Live From London Fashion Week: Everything You Need to Know About the Shows, Trends and Celebrity Moments of S/S 27

Kicking off the weekend of shows, Paul Costelloe opened London Fashion Week this morning with a collection rife with nautical nods. Some references were overt—navy stripes and oversized buttons, anyone?—whilst others tapped into newer takes on the seaside theme, with gauzy pirate blouses and balloon trousers woven in among polished tailoring. Elsewhere, resort-worthy pieces, from oversized beach bags to swimsuits, were elevated with decisive tailoring.

Delivering the kind of romantic collection that women actually want to wear, Joyce Bao’s spring/summer 2027 collection utilised clever draping and delicate lace detailing set against a romantic palette of seafoam, lilacs, creams and deeper browns to create a decidedly ethereal collection. Decadent, but far from fussy, the presentation wove key trends—tulle, column skirts and sheer inserts, included—to modernise the timeless silhouettes.

About last night: a precursor to London Fashion Week, McLaren gave us a taste of the drama yet to come, transforming its headquarters into a runway for Designed to Race: Front Row, a collection created by Central Saint Martins MA students. Marking the culmination of a collaboration between McLaren Racing and CSM, the show invited students to draw inspiration from six decades of McLaren’s motorsport history—reimagining the brand’s legacy through the fashion institution’s creative lens.

It was all in the details at Keburia. Rugby shirts tied around the waist, open bags (thank you, Loewe!), knee-high socks and the usual military influences, all of which, decidedly preppy, swept through the show. The hero pieces were a tapestry shift dress and skirt with a horse-and-mallard motif—it seems art scenes do, in fact, remain a microtrend for SS27. On the ground? Heeled derbies—some black, some white, some sparkly! Jazz toes at the ready…! — Rebecca Rhy-Evans, Acting Deputy Editor

Backstage at Mithridate was an ode to the ‘80s. Half-moon manicures balance precariously on nail beds, statement liner sweeps from corners of the eyes, hair is blown out and flipped from side to side and cheeks are punched with fierce edges as an obvious Blitz kids ode—but the Mithridate touch keeps things soft, lived-in and glossy with an entirely nude-hued palette. — Shannon Lawlor, Beauty Director

It’s all power dressing and military precision at Mithridate, with Daniel Fletcher’s eye for reworked tailoring showing up in the form of corsetry as cummerbunds, oversized shirts tucked into pinstripe shorts and mini dresses sporting suspender clips. If there was any doubt what decade served as inspiration, the 80’s leather jackets, quiffed hair and pussybow blouses set against a “Suit it Up” and Life on Mars soundtrack told the story of retro workwear made modern. Of course there were Fletcher’s ubiquitous rugby stripes, but the message was all about the balance of work and play. Tutus *and* tailoring? Sign me up. — Remy Farrell, Fashion Editor

“There reaches a certain point during the first day of any fashion week where the exhilaration starts to wear of and the nervous excitement subsides into tiredness. Consider Mark Fast, the emerging London-based designer known for innovative knitwear, the afternoon pick me up we all needed.

“Like a shot of espresso, Fast came out of the gates—or in this case, the annals of the University of Westminster Marylebone campus—running. It was all thumping base and brutalist setting, with his woven dresses and separates the antidote to any afternoon slump.

“Crochet was clearly on Fast’s mind this season, with body-conscious stockings and bandage seperates that called back to Pieter Mulier’s first collection for Alaïa. Second-skin is on the agenda, as is cowboy-esque fringing, longline suede Bermuda shorts and, as the pièce de résistance fringe skirts. Someone get this girl a cocktail.” — Ava Gilchrist, SEO writer

Filled with bold patterns, playful textures and abstract silhouettes, Maximilian Raynor brought a sense of the English countryside to London on the first day of Fashion Week. Picture a runway was filled with vibrant trench coats, oversized Wellington boots and classic plaid— Saltburn with a maximalist twist, if you will. Balancing a sense of nostalgia with a modern twist, the whole show was a breath of fresh air (pardon the pun). — Brittany Davy, Junior Fashion and Beauty Writer

From the Bombaymami opening to the sweet scent of chai wafting through the atmosphere, Sarah Regensburgers ‘The Art Of Belonging’ was aptly named. A celebration of her Iranian-German heritage, the runway was steeped in culture, colour and decadent craft.

Be it sweeping, layered halterneck dresses which came twirling down the runway, finished with an intricate weave that felt decadent yet full of life. Or the polished heritage plaid which appeared in muted tones, full of structure yet the drawstrings provided that soft, fashion-forward structure we simply adore. And lest we forget the full-bodied sheer lace bodysuits. The whole show was transformative, wonderfully layered and steeped in the cultural blend which makes fashion in London so formidable.

And my favourite detail? Well, it would have to be tasselled braids. Forget Labubus and bag charms; this is how you do fashion. — Imani-Nia Francis-Tsolaki, Junior Fashion Editor

Back for its third year, eBay’s pre-loved Endless Runway returned to London Fashion Week today, calling on a cast of fashion and cultural creatives to explore the theme ‘Forever’. Plucking from their own wardrobes and collections, contributors including Daisy Edgar-Jones, Harry Lambert, Adwoa Aboah, Charles Jeffrey and Sandy Powell selected pieces to the brief: what deserves to live forever?

With each look styled by eBay’s Pre-Loved Styling Team, every piece was available to buy in real time via eBay Live as the looks hit the catwalk. A palate cleanser amongst all the newness of fashion week, eBay proves exciting fashion finds don’t have to come in a new-season collection.

London at night isn’t normally much of a place for stargazing, but last night H&M cracked through the clouds with a star-studded runway show inside Kensington Olympia. Amid the theatrics—a ballet performance by Brazilian ballerina Ingrid Silva, a live set from Labrinth and a love scene between Alex Consani and Archie Renaux—models Lila Moss and Paloma Elsesser indulged H&M’s many whims, as flashes of fanaticism, gothic tones and tension surfaced throughout the show.

Titled H&M&YOU&I and creatively directed by legendary British image-maker Nick Knight CBE, the event unveiled three cinematic drops from H&M’s Autumn 2026 collection, alongside pieces from the H&M Studio and H&M Atelier lines.

“It takes a lot to draw a full house, bright eyed and bushy tailed, to first thing in the morning on the second day of London Fashion Week. (Especially after H&M’s after party that saw Crystal Waters and Kim Petras take to the stage). But if there’s anyone who could rally up the troops, it’s LVMH Prize Finalist Petra Fagerström. The Sweden-born, London-based designer has only staged three other collections prior to this, but there was no indication of a callow temperament.

“Confident and measured, she drew quite the crowd with her poetic fantasies and punchy silhouettes. Citing Glamorous Women on the Verge of A Nervous Breakdown™, like Isabelle Huppert in The Piano Teacher, as inspiration, the collection took a hauntingly beautiful stance on couture motifs and contemporary dressing. There were leather jackets inspired by Dior’s Bar Jacket, pleated gowns that were reminiscent of Demna’s debut collection for Balenciaga and pirate hates that looked like something John Galliano would have on us runway.

“A personal standout was the tactility of her floral prints. Utilising trompe-l’œil, these were pieces that were emblazoned with the image of lingerie to evoke an aura of intimacy and seduction, without any actual skin being on display. But just when you thought that was all there was to see, the fabric moved slightly to reveal, like one of those Magic Eye books, a lattice effect through the fabric.

“Sliced, diced and slashed, the material cased the models like one of those foam nets you’d find around tropical fruit in a supermarket. Here, the natural becomes obscured and slightly artificial. Familiar yet jarring, which feels entirely perfect for the repressed fictional women she sites as inspiration.” — Ava Gilchrist, SEO writer

“A mere hop, skip and a jump away from Virginia Woolf’s alcove of Bloomsbury, Turkish-British fashion designer Bora Akus took us to church for a dreamy show that certainly would’ve piqued the late her interest. It was all crinoline and lace, with sculpted silhouettes juxtaposing his usual voluminous shapes. There were elements that almost looked like models were wearing their dresses inside out, with visible boning through the corsetry and sheer layers of ruffles. Of course, it’s not hard to draw parallels between the vanilla colour palette and the religious setting to understand this collection was playing up the bride. Incredibly fitting considering Woolf herself never wore a traditional wedding dress to her nuptials.” — Ava Gilchrist, SEO Writer

Backstage at Petra Fagerstrom, the makeup was subtly rebellious. Soft, smoky eyeshadows were paired with glossy lip lacquers in brown and terracotta tones. The standout product? Byredo’s Liquid Lipstick Vinyl in the shade Thar Desert (£45). — Grace Lindsay, Deputy Beauty Editor

It was plaits and tousled waves galore backstage at Susan Fang. The key to this look was Authentic Beauty Concept’s Nymph Salt Spray, adding all that gorgeous movement and texture. Oh, and can we take a moment for the statement hair clips? — Grace Lindsay, Deputy Beauty Editor

For its first appearance on the official London Fashion Week schedule, Marks & Spencer celebrated 100 years of fashion with a see-now, buy-now show at London’s Design Museum. With Lara Stone, Erin O’Connor, Jodie Kidd, Karen Elson and Lennon Gallagher among the cast of models, the collection itself blended familiarity and fashion-world-worthy knowingness: shearling and suede brought a little boho energy, whilst preppy layers nodded to the styling codes of JW Anderson and Ralph Lauren.

Elsewhere, ’90s Americana came through in plaid, suede, denim shirts and ponchos, whilst slouchy knee-high boots instilled an early-2000s ease. But the look I’m still thinking about? Jodie Kidd in a chocolate-brown leather coat and matching pencil skirt. Also up there, Erin O’Connor’s closing look—a satin-backed puffer with low-denier tights and statement earrings—was another reminder that just makes everything look incredibly cool.

Form meets function in Maria Grachvogel’s spring/summer 2027 collection. Filled with draping silhouettes, beautifully hand-painted prints, and clothing that can be adjusted and tweaked for each and every occasion, the collection is designed with the modern-day fashion person in mind. Of course, the famous magic trousers are back for another season (I mean, why fix what isn’t broken?), but this time adorned with beautiful lace detailing at the hems that can be taken from day to night with ease. But the thing I love most about this collection? How it manages to feel timeless and elegant, but also completely unique at the same time. — Brittany Davy, Junior Fashion & Beauty Writer

‘Nocturne: London at Night’ titled Annie’s Ibiza’s spring/summer 2026 collection, which tempered the label’s signature sensuality with a restrained palette. Sinuous, body-conscious silhouettes remained central, now rendered in the urban shades of black, cream, beige and grey across one of the more tightly edited collections of London Fashion Week. Still, glitter and shimmer caught the light, whilst considered cut-outs retained the label’s inherent sensuality. Elsewhere, cap sleeves, high necklines, feathers and frilled trims introduced a Victorian sensibility, adding a romantic counterpoint to the collection’s more revealing silhouettes.

“It was a heavenly end to Day 2 of LFW, with Welsh wunderkind Paolo Carzana taking us to St Cuthbert for the final show of the evening. Arriving at the venue, cloaked in silence and darkness, you couldn’t help but feel as if entering a privée salon, as the space invoked its own intimate cloister flanked with sheaths of fabric and wooden pews. An element of the theatrical, let alone the spiritual was at play, as the soothing droned audio served as a sound bath and the scent of intense incense washed away the turmoil of racing from show to show.

“The collection itself was masterful. There was almost an element of a black box theatre production, especially as the silhouettes evoked the archetypes of commedia dell’arte characters. There was Pierrot, the white-faced clown, the Lovers, with flowers in their pockets, and the Maidens, with their Butterfly Hennin hats and draped separates.

“With a simple, albeit balmy, palette of coral, orange, grey, pink and slate blues, Carzana really let his deft use of fabric steal the show. Pieces were knotted, draped, layered, slashed, tied or simple left to lay loose in their natural, crinkled state. The whole thing felt very organic and primal, yet still modern despite its clear nods to the Renaissance. The intentionally slower pace and calming atmosphere was completely the kind of thing we needed to end the evening. And as he took his final bow, the round of applause reverberated through that luscious and spacious way only hollow spaces allow. Brava.” — Ava Gilchrist, SEO writer

With silhouettes inspired by icon George Michael’s 80s wardrobe and aesthetics drawn from a range of homoerotic media, Geordie Campbell’s spring/summer 2027 collection is a celebration of queer culture, fantasy, and desire. On the runway, low-cut boat tees, oversized military-style jackets, and athletic-style shorts were adorned with rosettes, feather boas, and lace detailing, pushing the boundaries of classic 1980s clothing into an even more adventurous place reminiscent of the provocative queer scene of the time. — Brittany Davy, Junior Fashion & Beauty Writer

If florals for spring are no longer considered groundbreaking, Patrick McDowell is determined to change that. Ditsy florals, scribbles, big blooms, embellishments and embroidery were the hero in a ladylike collection of demure A-line skirts and cinched-waist blazers. Just “twee” enough to feel different in a fashion week dominated by leather, studs and micro hemlines, McDowell’s swathes of silk and tulle are a fresh reminder that spring isn’t (too) far away. — Remy Farrell, Fashion Editor

Deep side partings and sleek, low ponytails were the MO backstage at Toga, with the architectural hair punctuated by structural straight brows. Lead hairstylist Claire Grech used Bumble and Bumble Hairdresser’s Invisible Oil to finish the hair with a glassy shine. — Eleanor Vousden, Beauty Editor

Pauline Dujancourt’s SS collection was a dreamlike tale of Black Swan meets Wuthering Heights. The dusty pink and grey ballet palette (complete with tulle skirts and literal ballet flats) gave way to gothic black lace and dark romance, with rosette-studded dresses trailing ribbons and pillowy, cloud-like minis sporting big sleeves. Did we mention they’re back in a, well, *big* way? — Remy Farrell, Fashion Editor

Embellished eyebrows! Velvet lips! Backstage at Simone Rocha, the beauty looks were an extension of the collection, playing with lots of different colour and textures. Thomas de Kluyver used Byredo’s Liquid Lipstick in the shade Marriage to create this statement lip look, which I’ll be purchasing ASAP. — Grace Lindsay, Deputy Beauty Editor

Erdem makeup artist Lynsey Alexander says, “The inspiration for the makeup came from Barbette, the American aerialist and performer who became famous in 1920s Paris for his portrayal of a woman on stage. The collection plays with masculine and feminine ideas, and I wanted that same feeling in the face. The brows were the focus. We made them stronger and more masculine using MERIT Brow 1980 Volumising Pomade, brushing the hairs up and out, then filling and defining them with MERIT Brow 1990 Sheer Gel Pencil.”

McQueen made its much-anticipated return to the capital on Sunday night, marking Seán McGirr’s first London show for the house since taking over as creative director in 2024. Bringing the house back to its hometown, the SS27 collection looked to London’s distinctive mix of tailoring, underground culture and historic architecture, balancing McQueen’s darker, more dramatic codes with lighter, more ethereal moments. Sharp tailoring, sculptural silhouettes and intricate embellishment gave the collection its familiar sense of occasion, whilst touches of British subculture grounded it firmly in the city that has always been central to the McQueen story.

Rounding off London Fashion Week, Burberry’s Front Row are beginning to show. Stay tuned to keep on top of the famous faces, as and when they arrive at the Chelsea College of Arts.

Closing out London Fashion Week, Burberry brought its SS27 collection to Chelsea College of Arts, with Daniel Lee continuing to explore the house’s distinctly British identity through a playful, youthful lens. Celia Birtwell’s newly drawn prints appeared alongside Burberry’s signature checks, whilst Central Cee made a runway as David Bowie’s soundtracked the show.