London Fall 2026 ran from Burberry’s trench-coat night out at Old Billingsgate to Erdem’s 20th anniversary and a Tolu Coker show with King Charles III in the front row. 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 designer.
Want to compare seasons? Read our London Spring 2026 overview and London Fall 2025 overview, or browse every city in our Fashion Week coverage.
Burberry
Burberry closed London Fashion Week with a collection made for a very specific moment: a cold London night when everyone is heading somewhere. Daniel Lee left last season’s countryside behind for the city after dark, with a glowing replica of Tower Bridge and glossy “puddles” across the runway at Old Billingsgate. And honestly, it was trench mania. There were trenches for every kind of night out, soft and feminine with dramatic ruffled collars, or in leather, check, crumpled silk and heavy shearling, plus one with a map of the surrounding London streets etched into the leather. If you love trench coats, this was basically heaven. The palette stayed dark and moody in burgundy, midnight blue, black and plum, with beaded dresses made for a dance floor somewhere in Soho… Read the full Burberry review
Simone Rocha
Simone Rocha’s show had a slightly darker pulse than usual, but it still carried the dreamy, romantic spirit that defines her work, mixed this time with something bolder and more grounded. The biggest moment was easily the Adidas collaboration, which felt surprisingly perfect for her: track jackets, sneakers and striped pants reworked with lace layers, ribbons, pearls and delicate trims. Sporty basics meeting vintage femininity is something Rocha has been circling for years, and here it finally came together. The collection was rooted in Irish mythology and the story of Enbarr, the mythical white horse, along with Dublin’s “Pony Kids”, which explains the sturdy tailoring, wool coats and nostalgic tea dresses. Ribbon rosettes sat on dresses like equestrian awards, and shaggy shearling gave it all a heavier mood than we usually see from her… Read the full Simone Rocha review
Erdem
This collection marked Erdem Moralioglu’s 20th anniversary, though he made it clear he wasn’t interested in a straightforward retrospective. He called it a “mashup” of the women, eras and references that have shaped his work, an imaginary conversation between figures like Radclyffe Hall and Maria Callas. You could see it everywhere: brocades collided with lace, ribbons with feathers, crystal embellishment with frayed patchwork. It could easily have felt chaotic, but somehow it didn’t. There was a rhythm to it that felt intentional and very Erdem. The palette moved from soft creams and lemon yellows to deep florals and watermelon pink lace, and the silhouettes were dramatic, with panniered skirts, crinolines and sweeping coats. Bra tops with relaxed jeans and mannish blazers slipping off the shoulder kept it cool and not costume-like… Read the full Erdem review
Richard Quinn
Richard Quinn continues to hold a very specific space at London Fashion Week: beautiful gowns for women with somewhere important to be. Fall 2026 leaned fully into that. The show opened in black and white before slowly bringing in reds, fuchsias and soft pastels, and the colour was honestly stunning, those bright pops almost delicious against the darker gowns. Corseted bodices, strapless bustiers and sharply defined waists made sculpted hourglass shapes, with crinoline skirts, layered tulle and mermaid tails for volume. Crystal brooches acted like built-in jewellery, and velvet absorbed the light while satin reflected it. It is all very familiar. If someone told me this show was from three years ago, I probably would not question it. But that consistency is part of his identity. He is simply making really gorgeous gowns… Read the full Richard Quinn review
Harris Reed
Titled Multifarious and staged in the Claridge’s ballroom, this felt more like theatre than a typical runway show. It opened with four brides in flowing veils of magenta, cerulean, seafoam and rose, the debut of Reed’s Fluid Bridal line. One standout was a Chantilly lace look inspired by the first wedding dress Reed made for Camille Charrière; another paired a crystal-dusted cowl neck top with flared trousers, a nod to what Reed wore on his own wedding day. Beyond bridal there were pannier hips, dramatic corsetry and face-framing collars in burnt cobalt velvet, pink jacquard and gold quilting, with feathers and tiger print for a slightly feral edge. Reed’s work often gets labelled as costume, and that criticism feels a bit lazy. These clothes were desirable, and the whole thing was fun. And I love some fun… Read the full Harris Reed review
Emilia Wickstead
This felt very much like a Wickstead show, though with a slightly different energy. The starting point was Fano Messan, the sculptor and actress from 1920s Paris who disguised herself as a man in order to study sculpture, and that movement between masculine and feminine shaped everything. Androgyny sat at the centre: relaxed, slightly oversized tailoring, broad shoulders, wide leg trousers, and coats in menswear checks and textured tweeds, styled with soft sweaters, flat shoes and clean hair for a bookish, artist-like mood. The concept made sense, but it might not be everyone’s favourite version of Wickstead, because some of the polished softness people expect from her was missing. When she leaned back into her strengths, though, the results were strong: precise tailored coats, a sculptural black gown with a full skirt… Read the full Emilia Wickstead review
Tolu Coker
Tolu Coker’s show arrived with a lot of attention thanks to one unexpected guest. King Charles III sitting front row is not exactly a normal London Fashion Week moment, and the image of him watching a show inspired by the designer’s West London estate upbringing became one of the most talked about scenes of the week. Titled “Survivor’s Remorse”, the collection was deeply autobiographical, recreating Mozart Estate, where Coker grew up, and putting working class life right at the centre of luxury fashion. The tailoring was the strongest element: cropped jackets with rounded shoulders, sharp wool trousers and structured coats, with nods to traditional British dressing handled lightly. Plaids and bright shirts brought warmth and colour, the short, slightly playful ties were easily one of the best details, and the shirt dresses with soft corsetry… Read the full Tolu Coker review
Di Petsa
Dimitra Petsa has built a reputation around sensuality, and this season she leaned straight into it. The Di Petsa woman remains unapologetically sexy, wrapped in sheer fabrics, body-hugging silhouettes and the signature “wet look” draping that feels almost liquid on the body. For Fall 2026 she turned to Medusa, who before she was the feared gorgon was a beautiful nymph who found power through transformation and rage. Snake-skin prints, messy hair and serpent-like details nodded to the myth without turning it into costume. What made the show interesting was the attempt to go beyond familiar territory: a bamboo knit grey skirt suit, frayed denim separates, menswear and even bridal. Still, the tension is clear. The wet look dresses remain the most memorable part, which raises the question of whether the brand risks being defined by a single aesthetic… Read the full Di Petsa review
Bora Aksu
This Bora Aksu collection was inspired by Sukie, an 18th century barmaid whose tragic story has lingered in local legend for centuries. Aksu even stayed in the room where she supposedly once lived and traced her final journey through the nearby Hellfire Caves, and that sense of mystery hung quietly over the entire show. It unfolded like two chapters. The first imagined Sukie’s everyday life, with crystal-dusted short suits, check wool skirt-trousers, martial-style jackets and velvet puffers tied with ribbons. Then things became dreamier as the story shifted to her ghostly presence: polka dot gowns with ruffled layers, puff sleeve dresses, transparent tulle and gossamer capelets that looked like they could drift away at any moment. The crochet work was a highlight, especially the blood red poppies blooming across a black dress. If anything, the colour palette could have felt slightly more focused… Read the full Bora Aksu review
Pictures courtesy of Vogue Runway
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