We’ve said it before, and we’ll say it again – fashion is more than just trends; it’s a powerful form of cultural commentary and a reflection of who we are as a society. And history shows us, this has always been the case. At the opening of London Fashion Week’s Spring/Summer 2026, British Fashion Council’s new CEO, Laura Weir supported this notion challenging anyone who views the fashion industry as merely “ornamental,” declaring British Fashion a “national asset and a global signal.”

The collections of LFW SS26 themselves prove this point. In just one day, we were invited to embark on four distinct corners of the world and even into the future. These weren’t simply collections of clothes; they were immersive journeys of authentic artistry – each one a vivid portal to another world.

FIRST, WE VISITED THE TIDES OF AOTEAROA…

In his LFW debut, Rory William Docherty took us to the dramatic coastline of New Zealand. However, it was actually a delicious meditative look at the natural world. Visually, we witnessed ink-drop prints splashed across slouchy suits and delicate silk turtlenecks, reminiscent of “rocky outcrops beneath the waves.” Sea grass drawings sprawled trench coats, offering a kind of “coastal camouflage.” The color palette itself felt like a tide chart – including kelp greens, sun-bleached sandy shades and explosive volcanic earthy hues. The collection featured meticulous design details such as the signature Painter’s Shirt which was reworked into a loose jumpsuit and a parka hood that draped like a sailor’s collar. Docherty’s collection offered a glimpse into a decade’s worth of design evolution. His iconic origami sleeve was there, but reimagined in a dramatic new form: glossy black patent leather that captured the slick, wet texture of coastal rock. It’s a prime example of Docherty’s ability to create clothes that are both wearable and beautifully, meaningfully crafted.

AT LUNCHTIME, WE WERE IN THE YEAR 5202 AT THE BARBICAN CONSERVATORY…

Susan Fang‘s collection titled “Air-evolution” didn’t just move us geographically; it sent us forward in time to the year 5202 within the backdrop of the iconic Barbican Conservatory. Inspired by a compelling sci-fi story that Fang crafted, the collection featured a beautifully detailed future where technology and nature exist in perfect harmony. The clothes were described as “sensory amplifiers,” designed to help the wearer actually feel the world around them. The entire show was a multi-sensory experience, held in a space that felt like a “bubble spaceship.” And, in reality, the atmosphere of that space defied any attempt to put it into words. But perhaps that was the point? The whole thing was a beautiful reminder that our emotions aren’t just things we feel, but they’re probably the most powerful “technology” we have.

THEN, WE WENT TO HAMLEYS TOYSTORE…

AK|OK Anamika Khanna took us back to our childhood by way of a toystore. But not just any toystore, the toystore of all toystores: Hamleys. And rest assured this wasn’t a dusty trip down memory lane, but a fresh, modern take on heritage. Weaving in traditional elements like the Angarkha robe and Chikankari embroidery gave us a matrimony of nostalgia and the search for freedom within memory. Rather than being trapped by our memories, the show felt like an immediate invitation to pause in the now in order to really appreciate the beauty of what we have always had.

FINALLY, WE CAME FULL CIRCLE TO LONDON’S SKYLINE…

Malone Souliers took us to the 17th floor of an iconic brutalist building and gave us further moments of reflection. Imagine this: a panoramic view of the London skyline as the backdrop that fuelled the conversation between raw concrete and pure art. It was good for the sole and good for the soul. The collection was inspired by the free-spirited vibe of the late ’60s and early ’70s, a fitting end that proved once again: fashion isn’t just what we wear, it’s where we go.

Written by Sandy Aziz