London’s Spring 2026 season had plenty to celebrate, from Roksanda’s 20th anniversary in a former embassy ballroom to Harris Reed’s tenth show, before Burberry closed the week in a festival tent at Perks Field. Around them, Richard Quinn and Erdem delivered the romance, Dilara Findikoglu and Chopova Lowena brought the rebellion, and not every favourite fully landed. 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 Fall 2026 overview and London Fall 2025 overview, or browse every city in our Fashion Week coverage.
Burberry
Burberry closed London Fashion Week with a show that felt both nostalgic and fresh to me. Daniel Lee took the house back to Perks Field, where a painted-sky tent set an instant festival mood for a collection about music as style, a love letter to Britain’s cultural heartbeat. The clothes were very British without being obvious: sharp Beatles-inspired suits, waxed cotton trenches with a rockier lean, suede coats punched with paisley and short A-line takes on the signature outerwear. Jolts of green, yellow and teal cut through the usual earthy tones, while checks turned psychedelic next to crochet minis, tarot-printed trenches and metallic chainmail. Oversized parkas and stacked boots kept it wearable. Vintage-inspired but never stale, and British yet expansive… Read the full Burberry review
Simone Rocha
Shown at Mansion House, a setting that felt both fitting and slightly out of place, Simone Rocha’s spring collection leaned into the idea of a disgruntled debutante. It is not my favourite Rocha collection, but there was still plenty to love, and the chartreuse gown with padded hips was a true highlight. The references were girlhood and the uneasy move into womanhood, with Justine Kurland’s Girl Pictures and Maureen Freely’s essay on adolescent dress rehearsals as sources. Wonky crinolines, panniers and trailing skirts came with tiaras slightly askew, pillow-like bags, folded arms and pouts. Sequined bralettes slipped off shoulders, plastic overlays looked like bouquet wrapping and real flowers were tucked into the clothes, awkward yet tender… Read the full Simone Rocha review
Erdem
An Erdem collection somehow always feels like home to me, and this one did too. Prints and colour bloomed across the runway, a reminder of why Erdem is a London favourite. Erdem Moralioglu looked to Hélène Smith, a late 19th-century medium who claimed past lives as Marie Antoinette, an Indian princess and a Martian traveller. That mix of surrealism and history made the collection otherworldly yet grounded in the house’s romanticism: lace corseted dresses with hip cages, embroidered coats, sari-inspired gowns and Martian alphabet motifs, with bursts of neon pink and green keeping things modern. Sharp craftsmanship stopped the wild references from turning chaotic, and satin trenches that shimmered like eveningwear kept it wearable. A beautiful continuation… Read the full Erdem review
Richard Quinn
Richard Quinn’s gowns are the dresses you could run across cobblestones in at the end of a rom-com. Staged in an antique concert hall with hydrangeas, chandeliers and a live orchestra, the show drew on 1950s couture, with corseted bodices, bell skirts and sweeping trains in colours from fiery reds to soft pistachio greens. Every look shimmered with life. To me, Quinn is the only designer still championing unabashedly pretty, feminine gowns, and he does it well. Nothing felt stuffy or nostalgic; it was playful, fantastical and flattering, and I think most women would look good in these pieces. Big gowns, bold embellishment and romantic flourishes are the formula, and that consistency is part of the appeal… Read the full Richard Quinn review
Roksanda
Roksanda turned 20 and got the celebration she deserves. I have followed her work since the beginning, so this was a thrill to witness. The show took over the grand ballroom of the newly opened Chancery Rosewood hotel, once the American Embassy, with Serbian song filling the room before the first model walked. Barbara Hepworth’s modernist sculpture shaped the collection through amoebic cutouts and curved lines, alongside shaggy raffia fringing, painterly prints, echoes of pannier dresses, liquid drapes and sharp tailoring. The colour was rich and the fabric draped to perfection, and a red, black and white fringed strapless gown won me over. Some details bordered on the dramatic, but the simpler silhouettes, cut with confidence and clarity, lingered most… Read the full Roksanda review
Harris Reed
Harris Reed’s tenth season was pure drama from start to finish, over the top in the best way. Staged in the moody Gothic Bar at the St. Pancras Hotel, The Aviary mixed fantasy and nostalgia, pulling from 70s London nightlife and an 80s Mugler fantasy of swirling fabrics and towering platforms. Leopard and tiger prints sat beside duchess satins, frothy tulles, feathers and gilded wallpapers, while cage-like structures and winged silhouettes suggested both confinement and freedom, the models like rare birds in motion. These are showpieces to be admired and editorialised, not packed in a carry-on. Reed’s magic, for us, lies in fantasy, not functionality. Not everything in fashion needs to be practical, and he delivered exactly that… Read the full Harris Reed review
Emilia Wickstead
I have long admired Emilia Wickstead’s regal, feminine style, but something felt off this season. The vision was there: Robert Mapplethorpe’s world of radical sensuality and haunting florals, shown salon-style inside her Sloane Street store with Maria Callas singing Vissi d’arte. Orchid prints and harness-like details carried the reference, and a plaid dress twisted into sharp diagonals and a striking yellow sequin gown stood out. The execution didn’t quite land. The fit on many looks seemed unfinished, and the clothes missed the elegance that usually makes her pieces feel like new gen heirlooms. Polo knits and jeans showed she wants to broaden her language, yet the collection sat uneasily between refined glamour and a grittier push that isn’t fully resolved… Read the full Emilia Wickstead review
Dilara Findikoglu
Dilara Findikoglu staged a performance as much as a collection in the shadowy Ironmongers’ Hall, with rattling chains and glaring lights setting a visceral mood. Cage of Innocence looks at the weight of purity and how women have been confined by it. It opened with ghostly white dresses, beautiful but suffocating, then moved into latex, torn lingerie and corseted silhouettes pushing against restriction. It was unsettling at times, and that felt intentional. Silicone cherry embellishments and horse-bit headpieces stood out, and the cherry dress was a chef’s kiss. Her first bags added a commercial layer without diluting the artistry. What struck me most was Dilara describing the collection as freedom for her ancestors. Haunting, raw and fiercely Dilara… Read the full Dilara Findikoglu review
16Arlington
Marco Capaldo’s 16Arlington lookbook is every party girl’s dream wardrobe, and the clothes do most of the talking. Glittering, feathered fun meets sharp, confident tailoring, with the ease of a 90s Rachel Green slip dress, the stage sparkle of Elvis Presley and a very British streak of irreverence. It moves easily from day to night, from a pencil skirt and crisp blouse to a feather-trimmed slip and a rhinestone-scattered jumpsuit, and the contrasts never feel forced. They are what make the collection feel alive. The feather scarves are brilliant and could be an it item if marketed well; picture one going straight from the office to the dance floor. These are clothes meant to be lived in and shown off… Read the full 16Arlington review
Ahluwalia
Priya Ahluwalia’s Affinity is about love in all its forms: tender, turbulent, playful and intense. The romantic atrium of the NoMad Hotel hinted at intimacy, and a live score deepened the mood. Draped silks twisted into sculptural shapes that captured the knots and releases of being in love, flyaway fringes brought freedom and chaos, denim was sliced open to suggest vulnerability and asymmetrical skirts bubbled with excitement. Cherub, love-letter and marigold prints drew on Indian weddings and universal gestures of devotion, in jewel greens, sapphire blues, scarlets, rubies and soft pinks. Satins felt sensual and plaited knits suggested an embrace. Sustainability ran throughout, with recycled fabrics, laser-printed denim and circular fashion partnerships. It felt as personal as it did universal… Read the full Ahluwalia review
Bora Aksu
Delicate, haunting and quietly hopeful, Bora Aksu’s spring show looked inward, to his lifelong collection of cracked Victorian dolls. Those forgotten figures are the emotional heart of a collection that turns fragility into strength. In a sunny, almost dreamlike Covent Garden garden, layers of tulle, lace and crochet echoed the dolls’ frilled nightgowns and faded frocks. An iridescent lace gown and frothy prairie dresses in pale pink were highlights, while semi-sheer tulle revealed the layers underneath, like a surface being peeled back. Powdery peach and coral softened gothic black lace, and oversized sequins and playful checks added whimsy. Imperfect ruffles and uneven layers made everything look restored rather than pristine. Beauty here comes from carrying history, cracks and all… Read the full Bora Aksu review
Chopova Lowena
Pure chaos, in the best possible way. In a season of minimalism, Chopova Lowena was a welcome riot for the weird girls and the maximalist girls who don’t care if anyone gets it. Emma Chopova and Laura Lowena staged Cheerlore in a West London community hall turned football field fantasy, where mascots handed out crisps and punk beats rattled the floor. Models stormed through like feral cheerleaders, reclaiming the uniform that once belonged to their bullies. Knife-pleated skirts, varsity jackets and football lacing collided with brocade and chainmail, plus panniered hips padded like linebacker shoulders and pom-pom jackets like mascots gone rogue. Gloriously unapologetic but never careless: maximalism with intention, and proof there is power in being too much… Read the full Chopova Lowena review
Di Petsa
Dimitra Petsa digs into the archaeology of self, through mythology, memory and fragments of Greek identity. The collection balances her signature draped sensuality with a more wearable, everyday edge. Blue-and-white seashell and moon phase prints, plus tongue-in-cheek slogans like Ancient Male Figure and Angel of Athens, nod to tourist-shop kitsch and reclaim it with humour and elegance. Draped dresses hug the body in that effortless Petsa way, fringed pieces move beautifully, and sarongs and T-shirt dresses add versatility. The finale dress didn’t quite land, but the rest was strong. Greece is referenced in just the right amount, never heavy-handed or clichéd. Petsa expands her vocabulary without losing her essence: mythic yet commercial… Read the full Di Petsa review
Yuhan Wang
Yuhan Wang has a sharp understanding of women, and Armor of Roses proves that clothes can be delicate and defiant at once. The starting point was David Lynch’s Mulholland Drive, with its blurred dreams and women trapped in male-gaze roles, rewritten so that the women become heroines of their own stories rather than victims. A theatrically crashed red Cadillac sat on the runway, and models stepped out of the wreckage in lace and strength. Lace minidresses met padded, armour-like silhouettes, roses were stitched throughout, and a sparkling black dress mirrored Los Angeles at night. Really lovely, wonderfully styled and thoughtful, it made the tension between vulnerability and protection feel powerful rather than contradictory. Softness is a weapon… Read the full Yuhan Wang review
Pictures courtesy of Vogue Runway
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