For us, we are most excited to see these shows:

Susan Fang — Friday 18 September

Susan Fang is one of London’s most intriguing designers and has attracted significant attention during recent fashion weeks. Her work combines technical systems, manual skills and imaginative themes as a part of her creative output.

Her SS2026 collection showcased her intricate methodology. Imagining a society existing 3,000 years in the future, Fang translated this futuristic world into 3D-printed shapes, silhouettes produced by computers, small decorative glass pieces using her established manual construction methods. In a partnership with her husband, Orelio, she used digital simulations of air currents to shape computer generated forms. She then converted those virtual shapes into physical garments – but also included tactile elements like layered “air flowers”, feathers, beads and transparent textiles. These materials ensure the final collection maintained a connection to its manual labor.

Her recent projects continue to examine the relationship between technology and emotionality. In her AW2026 collection, displayed in Shanghai her home, she utilized historical styles alongside modern materials. Using light silk fabric, nylon netting, resin insects and 3D-printed shoes, a visual style characterized as existing outside of common terrestrial experiences was curated.

So what are we expecting for SS27?

We expect more experimentation, but hopefully not just for experimentation’s sake. Fang’s strength has always lied in making technology emotionally connect to the audience, over simply technical elements. We also expect sculptural silhouettes, intricate surface treatments and an increasingly sophisticated dialogue between digital design and traditional craftsmanship.

Ahluwalia — Saturday 19 September

Few London designers have developed such a distinct visual, creative, and culturally significant design language as Priya Ahluwalia.

Her SS2026 collection, named Affinity, explored love and intimacy through her combination of her Nigerian and Indian heritage. The collection drew upon her experience’s with Bollywood cinema, Motown, Indian miniature paintings and the Nigerian goddess, Oshun. Detailing such as draped silk, fringe, asymmetry and denim were used to express the contradictory feelings associated within romantic relationships – tension, vulnerability, romance and release.

However, in Ahluwalia’s AW2026 collection, they took that conversation somewhere more communal. Friendship became the central theme, and this was embodied through braided details, interlocking, and woven denim. The collection demonstrated Ahluwalia’s increasing ability to translate personal and cultural research into creative ingenuius.

This is particularly unique because Ahluwalia is a designer whose work rewards closer examination in order to appreciate her ingenuity. Her collections aren’t simply about beautiful clothes; they are constructed around narratives of her personal identity and hertigate.

Having personally examined Ahluwalia’s work academically when looking at factors affecting emerging fashion enterprises, this is one show I’m particularly excited to experience in person, as Ahluwalia has continued to rise above the crowd, securing their space as an influential fashion brand.

So what are we expecting for SS27?

For SS27, the question is where that narrative goes next. Ahluwalia has already displayed collections from romantic relationships to friendship and community. What other forms of connection could they explore next? Whatever the subject, we expect research-led storytelling, strong textile development and the collision of tailoring, sportswear and occasion dressing that has become central to the house.

Richard Quinn — Saturday 19 September

Quinn’s recent collections have historically focused on the art of occasion dressing (the practice of selecting and styling an outfit to match the specific formality, time, setting, and dress code of a notable event or social gathering). His AW2026 collection pushed that idea in a different way, contrasting the strictness of highly constructed gowns and corsetry with a futuristic fantasy setting. The result was a vision of “cosmic couture” with formal dressing reimagined for a world far beyond the traditional ballroom.

His SS2026 collection presented 44 highly constructed and embellished looks with a narrow colour palette: moving from black and white into red, fuchsia and pastel. Rather than moving away from glamour as newer trends suggested, Quinn has doubled down on it.

And that makes his SS27 show particularly exciting.

At a time when much of fashion is obsessed with the ‘clean girl aesthetic’, quiet luxury, and minimalism, Quinn continues to argue for fashion as spectacle of creativity and art. His collections remind us that getting dressed should be fun and important.

So what are we expecting for SS27?

We expect drama, elaborate construction and occasionwear pushed beyond convention, but perhaps Quinn may surprise us – continuing to question what modern glamour actually looks like.

McQueen — Sunday 20 September

Few names on the London schedule carry the same weight as McQueen.

This season is particularly special as Seán McGirr will present McQueen’s SS27 collection in London, noting the house’s return to the city. The British Fashion Council has marked the show as one of the key moments for this year’s September’s schedule.

McGirr’s tenure has been more difficult than those of other creative directors as the houses’ founder still remains one of fashion’s most influential figures.

Nevertheless, his recent collections suggest that the designer is becoming increasingly confident in that process of taking up this challenge. His AW2026 collection explored intimacy and voyeurism in a more psychologically driven form of glamour – while his Resort 2026 work drew on images of British aristocratic society and transformed them through sharp tailoring and a distinctly modern attitude.

More recently, McGirr’s Paris presentation for AW2026 was described by The Guardian as ‘one of his strongest collections to date’, with his respects to McQueen’s Widows of Culloden by accompanying them with new interpretations of tailoring and lace on the body.

This is homecoming for the brand.

So what are we expecting for SS27?

For SS27, expect a conversation between British identity, sensuality and the house’s archive—but the real thing to watch will be how far McGirr pushes his own voice and still retain his founder’s legacy.

Burberry — Monday 21 September

And then there is Burberry, fashionably late.

Closing this year’s London Fashion Week on Monday evening, Daniel Lee’s Burberry remains one of the most anticipated fashion shows.

Lee’s recent approach has been deliberately restless. For Spring/Summer 2026, he paid homage to British music culture and 1960s–70s references by incorporating shorter trenches, skinny tailoring, colourful leather, sequins and fringed accessories into the designs. The collection notably reduced the emphasis on the traditional Nova check and conventional trench coat by instead choosing to reinterpret Burberry’s codes through a more directional lens.

For Fall 2026, the mood shifted again. Lee delved into London’s nightlife through a show staged at Old Billingsgate, using Tower Bridge as part of the theatrical setting and bringing a darker, more nocturnal energy to the house, serving as a distinctive shift in the brands aesthetic posititoning.

That constant evolution makes Burberry one of the shows I’m most curious about.

Where does Lee take the house next?

The challenge is no longer proving that Burberry can be modernised. He has already demonstrated that. The question is whether these different cultural references can begin to form a more coherent long-term identity for the house.

With Burberry closing LFW, expect a major production, strong British references and—if Lee’s recent work is anything to go by—a familiar house code viewed through an unexpected lens.

The London shows on our radar

From Susan Fang’s fusion of technology and craft to Ahluwalia’s cultural storytelling, Richard Quinn’s maximalist glamour, McGirr’s ongoing reinvention of McQueen and Daniel Lee’s increasingly experimental Burberry, the common thread of this year’s LFW is  reinterpretation.

London has never been at its strongest when it attempts to imitate the rest of the fashion capitals. Its strength is its willingness to experiment.

And with several established British houses returning alongside emerging designers, SS27 could be a particularly interesting season for London to reaffirm exactly that.

For me, the excitement is not simply in seeing the clothes on the runway. It’s in seeing how these designers respond to where fashion is now—and, perhaps more importantly, where they believe it is going next.

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Photo Credits: https://www.showstudio.com/?gallery=1&look=1, https://ahluwalia.world/pages/aw26

The post London Fashion Week SS27 Shows We’re HOLDING SPACE For: What to Expect at This Year’s Fashion Week appeared first on Style Cartel.

Everyone has a fantasy on fashion week before they’ve ever been to one. It’s front row and flashbulbs, it’s Anna Wintour sunglasses indoors, it’s an editor sweeping past you in something couture while a soundtrack plays that only exists in your head. That’s the version sold to you in every recap video, every “get ready with me” reel, every glossy little montage set to a song you’ll have stuck in your head for a week.

Then you actually do it. And you realise the glamour is real, technically, but it’s about ten percent of the experience, thinly spread over four days of chaos, cold pavements, and a phone battery that dies faster than your will to live. Nobody warns you about the other ninety percent. So consider this the debrief nobody gave me before my first season, written so you don’t have to learn it the hard way, on a bus, at 8am, mascara down your face, wondering why nobody mentioned any of this.

You will live on public transport

Forget the fantasy of being whisked between shows in a blacked-out car with someone’s assistant handing you a chilled water. That’s happening, somewhere, to someone. It is not happening to you, not on your first season, and possibly not ever, unless your surname is doing some very heavy lifting.

The truth is more TfL than Chanel. You will learn the fastest walking route between two venues that Google Maps insists is fifteen minutes but is actually eight if you don’t mind arriving looking like you’ve run a small marathon. You will become fluent in editing content on a moving bus, thumbs flying, one AirPod in, praying the wifi holds long enough to post before the next show starts. For journalists and content creators especially, the ones actually documenting this thing in real time and not just attending it, the commute isn’t the gap between the job. The commute is the job, disguised as dead time.

The schedule is a suggestion, not a promise

Every running order you’re sent will lie to you, gently but consistently. Shows starting “on time” is a myth passed down like folklore, something people mention with a wistful little laugh. In reality, a 2pm show might start at 2:40, which means the 2:30 you had lined up next door is now a scheduling car crash, and you’re standing outside two venues at once trying to work out which gamble pays off. You learn to build in buffer time you don’t actually have. You learn to make peace with missing things. You learn that the person who looks calm and unbothered in the queue next to you is very possibly doing the same mental spreadsheet you are, just with better concealer.

The follow-up email is your best friend

Here’s the one that catches people out: attendance at fashion week is rarely confirmed when you think it will be. You’ll pitch for a show weeks in advance, hear nothing, assume it’s a no, and mentally move on. Then, at 2am the night before, or sometimes the morning of, an email lands confirming your place like it’s the most normal timing in the world. Which, in this industry, it is. The people who get in consistently aren’t necessarily the most connected. They’re the ones who follow up. Politely, persistently, and without ego. Send the email again. Then send it again. The worst outcome is silence, and you’re used to that already.

Dressing up can get you into doors

Nobody tells you this bit because it sounds shallow, but it’s simply true: how you look can get you in. Not always. Not for everything. But there is a real, largely unspoken economy at play outside every venue, where a good outfit, the kind that gets you shot by the photographers lining the entrance, the kind that makes a PR do a double take, can be the difference between standing at the back and being quietly walked to a seat that wasn’t yours ten minutes ago. Dress like you belong and, occasionally, you just start belonging. It’s not fair. It’s also fashion week, so fairness was never really on the table.

You will forget to eat, and then resent everyone who didn’t

There is no lunch. There is, if you’re lucky, half a pastry eaten standing up outside a venue while replying to three emails and trying not to get foundation on the packaging. Food during fashion week becomes theoretical, a thing you plan for, mention out loud, and then abandon the second the next show alert pings. By day three you will feel a genuine, unreasonable flash of resentment towards anyone casually holding a proper meal, as if they’ve personally betrayed the unspoken rules of survival. Buy the snacks. Keep them in the bag with the power banks. Future you will be grateful, in the brief window future you remembers to eat them.

Someone will be crying on the phone to their mum, and it might be you

Nobody puts this in the highlight reel, but fashion week is emotionally lawless. You are running on no sleep, too much caffeine, and the constant low hum of comparing yourself to everyone around you, and at some point the dam breaks. It’s not rare to walk past someone tucked into a doorway, phone pressed to their ear, quietly falling apart to their mum about how tired and overwhelmed they are, while somehow still living out a version of their actual dream. Both things are true at once. That’s not a contradiction, that’s just what the week does to you. I definitely don’t speak from experience. Definitely.

Afterpartys are your time to network to the max

By the third day your body will be operating on a diet of dry shampoo, adrenaline, and whatever canapé someone handed you at 11pm that you never actually got to eat. Exhaustion will hollow you out in a way that feels almost structural, like tiredness has moved into your bones and set up a small flat there. And yet, the afterparty is not optional. It’s arguably the most important part of the day.

This is where the real conversations happen. Not the rushed, PR-chaperoned two minutes outside a show, but the actual ones, the kind where someone remembers your name three months later because you talked properly, human to human, glass in hand, guard down. Network here or don’t network at all. The shows get you in the room. The afterparties get you remembered.

Your bag becomes a small crime scene

If you’re working for a social-first publication, prepare for your “what’s in my bag” to stop looking like a fashion editor’s and start looking like a field engineer’s. Four power banks. A ring light. A microphone or two, tangled together in a way that defies physics. Phone mounts. Spare SD cards you will still somehow run out of. Security will unzip it, pause, and look at you with the specific concern usually reserved for people who might be building something. You are not building anything except content, but try explaining that in a two-second bag check queue.

Sometimes the street is the show

Here’s the bit that genuinely nobody tells you: you don’t always need to be inside. Every fashion week has its unofficial hubs, the cafés, the corners, the bits of pavement outside the big venues, where the entire industry seems to just gather. Content creators, influencers, editors, stylists, the odd person you can’t quite place but who is clearly someone. You will spend as much time working these spots as you do the shows themselves.

 

 

 

 

 

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I didn’t get into one of the shows I most wanted to see. I stood outside instead, phone in hand, mildly sulking. And that’s how I ended up seeing Julia Fox, in her natural Julia Fox lore.

That’s the trade, really. You lose the seat. You gain the story. Most seasons, that’s a fair swap.

So, will you survive it?

Yes. Probably with worse feet and a strange new relationship with your Citymapper app, but yes. Fashion week is not the fantasy they sell you, and it’s not meant to be. It’s four days of logistics wearing a very good outfit. The car doesn’t come. The schedule lies. The bag looks suspicious. You eat standing up, if you eat at all, and at some point you will need to sit on a curb and text your mum something slightly dramatic.

But somewhere between the bus commute and the bag search and the show that started forty minutes late, you’ll end up on a pavement talking to someone you never expected to meet, and it’ll click: this was never really about getting inside. It was about being present for the bits that happen when you’re not. Go in tired. Go in under-slept. Just make sure you go in wearing something that gets you noticed. Importantly, check your inbox at 2am, just in case.

The post What Fashion Week Doesn’t Tell You (Until You’re Crying) appeared first on Style Cartel.

Stella McCartney Winter 2026: A Rockstar Return to the Stables

Stella McCartney Winter 2026 Runway

The Vision: An Equine Masterclass in Empathy

The Atmosphere: Majesty in the Manège

Stella transformed the arena into an equine sanctuary to celebrate the Year of the Horse. Five black horses stood at the centre, radiating power and strength. They were joined by white horses led by equestrian artist Jean-François Pignon. The setting invites guests to experience a deep human-horse connection away from external turmoil. Every horse received treatment with the utmost dignity and care throughout the performance.

The Vision: Escaping Chaos for a Human-Horse Connection

The Atmosphere: Equine Artistry Meets Savile Row

Guests stepped out of the Paris noise into a serene equine world. Five majestic black horses stood at the centre of the arena. They were joined by a procession of white horses, led by the renowned equestrian artist Jean-François Pignon. It was a powerful demonstration of strength and majesty, mirroring the collection’s duality. The music provided an emotional, almost intimate background to this incredible human-horse connection.

The “First and Last” Looks: Duality and Daring

The opening looks like a celebrated dichotomy, pairing sharp Savile Row tailoring with spliced suits and riding leggings with stirrups. It established the Winter 2026 “Stella Woman”: masculine yet feminine, playful yet precise. The “last looks” returned to high-octane glamour, featuring glitzy dresses and a show-stopping “last” look in a cascading, mink-effect vegan fur that moved with architectural grace.

Deep Technical Detail: Tailoring the Future with 93% Sustainable Soul

Stella McCartney has never used leather, fur, or feathers since the brand’s inception in 2001. For Winter 2026, 93% of the materials are sustainable. This commitment to diligence, transparency, and accountability is fundamental to her “life to date.”

Key Trends, Pieces, silhouettes, and Accessories

• Vegan Fur Alternatives: Including a stunning leopard jacquard and a mink-effect Falabella that aligns perfectly with ready-to-wear.
• The Slogan Tank returns: Did someone say “My Dad Is A Rockstar”? Yes, the iconic slogan is back and immediately gone viral.

• Architecture and Artistry: Fisherman rib constructions, semi-sheer wool-silk blends, and hand-crocheted hearts referenced intimate memories from Scotland.
• The New Pyramid Heel: Introducing an architectural, pyramid stiletto heel across footwear.
• Equine Motifs: Star and heart prints in mesh coexisted with airbrushed ponies created in the brand’s atelier.
• GRS-Certified Blends: Tailoring remains fundamental, using responsibly sourced wool with defined waists and strong shoulders.

Cultural Connection: The Stella World

Who is Stella McCartney?

Stella is the daughter of Paul and Linda McCartney and a pioneer of ethical luxury. She bought her brand back from Kering years ago to maintain full autonomy over her sustainable values. This independence allows her to innovate without compromising her lifelong respect for living creatures.

Why are Oprah and Paul McCartney front-row fixtures?

The front row was a legendary family affair with Paul McCartney and Oprah Winfrey in attendance. Oprah remains a vocal fan because Stella’s brand aligns with her own values of intention and wellness. The presence of these icons highlights the brand’s unique intersection of rock royalty and global influence.

Style Cartel Ratings:

• The Wow Factor: 5/5 — Seeing live horses in a Parisian manege is unforgettable.
• The Styling: 4.5/5 — Expertly balancing ’80s sportswear with delicate Chantilly lace.
• The On-Brand Factor: 5/5 — This is the quintessential Stella McCartney DNA.

A Legacy Carried on Horseback

The Winter 2026 collection is a triumph of memory and modern conscience. Stella McCartney successfully married her past—Savile Row, Scotland, and ’80s athletics—with her future. The show reminds us that fashion can be both glamorous and kind. As these pieces hit boutiques in July 2026, they will carry the soul of a designer who never wavered.

What do you think of the return of the slogan tank? Leave a comment below!

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Photo Credit Stella McCartney

The post Stella McCartney Winter 2026 Review: Horses, Heritage & Vegan Slogans appeared first on Style Cartel.

Fashion week often feels like a series of cold, fleeting moments. Labrum London’s Fall 2026 show shattered that icy mould entirely. Foday Dumbuya didn’t just stage a runway; he hosted a cultural homecoming. This show matters now because it reclaims the narrative of the immigrant experience through joy. At Style Cartel, we look for brands that offer more than just clothes. Labrum offers a bridge between West African heritage and the grit of East London. It is art, politics, and family woven into one cohesive silhouette.

Labrum London Fall 2026

The Vision: More Than a Runway, It’s a Movement

The Atmosphere: A Summer Cookout in Autumn

Forget the sterile white boxes of traditional shows. Labrum Fall 2026 radiated a “summer cookout” vibe that transformed the venue. After guests exchanged warm greetings, the energy shifted into an all-day celebratory event. Music pulsed through the space, and the lighting mimicked a golden hour in Freetown. No one wanted to leave the space even after the final model exited. It was a lived experience, not a staged performance.

The “First and Last” Looks

The show opened with a striking, oversized, asymmetric coat in a vibrant earth-toned jacquard. It immediately anchored the collection’s message of “Found in Translation.” This first look signalled a blend of traditional utilitarianism and high-fashion elegance. The final look was a breathtaking, multi-layered textile masterpiece that moved like a liquid sculpture. These looks sparked immediate conversation about the evolution of the Labrum man.

Deep Technical Detail: Tailoring the Diaspora

Dumbuya’s design language is rooted in “Designed by an Immigrant.” For Fall 2026, the technical execution reached new heights of sophistication.

Key Trends, Silhouettes, and Fabric Innovation

• The Oversized-Beige-Blazer: A staple reimagined with subtle West African embroidery.
• Agbe-Inspired Silhouettes: Traditional tunics transformed into modern streetwear through structured canvas.

• Fabric Innovation: We saw a heavy use of sustainable raffia-weave and recycled wool blends.
• Key Accessories: Hand-painted leather pouches and oversized, structural bucket hats defined the look.
• 3D-Knit Textures: Intricate knitwear patterns that mimicked traditional Sierra Leonean floor mats.

The Rise of a Cult Giant

Who is Foday Dumbuya?

Foday Dumbuya is the creative force behind Labrum London. Born in Sierra Leone and raised in London, he creates to tell the stories of West Africa. He received the Queen Elizabeth II Award for British Design in 2023. His work serves as a dialogue between his dual identities.

How Labrum London Rose to Cult Status

Labrum London ascended by consistently putting community at the forefront of luxury. Dumbuya moved beyond “resort wear” to create complex, intellectual tailoring. The brand became a cult favourite by refusing to compromise its cultural integrity. It proves that authentic storytelling is the most valuable currency in fashion.

Who is the New Labrum London Client?

The new client is a global citizen who values provenance over logos. They are culturally literate and appreciate the intersection of music, art, and fashion. This individual seeks out garments that act as conversational archives.

What Celebrities Wear Labrum London?

We regularly see cultural titans like Idris Elba, Lewis Hamilton, and Little Simz in Labrum. These stars embrace the brand’s blend of heritage and modern tailoring. They represent the “Labrum Family” that Dumbuya fosters with every collection.

The Future of British Luxury

Labrum London Fall 2026 successfully institutionalised the “cookout” as a high-fashion format. Foday Dumbuya continues to prove that luxury is about connection, not exclusion. This collection will undoubtedly impact the market by shifting demand toward heritage-driven streetwear. Labrum is no longer just a “one to watch”; it is a pillar of the new British fashion establishment.

Follow Style Cartel on Instagram and TikTok for more exclusive PFW and LFW content. Leave a comment below: What was your favourite look from the cookout?

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Richard Quinn SS26

Richard Quinn’s Show Had It All—Including an Icon.

La Campbell’s look was an overture. It introduced 52 corseted dresses. Net petticoats were everywhere. So were miles of duchesse satin. Kilos of crystals were also used. The magnitude of it was breathtaking. It even surpassed the numbers from Quinn’s last few shows. The collection ran through many tones. Black and white, pastels and carnation red were all there. The show built to a crescendo. It ended with at least six white bridal dresses. This dress inflation is a reflection of his success. It shows the size of his captured business. He is a master of the wedding business.

A Symphony of Volume and Grandeur

The Dress Inflation

The designer had an inspiration in spring 2020. He ended his show with a tableau of brides. It’s taken to the extreme. He has a large atelier. The atelier works constantly. It is at the Quinn headquarters in South London. A service that flies tailors to private clients. They attend to them in their homes. This direct-to-consumer model is very smart. It cuts the risks of relying on wholesale. Connecting with Quinn is easy. Just use the WhatsApp number on his website.

From Showmanship to Smart Business

The Direct-to-Consumer Model

The Quinn show is about volume. Volume in the crinolines. Volume in the show’s length. Variety, though, not so much. Quinn’s silhouettes are from the 1950s golden age. Then they are embellished. He designs embroidery in the studio. Artisans in India create it. His signature wafting chiffon florals are a formula now. They are a product of his own in-house works. This is admirable.

A Formula for Success

Golden Age Silhouettes

Quinn has succeeded through dedication. He delivers what customers want. He’s an entrepreneur. He figured out how to grow a business. This happened despite Brexit and Covid. “Less is more” is not his vocabulary. His work proves something. Not all super-wealthy tastes veer to quiet luxury.

Some of his attention to detail was marred. There were last-minute glitches. A dangling tulle, a visible strap. Still, the show’s operatic scale is important. It brings business and employment to Britain. Richard Quinn is a proud product of South London. Just like Naomi Campbell herself.

Don’t miss out on more fashion news! Follow us on Instagram: @StyleCartel and @StyleCartelMedia on TikTok, too. Leave a comment below and tell us what you thought!

Photos: Richard Quinn

The post Richard Quinn’s SS26 Show: Naomi Campbell, Opera, and the Business of Excess appeared first on Style Cartel.

Pauline Dujancourt SS26 London Fashion Week

Dujancourt’s connection to textiles runs deep. Her grandfather worked in a dye factory. He brought fabric scraps home for his wife. Pauline’s grandmother, Marianne, crafted clothes for six children. “My parents sent me to their place,” Dujancourt recalls. “My grandmother taught me crochet.”

Pauline Dujancourt: Grief, Grandmothers, and Gulls at LFW

She studied fashion in Paris. Then, Central Saint Martins accepted her in 2020. “I moved to London at 20,” she states. “The scene impressed me deeply. I loved the independent designers here.” London Fashion Week promised experimentation.

Blooms, Birds, and Breakthroughs

Pandemic London greeted Dujancourt without a job. “Suddenly I had time,” she says. “I rediscovered my crochet books.” Her AW25 collection showcases this craft. Dresses and capes burst with crocheted flowers. “My first show was for my grandma Marianne,” she reveals. Marianne had a special plant. It bloomed only once. After her passing, her children propagated it. The plant flowers every February. This marks her birthday anniversary.

A Parisian Heart in London’s Fashion Pulse

“In 2024, mine didn’t flourish,” she recounts. “I decided to make that flower bloom in my work. Thousands of crocheted flowers appeared. They connected us.”

This massive undertaking is ethical. Dujancourt collaborates with Peruvian women. They crochet from home. This allows them to care for families. “It’s a huge help for us,” she explains. “We know all the makers by name.”

The Seagull’s Song: A Narrative of Resilience

This SS26 collection draws from Chekhov’s The Seagull. Dujancourt once played Nina. Nina’s final monologue resonates strongly. She compares herself to a seagull. A strong, driven woman. “I identify with Nina’s resilience,” Dujancourt shares. “Creativity is joy and strength.” Nina finds faith despite hardship. “Life doesn’t hurt so much anymore,” she says.

A sudden loss hit Dujancourt hard. A close friend passed away. “The shock was immense,” she confides. She turned to Nina’s words. Creativity became her solace. She immersed herself in the process. The narrative deepened. A poem, given to guests, reflects this. It became the collection’s seed.

Birds are central to her designs. Dujancourt explored shapes and volumes. She returned to images of folding wings. These curves inspired her drapes. “It reminded me of my mum’s wedding dress,” she adds. A “Mourning dress” opens. A “Mother’s dress” closes. They juxtapose pain and joy. Both mark life’s important moments.

KEY Pieces

• Crocheted Flower Dresses
• Bird Dresses with Tulle Knit
• Hybrid Argyle Sweaters

Silhouettes

• Voluminous Drapes
• Feather-light Layers
• Structured Crocheted Capes

Accessories

Delicate Knit Shawls
Hand-crocheted Bird Brooches

Reinventing the Fabric of Fashion

Dujancourt tackled technical textiles. She re-examined two archetypes. Argyle knit sweaters. Crochet “granny squares.” These once repelled her. She chose light yarns. Tulle strips are combined with them. New hybrid versions emerged. They feel light as feathers. They are vaporous, sensual, and feminine. The “Bird Dress” embodies this. It’s a striking silhouette. It breathes life into textile development.

In honour of her friend, Dujancourt crocheted birds. Four hundred and fifty birds. A gift for each guest. Worn as brooches. Each bird symbolises transition. Letting go of pain.

Why Pauline Dujancourt is a One to Watch

Pauline Dujancourt offers more than clothes. She offers stories. Her designs are deeply personal. They are ethically produced. She pushes textile boundaries. Her vision is unique. She transforms grief into beauty. This is fashion with soul.

Don’t miss a beat! Follow @StyleCartel on Instagram for all the latest fashion news and exclusive content! Find us on TikTok too, and tell us what you think of Pauline Dujancourt‘s incredible collection in the comments below!

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This immersive creativity, brought to life by an entire Black cast, powerfully asserts that claiming the future is a collective, essential endeavour. The journey draws closer to its roots, asking us to confront a vital question: what does this level of fantasy reveal about lineage, memory, and the enduring of the soul?

The Emotional Blueprint: Tracing Identity from Human to Mythic

This chapter is a powerful meditation on inheritance and the act of protecting what matters most. The collection’s narrative journey focuses on defining the necessary pillars of survival: Guardianship, Resilience, and Adaptability. All of which trace a universal identity from the human to the mythical. This framework emphasises that transformation is the ultimate act of endurance.

Each piece models this shift. A constant reminder that identity is never static. Stapleton ensures his archetypes are not simply frozen in fantasy but are actively evolving, moving across worlds and manifesting across three distinct states: Base, Warrior, and Elemental. The groups themselves reflect the classic elements, creating four foundational tribes bound by a shared lineage. This structure embodies the beautiful capacity to hold multiple forms and truths at once. The ultimate act of finding strength through change.

This profound storytelling goes beyond fabric; it immerses you in a new world, offering intimate access to the characters’ journey. By watching them navigate the pinnacles of life familiar to us all, from conflict resolution to world exploration. You bare witness to their most vulnerable state as they acclimate to this new plane. You become witness to yourself, seeing your reflection in these characters that embody the new and old.

The Performance: Front Row in a New Universe

The entire production was not a fashion presentation but an active staging of a new universe built on the power of community.

Under the nurturing guidance of performance director Dermot Daly, the cast transcended the role of models, becoming individual archetypes in motion. Each participant possessed a distinct walk, a new rhythm, and a personalised persona. The front row was instantly dissolved; we no longer watched a show, but became privileged witnesses to a living, breathing RPG narrative.

The sense of collective survival was palpable throughout. The models frequently gathered and huddled into their groups during the show, reinforcing the idea that identity and resistance are only possible when shared. This ethos culminated in the final walk, where all collaborators and contributors joined the cast on the runway. This gesture turned the commercial showcase into a true gathering. It affirms that the alternate reality of the ImPossible Family Reunion is a world built and sustained by every person involved.

Garments as Anchors and Portals

The sixth season represents a focus that is both deeply grounded yet intensely expressive. Built upon a foundation of classic streetwear, Stapleton uses bold volume to push these familiar forms into innovative, architectural territory, resulting in bigger and bolder silhouettes that speak of protection and presence.

The collection’s deliberate contrast in materials articulates its conceptual depth, exploring light-versus-weight to mimic temporal tension and dimensional layering. The palette is rooted in earthy tones—deep browns, olives, and organic hues—while textile choices like camouflage, armour, and elemental textures become portals into the narrative. Fabric embodying a duality that is essential for survival. Rooted in natural materials, the garments draw texture from the earth and colour from water. Acting as both a necessary protective layer and a powerful statement of self-assertion. Every piece is an anchor, tethering the wearer to the natural world while empowering them to face the unknown future.

Final Takeaway

The ImPossible Family Reunion is ultimately a revolutionary reminder that survival and identity are not individual acts, but collective ones. The enduring power of the collection lies in its honesty. The growth of the characters mirrors the brand’s own growth as designers. A commitment to balancing honesty with imagination, and heritage with transformation. By grounding a futuristic vision in Caribbean histories of resistance and celebrating every contributor, Yaku Stapleton ensures his design is a vital act of memory and defiance. His work assures us that every step forward rests on the enduring love and resilience of those who came before.

Images By Morgan Williams and Agathe Moubembe Courtesy of Yaku

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Georgian designer KEBURIA has built a Spring/Summer 2026 collection that is a defiant rejection of fragility and conformity. This is a sartorial study in modern strength, confidence, and the freedom to define one’s own identity. For a brand rooted in the Caucasus, blurring the lines between deconstructed military wear, Victorian elegance, and gaming fantasy isn’t merely aesthetic play. It’s a potent statement about cultural identity and creative resistance.

KEBURIA masterfully merges the elegance of the past with the kinetic energy of the digital age, creating a world where Victorian heroines, military figures, and gaming avatars occupy the same perfectly chaotic space. This collection is a manifesto for the powerful individual who understands that confidence is the only accessory that truly matters.

The Wardrobe of Time-Travellers: Armour and Self-Assertion

KEBURIA SS26 proposes a wardrobe built for those who refuse to stay in one era, exploring the inherent tension and harmony between classic tailoring and sci-fi fantasy. Crucially, the collection is filled with joyful, kitschy designs, offering a subversive spin on classic feminine archetypes.

The collection redefines what strength looks like. The dramatic, fairytale-like elements, such as the circus-style clothing and the oversized puff sleeve, act as princesses redesigned. These pieces retain their innate femininity but are transformed into sartorial armour. The collection asserts that strength is no longer embodied by “functional” clothing but rather the confidence of exploration.

This self-assertion appears everywhere: in trendy micro-shorts, bold circular silhouettes, and striking, reinvented animal print pops. KEBURIA removes the solemnity from structure, transforming deconstructed military uniforms and appliqué’s into a kitsch collection of contemporary statements.

Adding to the brand’s spirit of rebellion against the fashion establishment. The runway delivered an iconic pop culture moment: a clear, unapologetic bid farewell to the ultimate gatekeeper of fashion, Anna Wintour, with a simple ‘Bye Anna’ baby tee. Arguably the most ‘basic’ garment has become the pinnacle of the collection with its social media stardom. It’s the voguish equivalent of a confident mic drop, asserting that the brand’s vision is dictated by its own community, not the old guard.

Dimensional Layering: Material Tension

KEBURIA articulates the collection’s conceptual depth most clearly through the deliberate contrast in materials. An exploration of light-versus-weight that mimics temporal tension and dimensional layering. KEBURIA fearlessly pits the airiest, most delicate fabrics against the toughest, glossiest materials. With the re-occurring tutu’s paired with thigh high PVC lace up boots.

The deliberate juxtaposition of a fragile lace garment next to a rigidly structured piece creates a powerful visual dissonance. It proves that the armour of a military figure can coexist with the ornamentation of a Victorian lady, all mediated by the aesthetic of a hyper-stylised gaming avatars. KEBURIA’s collection doesn’t just revisit history. It hacks it. Proving that the most compelling fashion of tomorrow is being built at the intersection of the library and the server room.

Final Takeaway

The KEBURIA London Fashion Week SS26 collection is a revolutionary final word on identity and power. It confidently rejects the confines of trend cycles, positioning maximalism and kitschy design as the new frontier of strength. By layering charged historical symbols from deconstructed military gabardine to Victorian lace, with the irreverence of the gaming avatar. The brand transforms the runway into a manifesto of creative resistance. This collection is KEBURIA’s bold assertion that the future belongs to those who dare to mix their own past, politics, and power into a beautifully defiant, highly individualistic wardrobe.

Images Courtesy of Agency Eleven and KEBURIA

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Stepping decisively into a dark, tailored future, JENN LEE just transformed the very notion of what constitutes ‘fashion heritage’ into a provocative, rebellious act of modern elegance. Staged inside the Village Underground, a venue perfectly suited to London’s subcultural underbelly, this collection—inspired by the Eastern literary classic: Dream of the Red Chamber, was a manifesto for a new era defined by exaggerated tailoring and a profound, dangerous elegance. This isn’t just fashion; it’s an initiation.

Provocation, Versatility, and the Female Gaze

JENN LEE is playing a much smarter game than relying on the adage “sex sells.” This is subversion as style. Sexuality and power are placed front and centre, but the message is controlled and complex. Signature BDSM products alongside fetish accessories from UPKO weren’t hidden; they were central to the silhouette, giving powerful imagery of submission and provocation that is squarely aimed at the female gaze. The implication is control: submission as a choice, power as an aesthetic.

Crucially, this vision of power is intergeneration. The show featured a range of models, from young to old. Bound in corsets and ruching. This powerful choice demonstrates that this collection isn’t just for the modern woman; it’s for all women. It offers a new definition of ‘girlhood’ and connects women through their own asserted sexual power.

The brand’s enduring key feature—the zipper—is everywhere, transforming garments into customisable tools of self-expression. The versatility offered by the zip allows the wearer to control boundaries, protection, and reveal, making the clothes incredibly adaptive. The choice of modesty or revealing is entirely up to its wearer.

The Collection: Architecture of Subversion

JENN LEE’s London Fashion Week SS26 collection gave us a masterclass in controlled tension. LEE officially retired the raw-edged deconstruction of their past in favour of sleek, sophisticated forms. This foundation was set with pieces handcrafted by a qipao artisan, where delicate, traditional craftsmanship (like hand-tied knot buttons) provided the base of the new collection.

The standout Fan Dress was a study in sculptural texture. It utilised intense layering and sophisticated pleats to evoke the delicate folds of Eastern fans and screens. But LEE immediately subverts this spiritual elegance: dragon and phoenix frog buttons—ancient symbols of power—were audaciously ripped from their traditional placement and repositioned as tattoo-like visual motifs. This isn’t simple adornment; it’s a declaration of emancipation, breaking a spiritual boundary to signify rebellion.

Then came the darkness: the square-shoulder leather jacket, a reconstructed 1970s vintage piece, immediately screams ‘90s cult cinema. Defined by its sleek structure, the tailoring evoked a severe, vampiric glamour—giving undertones of ‘90s vampires and the raw-edged aesthetic of films like The Craft. The collection ultimately becomes the gothic wardrobe we all grew up yearning for. The entire look is able to captivate its viewer, daring you to look away from its dark poetry.

The beauty team ensured the message was unambiguous: hair moved between “refined and messy,” while the makeup featured black and red cracked lips. Most arresting of all was the collaboration with Salient Class, which saw models accessorised with delicate acupuncture needles, turning the sensation of pain into a beautiful, fragile visual poem. It leans into not only the concept of beauty is pain but plays on the extremities of pain or pleasure

The ‘Phygital’ Aftermath: Entering the JENN LEE Temple

For their anniversary, JENN LEE didn’t want attendees to just see the show; they wanted them to inhabit it. The collaboration with Taiwanese tech platform Portal:M delivered an essential epilogue—the brand’s first public-facing digital fashion 3D ‘phygital’ showroom.

This was a full-scale creative immersion. Through VR headsets, viewers could enter the JENN LEE temple. A gothic virtual reality space that fused the collection’s contrasting Eastern heritage and dark atmosphere. Viewers explored the garments digitally, using the classic zipper motif as a narrative device for “protection” and “emotional tension.”

Crucially, the physical exhibition allowed attendees to explore the coveted world of acupuncture firsthand, echoing the opening dance by Liu I-Ling and the extreme beauty looks. This digital and physical fusion ensures that the provocative spirit of the collection remains palpable long after the runway lights fade.

Final Takeaway

The JENN LEE SS26 catwalk was a revolutionary statement. It transcended a mere fashion show, evolving into a multi-sensory manifesto that confidently merged gothic elegance with ancestral power. From structural audacity of the tailoring to the intentional erotic tension and celebration of all forms of female strength, this was a decade-defining moment that officially welcomes us into JENN LEE’s fierce, refined and enduring future.

Images Courtesy of Dyelog PR and JENN LEE

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Burberry SS26 London Fashion Week

Dive into Burberry’s Spring/Summer 2026 collection. Daniel Lee redefines British style with a music-infused, psychedelic luxury. Discover key pieces, trends, and why Burberry is cool again.

The Return to Roots: Perks Field and a New Era

Lee’s vision for Spring/Summer 2026 was clear. Music was the ultimate muse. A Black Sabbath soundtrack set the mood. “N.I.B.” and “You Won’t Change Me” played. This was a rock and roll awakening. Self-expression and belonging ruled the day.

A Soundtrack to Style: Music Takes Centre Stage

Lee dipped into decades of music. Think 60s psychedelia. Envision 70s rock superstars. Even the 2010s “indie sleaze” made an appearance. The collection was a vibrant tapestry. Traditional Burberry met rebel spirit. It was unexpected and brilliant.

Eclectic influences redefined luxury.

Key Pieces:

• Delicately Crocheted Dresses: Bohemian chic with an edge.
• Double-Breasted Snakeskin Outerwear: A bold statement piece.
• Shrunken Hot-Pink Leather Bombers: Playful and provocative.
• Denim-Effect Waxed Cotton Trench Coats: A rugged, counter-culture twist.
• Paisley Perforated Suede Trenches: Textural and luxurious.
• Flower Logo Ringer Shirts: Nod to vintage cool.

Trending Silhouettes:

• Super-Skinny Suits: A nod to the Beatles and mods.
• Hulking Shoulders: Powerful and dramatic.
• A-Line Trench Variations: Fresh and modern takes.
• Straight Leg Jeans: Festival-ready and timeless.

Let’s Talk Accessories:

• Shield Sunglasses: Instant rockstar glamour.
• Detailed Belt Buckles: Small but impactful.
• Big Duffle Bags: Practical and stylish.
• Fringe Bags: Bohemian and playful.
• Skinny Crochet Scarves: Delicate and unexpected.
• Glossy Apple-Green Leathers: A pop of vibrant colour.
• Slightly Stacked Rocker Boots: Elevating every look.

The “Chav” Vibe: A Subversive Reimagining

Burberry has long been linked with a certain “chav” aesthetic. Historically, this term carried negative connotations. It referred to sportswear-clad, anti-social youth. Daniel Lee bravely reclaims this narrative. He turns it on its head. He makes it cool.

Burberry embraces its urban narrative.

No longer a pejorative, it’s now subversive. The brand acknowledges its street presence. Lee infuses it with luxury. He transforms the perception. This is sophisticated street style. It’s bold, uninhibited self-expression. It’s an embrace of British identity.

A British Brand Reimagined: The Cool Factor Returns

For years, Burberry sought to redefine itself. Daniel Lee has succeeded. The brand feels fresh. It’s authentically British again. This collection proves it. It’s cool without trying too hard.

Burberry is now effortlessly chic.

Lee understands modern luxury. He blends heritage with rebellion. He taps into a rich cultural past. This is a masterful pivot. Burberry is a powerhouse once more.

Why This Collection Matters: Beyond the Runway

Daniel Lee’s third coed collection.

London Fashion Week is closer.

Music-inspired collection.

References 60s, 70s, and 2010s subcultures.

Reimagines classic Burberry codes.

Embraces an updated “chav” aesthetic.

Pivots Burberry as a cool, relevant brand.

Features iconic front-row guests.

Strong emphasis on outerwear and suits.

Return to the Perks Field venue.

Burberry’s impact resonates globally.

This collection is a game-changer. It sets new trends, redefines British style and reminds us of fashion’s power. It’s a celebration of individuality. Expect to see these influences everywhere.

The Future is Bright (and Psychedelic)

Daniel Lee has cemented his vision. Burberry’s Spring/Summer 2026 collection is a triumph. It’s a love letter to British music and style. It’s innovative, luxurious, and deeply cool. Get ready to embrace this new era. The brand’s outdoor heritage pieces will dominate festivals. Glastonbury, here we come!

Burberry is here to stay.

Let us know down below if you agree.

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Photos: Burberry

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