London Fashion Week Autumn/Winter 2025 is officially underway. The Marie Claire fashion team is on the ground, bringing you all the stand-out moments from the catwalks, as well as a preview of next season's trends. Take a look at some of our highlights below, and stay tuned for more to come.
Ashish
The morning after the night before felt like a perfectly apt theme for Ashish's 9am show slot on the final day of LFW. Confetti and balloons were messily strewn about the 180 Strand show space, with foil balloons strung behind seated guests which read "Walk Of Shame". Models with bedraggled hair, smudged lipstick and dark sunglasses walked the runway in the Indian designer's signature sequins, with slogans reading "Not in the mood" and "Wow what a shit show".
While a playful concept, the messages were a signifier of the wider political climate — one model walked down the runway holding a cardboard sign which stated "The end is near" and another wore a hoodie which spelled out "Slut for socialism" in gold glitter. However, resistance came from having fun — something Ashish is very good at. His cast of quirky characters, dressed in glistening jeans, skirts and knitwear, danced around the show space for the finale to Amadeo's 1977 disco hit 'Moving Like A Superstar', providing the perfect antidote to a rainy Monday morning.
Keburia
George Keburia's namesake label made its debut at LFW AW25. The collection was defined by oversized silhouettes and surrealism, inspired by "the decorative excess of the 19th century". The Georgian designer's cast looked like dolls, with giant bows, bubble skirts and inflated collars and cuffs. These were balanced with double breasted military jackets, cropped breeches and delicate lace and tulles detailing. Nothing was as it seemed — several different coloured berets were stitched together to create one new hybrid hat. Separate knitted cardigans and sweatshirts formed together to construct dresses. Black and white gloves served as chokers, bustier embellishments and head gear, as several hands snaked their way up model's torsos. It was like falling down the rabbit hole in Alice In Wonderland, and never wanting to get back out.
Chet Lo
Chet Lo is always a highlight of the BFC's cohort of New Gen designers. Known for his spiked knitwear designs, this season marked a strong development for the brand. The colour palette was more muted than the usual neons — burgundy, grey and brown featured heavily throughout. The menswear in particular stood out. Graphic knitwear, ties and tailoring showed a more grown-up version of the Chet Lo customer, with office-ready looks that still retained the designer's sense of playfulness. Along with wide scarfs, co-ord sets and floral dresses, this might have been his strongest and most cohesive collection to date.
Toga
Toga's AW25 show was entitled “Formal, Informal, Anti-formal”. Creative director Yasuko Furuta said in the show notes: "I started to wonder whether formal concerns in dressing were now outdated. Whether they’d been deemed unnecessary." She referenced her own design from Toga's 2017 collection, of a skirt punctured with holes, updating the idea as a ring micro skirt which featured several times throughout the collection. Faux-fur featured on jackets, accessories and footwear, complemented by sparkling brooches and oversized collars. This was a collection that editors and insiders continued to name-check as one of the best of the week — we want to wear everything, now.
Jawara Alleyne
Jawara Alleyne's AW25 collection was entitled 'Construction'. The designer made a name for himself by splicing garments and pinning them back together with safety pins, and while this collection was light on the pin-side, it was heavy in fabric. The show notes explained that "the designer turns his gaze toward the fundamental principles of making — how things come together, how they are dismantled, and how, in their reconstruction, new narratives emerge". A thumping soundtrack accompanied Alleyne's layered, repurposed designs which featured his signature fringing, gathering and knotting. The designer effortlessly fuses his Cayman Islands heritage with London's historic punk aesthetic to create something entirely new and dripping in attitude. Shredded polo shirts worn on top of one another, tiered, multi-fabric jeans and sculptural, padded neck pieces had audiences thinking about clothes in an entirely different and exciting way.
Sinead O'Dwyer
As always, Sinead O'Dwyer is one of the most refreshing brands on the LFW schedule. Inclusion is top of the agenda, and the Irish designer's clothes are all the more better for it. Deep burnt reds stood out amongst the black and white, with her signature sculpted tights and body suits sitting alongside tailoring and denim. This is her last show as part of the BFC's New Gen scheme, and follows her recent LVMH Prize semi-final nomination. For AW25, O'Dwyer reflected on her four-year tenure and the characters who have inspired her shows, including: "Unruly teenagers, sneaking across boggy fields under the cover of night; studious yet forlorn cello players at musical summer camps; maids and nannies, bored in their bosses’ homes; secretaries, school matrons, submissives; gymnasts, dungeon masters, dancers…"
SRVC
Held at the top of the landmark BT Tower, guests were given personalised name badges to wear as they entered SRVC's AW25 show. With guests exiting the lift to be seated in a circle on swivelling stools, it all felt a bit 'Severance' — and this was intentional. The show notes explained that: "the sky-high setting is more than just a backdrop it is a statement. A space synonymous with communication and hyper-connectivity becomes the stage for a collection that interrogates exposure—how we guard ourselves, how we reveal, and how we navigate a world that constantly demands too much."
The collection started off with traditional workwear — however, grey suits, shirts and tailoring were given a twist by featuring key-hole cut-outs, deconstructed sleeves and trailing leather belts. It then progressed to feature sand-blasted denim, tracksuit-style sportswear and finally evening wear in the form of sequin two-pieces and gowns, taking the SRVC woman from the office to the club.
Tolu Coker
Rising star Tolu Coker invited guests to be a part of her collection-creation process for AW25. Her presentation showcased an atelier set-up, complete with sewing machines, moodboards and rolls of fabric (which various staff members dressed in white coats were working on throughout) as well as a live musical performance, with models dancing, and a look book photo shoot on a red set, which guests could stand and watch. The immersive experience was "a decision rooted in transparency, collaboration, and a desire to slow down and savour the process of creation". There was so much to absorb, and it really highlighted just how much goes in to creating a fashion collection — something that was top of mind throughout the AW25, slimmed-down version of LFW. This stood out as one of the most innovative and exciting shows on the schedule, and the clothes also delivered — Coker's signature fusion of African and European styles continues to feel elevated, modern and wearable.
Huishan Zhang
Edie Sedgwick and the heightened glamour of the 1967 movie, Valley of the Dolls, served as the inspiration for Huishan Zhang’s Autumn/Winter 2025. The result? A highly glamorous yet rebellious collection which mirrored the two defining movements of that sartorial era. On the conformist side: beautifully crafted drapes gowns with tulip silhouettes and capes, adorned with feathers and sparkling jewels, prim pearl earrings. On the rebellious side: see-through vinyl trench coats, checkered mini skirts and feather balaclavas, dramatic winged eyeliner.
“The ’60s taught us that progress is rarely linear. By fusing Sedgwick’s rebellious spirit with the tragic glamour of Valley of the Dolls, we honour the women who paved the way while questioning the narratives that confined them,” said Huishan Zhang.
Central Saint Martins MA Graduate Show
L-R Petra Fagerstrom, Scar Kennedy, William Palmer
Some of fashion's greatest designer's have come through CSM's MA program, and the course's graduate show is a fail-safe place to spot new talent at LFW. This season, the standard was extremely high between all the different designers, and gimmick-free. The focus was on the clothes, which were really good. Petra Fagerstrom and William Palmer were winners of this year's much coveted L’Oréal Professionnel Award. Fagerstrom is a Swedish designer who was inspired by thinking about AI for her AW25 collection, which featured hyper-digitalised prints, pleating and bold accessories. Palmer took inspiration from traditionally British objects, crafting tea-towels into shirts and tea-cups into hats. Special mention also goes to Scar Kennedy, for her brightly coloured knitwear adorned with glittery pom-poms, tastefully clashed together. The future looks bright for the class of 2025.
Denzilpatrick
Design duo Daniel Gayle and James Bosley are behind menswear label Denzilpatrick. For Autumn/Winter 2025, presented at a primary school in Camden, the brand told a story of "pride, place, and camaraderie as we create a modern parade of chivalry and brotherhood". With references ranging from motorbike gear to medieval knights (there was literally a metal chest plate worn by a model towards the show's end) the collection was elevated yet thoroughly wearable. Chunky knits and bold outerwear stood out, in a bright cornucopia of colours.
Edeline Lee
On Saturday morning, Edeline Lee hosted an intimate breakfast at The Dorchester Hotel to present her AW25 collection. Silver sequins, chocolate brown and powder blue ran throughout, across flowing dresses and fitted separates. Fresh from her being announced as a shortlisted designer for the BFC/Vogue Fashion Fund 2025, the designer commented: "I was thinking about all the powerful women in my life, and it struck me how actively we support each other whether that's professionally or in our personal lives. In my experience, women don't fight each other, we train each other to fight, we share our knowledge and experience - we challenge each other, but we have each other's backs. My clothes equip women with confidence - I want them to feel they can do or face anything."
Di Petsa
Dimitra Petsa knows how to put on a show, and this season was no different. Entitled 'Reflections of Desire' love and lust ran throughout the collection, from blood red gowns and lace detailing to a life-size Cupid walking the runway, complete with white wings and a rose. One model wore vampire teeth, alluding to the darker side of passion. Her signature wet-look gowns were reimagined in leather, accompanied by fur accessories, all equipping the Di Petsa woman for colder winter months.
Completedworks
Anna Jewsbury always manages to enlist a superstar for her London Fashion Week show, and this season it was the turn of American actress Debi Mazar. Audiences were treated to a live shopping channel, with an original script written by playwright Laura Waldren. Earrings, necklaces and rings featured the label's signature pearls, but with a twist, having zirconias draped across them.
Talia Byre
At an intimate gallery space in Marylebone, Talia Byre presented her AW25 collection. Bright and colourful, it was a much needed dopamine hit on the rainy Friday of LFW. Clashing checked prints and striped tops were shown alongside wide-fit trousers and long-barrel bags. The 70s references were instantly recognisable, yet the styling and composition of the collection was entirely modern.
Named 'Lily Byre' the collection was dedicated to the designer's great-uncle's sister, "a friend who left to soon". The show notes read: "You could call it eclectic. You could call it crackers. You could call it a wardrobe for the ones with too much personality to contain. The ones who don’t just get dressed, but assemble themselves in layers of wit, history, memory, and instinct. The ones who have something to say, even in silence."
Maximilian Raynor
Presenting off-schedule on Thursday evening was Maximilian Raynor. It was the recent CSM graduate's debut solo show, but he already has a roster of celebrity clients including Lady Gaga, Chappell Roan and Amelia Dimoldenberg.
Entitled 'Welcome To The Un-united Kingdom' guests entered a warehouse filled with smoke, branches and hay bales (which also served as seats). After a spoken word performance from three hooded characters, the clothes came out. From 70s fitted shirts with dramatic dagger collars paired with flared trousers to weaved, sculptural coats and dresses, there was a lot to be excited about.
After a dance interlude, the final gowns appeared — long and trailing trains were balanced with jutting shoulders and snug hoods, in red, black and white. A screen was then pulled back to reveal a live band, with guests jumping up from their seats for a riotous finale. With a show such as this one, Raynor cemented his status as a designer to know.
Dilara Findikoglu
After a year's hiatus, Dilara Findikoglu made her return to the London Fashion Week schedule last night. Hosted at renowned nightclub Electrowerkz, model Lara Stone opened the show in a black leather corset dress. The Dilara design codes were out in full force, with sculptural bodices and garments drawing on a variety of historical references, all reinterpreted for the modern woman.
Mithridate
On Friday morning, Daniel Fletcher made his debut as creative director for Chinese-owned brand Mithridate. Described as "British heritage meets Chinese craftsmanship", Fletcher's signature preppy style was instantly recognisable throughout the collection. Saccharine sweet shades were balanced with muted yet sharp tailoring, complete with layers of knitwear and shirting. Sequins and beads added playful flashes, and caramel suede featured across jackets, trousers and skirts.
Noon by Noor
Noon by Noor is a luxury womenswear brand established in 2008 by cousins Shaikha Noor Al Khalifa and Shaikha Haya Al Khalifa. For Autumn/Winter 2025, the duo wrote in their show notes: "We worked on strong, sharp, and simple silhouettes to define our proportions, focusing on shoulders, waists, and fabric manipulation, using drapes to create volume in unexpected ways." With a tight colour palette including black, caramel and citrine, the clothes spoke for themselves, being cut to perfection.
E.L.V. Denim
E.L.V. Denim, the brain child of Anna Foster, made its debut at London Fashion Week this season. With a presentation on Thursday night, the brand took its fully upcycled designs to the runway. Entitled 'The Journey', it traced its evolution from the first pair of jeans in 2018 to a full ready-to-wear collection, including shirting, tailoring, leather and evening wear. Anna Foster said in a release: "From the very beginning, we believed—and still believe—that we make the best jeans in the world. Our commitment to upcycling, local manufacturing, and true sustainability sets us apart. Some might call that a bold statement, but we have the processes to prove it."
Sinead Gorey
An underground car park in central London might not seem like the most natural place for a fashion show...but Sinead Gorey can turn anything into a catwalk. Her army of girls were fresh from the club, with smeared lipstick, cigarettes hanging out their mouths and clutching paper bags of KFC (an official sponsor of the show). Gorey has a knack for nostalgia, and her designs this season featured plenty of tartan, stripes and bows — all served with a side of attitude.
Harris Reed
Florence Pugh opened Harris Reed's show at the Tate Britain, the first on-schedule show of London Fashion Week. The actress delivered a Shakespeare-inspired monologue to kick off the proceedings, wearing an an exaggerated corset and sheer hood. The collection was classic Harris, sticking to a black and gold colour palette, with plenty of sculptural and dramatic shapes.
