday morning scene saw models lounging on beds in a dreamy haze of hairbrushes and whispered secrets. Simone Rocha, always the quiet observer of womanhood, leaned into vulnerability with pillow-wielding models and undone details – bra straps slipping, necklaces left hanging – in a collection that spoke of softness without fragility.
Elsewhere, the energy spiked. Fan favourites Chopova Lowena delivered the most kinetic show of the week, their models marching at breakneck speed in standout beauty looks and debuting a clever collaboration with Chilly’s. Kazna Asker brought community back to the forefront with a Yemeni souk installation that spotlighted independent makers, textiles, and books, as well as a panel discussion co-hosted with Tank magazine. Conner Ives delivered a bright, optimistic collection, supported by the fashion community for his ongoing “Protect the Dolls” initiative, which recently surpassed $600,000 in donations to Trans Lifeline. Finally, Dilara Findikoglu showcased a widely acclaimed collection that sparked speculation about a major creative director role on the horizon – and more than a little chaos, as outraged onlookers swelled outside a venue that simply couldn’t contain the demand.
Below, the BRICKS team shares our favourite collections from London Fashion Week SS26.
DENZILPATRICK
DenzilPatrick’s London Fashion Week showcase, led by designers Daniel and James, was an intimate exploration of nostalgia and identity. Inspired by quintessentially British coastal holidays (both their charm and their chaos), the collection blended seaside tones of turquoise and sand with whimsical details like mother-of-pearl buttons, all sourced from independent sellers on Etsy and eBay. The designers drew from “The Beano,” the raucous coach trips to the seaside, and their own family memories, with relatives and close friends even starring in the lookbook.
These playful, personal touches sat in direct dialogue with the refined tailoring that earned the brand recognition in the Costume Institute’s Superfine: Tailoring Black Style exhibition last year. ‘The Fancy’ line further reflected the informal uniforms of London’s cultural archetypes, reframed with independence and South London energy. With a cast of friends and family walking the looks, the collection felt both personally rooted and refreshingly free, reimagining London style with familial warmth and a cool sea breeze.
MAXIMILIAN RAYNOR
Raynor’s on-schedule debut show, ‘I’ll Cry If I Want To’, didn’t just mark the beginning of LFW – it celebrated it. The room felt like walking into someone else’s dream: candlelight and smoke curling around dancers created a Midland boy’s fantasy of a birthday party, complete with giant cakes sporting the designer’s signature gingham and leopard prints, and ghostly memories of family members. The clothes carried the same surreal mix: Derbyshire heritage refracted through Raynor’s own queer imagination in childhood. Houndstooth coats and soldiers’ aprons melted into disco shimmer, while flapper bones rattled next to Mods in retro shirting and mismatched prints. Sharp tailoring was softened by fragile knits, and childhood pyjamas brushed against pearl-laden gowns.
What we loved most is how Raynor audaciously showed us how family stories can live through couture: dirty pub carpets, the memory of his grandma’s handmade clothes, and disco lights all sit at the same table. His honesty about fashion’s fragility, combined with the punk power of British roots, only adds to the charge.
KEBURIA
Arriving at the Emerald Theatre, guests knew they were in for a show at Keburia’s SS26 runway. The setting leaned into theatre, but what followed was a sharply executed collection that balanced fantasy with function. Mini skirts dominated the lineup, paired with sculptural jackets cut with strong military shoulders and glossy, knee-high boots, built for both battle and dance floors. Victorian elements appeared in puffed sleeves and bubble silhouettes, while references to gaming culture surfaced in textured layering and exaggerated shapes. Graphic T-shirts interrupted the formality with tongue-in-cheek irreverence: most memorably, a black tee stamped in bold red with the words “bye Anna,” a cheeky nod to Anna Wintour’s upcoming departure from Vogue that earned more than a few grins.
Despite its theatrical references, the collection felt surprisingly wearable. Tailored coats and denim two-pieces could easily slot into any wardrobe, while the styling was sleek without feeling too precious. What really made it work was the humour Keburia wove throughout. The graphic T-shirts weren’t just gimmicks; they captured a sense of knowing mischief that made the whole collection feel alive. It was fashion that didn’t take itself too seriously, while still delivering sharp design, and that’s always worth applauding.
DREAMING ELI
Dreaming Eli’s SS26 show unfolded like a love letter to softness – not weakness, but the kind rooted in confidence, care, and meticulous craftsmanship. The collection was ethereal at first glance: frayed tweed, sheer mesh, delicate lacing and signature skin-toned palettes that clung to the body like second skin. But up close, the real transformation revealed itself. Invisible zips and cleverly placed ribbon tie-ups replaced harsher fastenings, allowing the garments to mould and move with the wearer rather than restrain.
What elevated this collection even further was Elisa Trombatore’s clear attention to body inclusivity. Mid-size models walked confidently in her curve-hugging silhouettes, not as an afterthought but as central to her design ethos; honouring real curves with silhouettes built to empower.
LABRUM
Titled Osmosis, Labrum’s SS26 show was a masterclass in cultural storytelling. West African references pulsed through the collection: Cowrie shells, long used as currency and spiritual markers, adorned tailored suits, headwear, and jewellery, acting as quiet relics of ancestral power. Military silhouettes were reworked in vibrant greens, crimsons, and turquoise, while structured tailoring gave weight to the collection’s narrative of freedom, migration, and resilience. The “ventilation print,” inspired by West African concrete block design, appeared throughout, symbolising airflow, openness, and movement. Even the footwear played its part, with Labrum debuting its latest collaboration with adidas: a sleek Adizero runner reimagined with West African artistry, alongside pieces from the upcoming adidas Originals x Labrum capsule, complete with jacquard textures and utility-infused outerwear.
But it wasn’t just the clothes that made Osmosis one of the most powerful moments of the week. A live performance by the Balimaya Project turned the show into a musical spectacle. As polyrhythmic beats and brass instruments filled the space, with vocals from artists like Tawiah and Che Lingo weaving in stories of diaspora and identity, the collection came to life. That soundscape, equal parts ancestral and streetwise, gave the show a communal pulse, transforming the runway into a space of cultural transmission.
YUHAN WANG
Yuhan Wang’s SS26 collection, Armour of Roses, took inspiration from the surreal dualities of Mulholland Drive. Wang cast her heroines as women stepping out of someone else’s narrative and into their own: armed with roses, lace, and crystalline defiance. Armour appeared in delicate forms, as vintage floral prints softened sculpted corsets, and lace-panelled dresses with silver hardware glinted under the runway lights. Her signature cat motifs, lace frills, and jersey-spliced tailoring remained, while new techniques included sky-mapped beading, sketching out an imagined Hollywood skyline across a sheer black gown.
Wang’s skill is her ability to bend any reference, from mid-century glamour to noughties LA streetwear, into her unmistakably ethereal world, and this collection was no exception. Accessories like blue dice, crystal-encrusted hairpieces, and sheer gloves leaned into the Lynchian surrealism, and the styling felt fantastical without losing its grip on reality. Wang’s craftsmanship continues to impress, especially in her handling of deadstock materials and fine lacework. Still, the casting left room for growth – a broader range of body types could have brought even more power to the story she’s telling about reclaiming femininity on our own terms.
TOGA
In TOGA’s SS26 collection, belts were the heroes: cinched tightly around blazers, dresses, and sheer layers, drawing the eye again and again to the waistline. Whether corset-like or leather-strapped, each belt acted like punctuation across the collection, anchoring soft, abstract shapes with sharp intention. There was a playfulness to the silhouettes – ice cream-inspired draping, exaggerated curves, and slouchy boots fallen around ankles – but also a real sense of control. Amid the styling, there was something quietly sensual happening: structure without stiffness, softness without losing shape.
Not everything landed perfectly, as some of the oversized floral prints, while beautiful in cut, felt a little too mature for the brand’s younger customers. But just as the momentum wavered, the collection offered a clever pivot: split-sleeve T-shirts designed in collaboration with NTS restored a sense of cool. That contrast, between polished and undone, gave the show its pulse. The collection didn’t scream for attention, but if you were watching closely, there really was something for everyone.
GEORGE TROCHOPOULUS
George Trochopoulos presented his SS26 collection through a series of intimate showroom appointments, held in a stark black and white space where models quietly rotated in and out of view. Standing in front of a neat board of 22 looks, the designer would simply gesture toward one; moments later, a model would appear wearing it, giving onlookers the rare chance to observe the intricacy of his all-knit creations up close. It was a quietly confident setup, perfectly suited to a collection rooted in personal memory. For SS26, the Greek designer drew from the hazy, erotic energy of Athens in August.
Trochopoulos has always leaned into sensuality, but this season the mood felt more introspective than ever. Pastel shades of lemon, lilac and coral softened his signature body-conscious silhouettes, while fine fringe, asymmetric hems, and sculptural volume showed the sheer range of what Trochopoulos can do within knitwear. The collection has already made headlines, being worn by Maya Jama to British Vogue’s party celebrating Raye’s cover over the weekend.
HARRI
Backdropped by the brutalist charm of the Barbican, HARRI unveiled ‘Museumwear,’ a collection that leaned noticeably into wearability while retaining the label’s playful edge. True to form, twins were central, with BRICKS contributor Brett Staniland and his brother Scott closing the show in inflated sleeves and exaggerated shoulders, paired with jeans and casual flip-flops. The looks balanced experimentation with accessibility; club-ready latex gilets were layered over loose denim, dad-fit jeans were offset by sleek orange Havianas, and crisp streetwear reimagined everyday staples in his familiar latex fabrications.
The denim lineup in particular highlighted HARRI’s evolving direction, stripping things back without diluting the brand’s signature eccentricity. Inflatable details and latex touches were still present, but integrated with greater subtlety, offering a more grounded take on spectacle. ‘Museumwear’ felt like a shift that suggests HARRI is as invested in shaping the future of streetwear as in delivering headline-making silhouettes.
PAULINE DUJANCOURT
Inspired by the character of Nina in The Seagull by Anton Chekhov, who she played as a theatre student in Paris, Pauline Dujancourt built her runway on themes of absence and flight. Underground at 180 Strand, the air was thick with ritual: dried stalks scattered underfoot, guests’ chests fastened with a total of one hundred and fifty crocheted bird brooches, each one stitched by her hands in memory of a friend. On the runway, the clothes themselves moved like wings folding and unfolding: draped gowns with soft, rounded curves, knits that felt almost airborne, skirts that seemed to hover with tulle inlaid through crochet. The palette walked us through mourning and into light, opening with a black mourning dress and closing on a luminous swan-like gown inspired by her mother’s wedding dress.
Despite its deeply emotionally-charged inspiration, Dujancourt channelled her grief to take her out of her comfort zone and shape the textiles themselves. Argyle knit and crochet granny squares (both traditional techniques she admitted she disliked) were reimagined and stretched into sensuous lattices, while knits that are usually heavy became light and translucent, as if ready for flight.
ASHLEY WILLIAMS
Ashley Williams staged her SS26 collection like a love letter to the ordinary. Nurses, cement mixers, x-ray technicians, even toilet-paper factory workers were recast as her muses, walking in mint and pink uniforms softened by rosettes and floral accessories. Tactical belts and vests were reimagined as comfortable daywear, and safety glasses framed with ribbons became as covetable as couture sunglasses. Orthopaedic padding softened sharp heels, while floral toilet rolls became bracelets. The show was steeped in nostalgia for the provincial, but with a purposeful and almost angelic spin, like watching your neighbours transform chores into choreography.
The success here (besides the adorable cat prints plastered onto glossy light blue fabrics) was how Williams made community care look both tender and defiant. She dressed the mundane with fantasy, not to escape it but to honour it, encouraging us to look again at uniform and routine, and to see beauty in repetition and service.
SUSAN FANG
For her SS26 collection ‘Air-Evolution’, Susan Fang turned the Barbican Conservatory into her own parallel universe. With steel pan drums echoing off glass walls, models drifted past in dresses that looked half-grown, half-dreamt, building a hopeful utopian bridge between our present world and a future where nature and technology are in harmonious symbiosis. Sheer organza layered like petals – a technique she continues to refine with her mother – bounced softly down the runway, vintage flower motifs revealed clusters of cyphers, skirts stitched with beads caught the light like dew, alongside crystal-dripped skullcaps, coral-shaped handbags, and even eyewear sprouting mushrooms.
The collection highlighted Fang’s expertly navigated balance between whimsy and craft. 3D printing sat next to crochet, high-tech laser cutting was paired with hand embroidery, and it never felt forced. The footwear collaborations made the fantasy feel wearable, through pearl-beaded Nikes, Rockfish fuzzy gemstone boots, and Melissa cherry blossom jelly shoes.
CHARLIE CONSTANTINOU
Charlie Constantinou’s ‘Season Five’ felt like a shift from darkness into light. The collection opened in shadowy greys, then unfolded into softer blues, earthy greens, and browns, before surging into bold purples and reds. Shown at the NewGen space in 180 Studios, the palette functioned almost architecturally, guiding the mood and shaping the silhouettes rather than serving as mere decoration.
The use of purple was especially striking, setting the work apart in a season where few designers touched the shade. Airy linens and cottons were paired with tougher technical fabrics, producing pieces that balanced delicacy with durability. The result was utilitarian yet atmospheric; a grounded collection that drew its strength from colour as much as cut.
ASHISH
Ashish turned the runway into the most colourful dancefloor London has seen this season. For his SS26 collection ‘Fresh Hell’, the designer reimagined his beloved sequins into tiny mirrors stitched across oceans, reflecting and blurring the troubled times he was born into. Tie-dye and Madras checks cut across borders, dresses pulsed with indigo and pink chiffons, and rainbow faux furs hypnotised every viewer. Each piece shimmered like a protest banner disguised as party clothes: armour sewn from sequins, each tile a tiny act of revolt mirroring both the joy and uneasy times we’re living in. A t-shirt, emblazoned with a hand-drawn graphic and the words “Fashion not Fascism”, underpinned the designer’s commitment to using his runway show to share bold political statements.
Closing out our London Fashion Week, this performance brought an energy unlike any previous runway showcase. Each model didn’t just walk; they danced, spun, sweated, and carried the weight of sequins, catching every glimmer of light. Ashish reminded us that glamour isn’t empty. It’s a soft, glittering “fuck you!” to despair, stitched with love, worn as resistance.
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