London’s Fall 2025 season belonged to Burberry, where Daniel Lee went back to outerwear and heritage, and to Simone Rocha, whose fifteen-year climb looks as steady as ever. Around them, Erdem turned paintings into clothes, Richard Quinn swapped his florals for black, white and bridal, and Roksanda, Emilia Wickstead and Di Petsa delivered more mixed results. Here is a quick overview of every show we reviewed, with a short take and a few looks from each. The full reviews are linked under every house.
Want to compare seasons? Read our London Spring 2026 overview and London Fall 2026 overview, or browse every city in our Fashion Week coverage.
Burberry
Daniel Lee understood the assignment. He dropped the experimental colours and prints of past seasons and went back to what Burberry is about: outerwear, heritage and weather-ready clothing. Tate Britain was dressed as a countryside retreat, and the clothes drew on the interiors of grand English country houses, with tapestry prints, jacquard and velvet suits echoing antique wallpaper and upholstery. The palette stayed earthy, in browns, greens and burgundy, across trenches, oversized parkas and wool coats. A cinched brown plaid overcoat and the deep olive double-breasted trench on Jason Isaacs stood out, while the signature trench came in embossed leather, fringed jacquard and a floral ikat-style print. It suggests Burberry may be stronger than ever… Read the full Burberry review
Simone Rocha
Tough and tender, past and present, structured and unruly: Simone Rocha built this one on contrasts. The starting point was the fable of the Tortoise and the Hare, read as a nostalgic trip through school uniforms, teenage rebellion and dreamy romance. Biker jackets met faux-fur stoles, rugby shirts were softened with ruffles and beading, and faux-fur coats were sliced into strips while silk ribbon dresses were shredded and retied. Stuffed hares hung over shoulders like handbags, next to pearl-encrusted tortoise clutches. Alexa Chung wore leather over a faux-fur bandeau, and Fiona Shaw a black satin egg dress cinched with bicycle-lock chains. Fifteen years in, Rocha’s slow and steady climb looks undeniably strong next to designers who chase trends… Read the full Simone Rocha review
Erdem
A stunning display of impressionist artistry, made with the artist Kaye Donachie. The collaboration is a personal one: Donachie’s blue-toned portrait of Erdem Moralioglu’s late mother, Marlene, painted years earlier, appears on the very first dress, a simple wraparound piece. From there her soft-edged figures, blurred florals and moody hues turn into prints, embroidery and textured embellishments. The craftsmanship is breathtaking, with layered organza, intricate hand-dyed fabrics, oversized watercolour-like florals on neoprene coats and textured embroidery in navy, claret and burgundy. Even the new Bloom bags join in, with curving brass tulips for handles. Structured, nipped-waist dresses sit next to flowing, expressive ones, and the whole thing balances eccentricity, elegance and emotion while staying wearable. Truly gorgeous… Read the full Erdem review
Richard Quinn
Fashion as pure fantasy. Richard Quinn staged his show in a Georgian townhouse and imagined the scene after a black-tie affair: guests in couture stepping out into a cold night lit by Victorian street lamps while snow drifts down. The palette was mostly black and white, a clear break from his usual bold florals, letting the details stand out. Think 1950s and 1960s couture, with cinched waists, voluminous skirts, satin bows, rose corsages, tulle veils and sequined embroidery. A black velvet column dress with an aqua shawl top stood out alongside a mint tulle gown with feathers. The closing bridal looks were very strong, and prove Quinn is a capable businessman too… Read the full Richard Quinn review
Roksanda
A mixed bag. Roksanda Ilincic took her cue from the late artist Phyllida Barlow, who made monumental art out of discarded materials, and translated that into oversized tailoring, rich textures and bold colour pairings. The opening looks were impeccably made and conceptually strong, with draping and unexpected textures that set a high bar. Then the collection started to feel disjointed. The sculptural pieces worked: floppy sponge-panel skirts and fil coupe dresses with trailing threads captured fluidity and movement, and rattling paillettes added sound to the mix. The oversized jackets, sheer black panels and exaggerated sequined headpieces were the weaker experiments, and read more like student projects. With more refinement, this could have been a real strong one… Read the full Roksanda review
Harris Reed
With the world in turmoil, Harris Reed answered with rebellion, protection and self-expression. His designs were declarations. The collection mixed Victorian fashion, British punk and queer history, and reworked the crinoline cage, once used to restrict women’s silhouettes, by leaving it exposed around the signature corsetry. The palette was more restrained than usual, opening in stark black before cobalt blue and gold arrived. One standout paired a shell-like hoop skirt with a bralette sprouting golden antennae, and a tailored bomber had bust cutouts revealing tiny embroidered flowers. A collaboration with Porta Romana added 3D-printed, sea-urchin-like spikes, part armour and part decoration. Savile Row deadstock wool and soft chiffon kept the grandeur from feeling heavy, and the craftsmanship is undeniable… Read the full Harris Reed review
Emilia Wickstead
Emilia Wickstead took Hitchcock’s The Birds and aimed for polished, Hitchcockian elegance. Beyond Tippi Hedren’s iconic green suit, she honoured the women behind the film, costume designer Edith Head and writer Daphne du Maurier. That meant precise monochrome ensembles, tailored coats and sleek gowns that nod to the ’60s but feel modern, with bold reds cutting through subdued greys for a sense of tension. Still, it felt a bit underwhelming next to her past shows. The soft pastels and delicate romanticism were missing, replaced by a darker, more rigid mood of mock-croc coats, pointed bras under knitwear and asymmetric collars. Her femininity only glimmered in the floral-printed minis and a ghostly silver enamel floral gown near the end… Read the full Emilia Wickstead review
Dilara Findikoglu
Dilara Findikoglu is back, and she intends to be remembered. Venus from Chaos took over a gritty underground London club, all soft and hard, delicate and rebellious. Her signature corsets became armour, some moulded from leather, others built from pearls, seashells and rows of safety pins. Lace stockings showed under slashed skirts, sheer Victorian-inspired undergarments gave an eerie, ethereal feel, and braided hair extensions were woven into the clothes. There were tattooed bodysuits made with leather artisans Whitaker Malem and Converse Chuck Taylors reworked with pearls, pins and distressing. Her brief to the models was medieval rockstar, moody but ethereal. She wants fashion to feel exciting again, and this show did exactly that… Read the full Dilara Findikoglu review
Bora Aksu
Bora Aksu looked to Empress Elisabeth of Austria (Sissi) and the gap between her fairytale imagery and a woman confined by royal expectation. The collection played with this duality beautifully. Delicate, layered lace dresses and sheer tulle gave a sense of fragility, while black pom-poms and crocheted details hinted at something darker underneath. Aksu’s romantic silhouettes took on an almost ghostly quality, as if Elisabeth’s legacy was haunting the runway. The black-and-white looks were especially striking in their quiet drama. Lace, jacquard and taffeta came together in a rich, layered way. The Austrian Expressionist Egon Schiele showed in pinstripe skirt suits and polka-dot lace dresses with an almost unsettling beauty… Read the full Bora Aksu review
Di Petsa
Dimitra Petsa’s Reflections of Desire drifts from what made Di Petsa compelling. The show leaned hard on symbolism, with lip prints, medieval iconography, angelic figures and bridalwear turned on its head, but ended up a collage of concepts that didn’t quite gel. Mia Khalifa is a style icon of mine, yet her look was probably the ugliest outfit of the season. The wet-look dresses came back in deep reds, blacks and browns, though only one black and red one stood out. A label can’t rely on a single signature piece. The draping and lace show real skill, but this felt like an attempt to intellectualise desire rather than embody it. There are moments of beauty if you look hard… Read the full Di Petsa review
Huishan Zhang
A glamorous, texture-heavy trip through 1960s nostalgia, with clear nods to Valley of the Dolls and the decade’s It-girls. Huishan Zhang took the film’s feminine, theatrical flourishes and ran with them, sometimes beautifully, sometimes in a way that felt a little overdone. The signature duchesse satin dresses were heavily embellished and red-carpet-ready, laser-cut florals and sequins brought opulence, and transparent raincoats added an unexpected rebellious edge. The best moments mixed British tailoring with eveningwear, like tweed suits softened with crystal brooches. But shredded faux fur, neoprene, sequins, tweed and feathers together made some looks a bit too busy, and the feathered bonnets didn’t quite land. Still, the craftsmanship is undeniable, and when his ideas worked, they really worked… Read the full Huishan Zhang review
Pictures courtesy of Vogue Runway
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