London Fashion Week concluded with a high-profile Burberry show that drew a diverse crowd including Hollywood actors, K-pop stars, tennis players, and opposition leader Kemi Badenoch. Badenoch’s presence marked her second appearance during the event, having attended Marks and Spencer’s opening show earlier in the week. Her participation was part of a broader Conservative initiative to reintroduce tax-free shopping and reinstate VAT refunds for eligible non-EU visitors, a policy the party had previously abolished in 2021. Badenoch framed the policy reversal as essential for enhancing Britain’s appeal as a global shopping destination, citing the country’s renowned retailers and designers.

For years, British fashion and retail sectors have flagged the competitive disadvantage posed by the absence of such tax incentives in comparison to European counterparts. Although London Fashion Week still lags behind the scale and influence of Paris and Milan, the event featured signals of renewed vitality. Highlights included the return of Alexander McQueen, Christopher Kane’s debut at Mulberry, and Roksanda’s vibrant show atop the National Theatre at sunset.

Burberry showcased a collection focused on classic yet innovative outerwear, emphasizing trench coats, plaid scarves, and rain boots. The brand’s creative director, Daniel Lee, collaborated with veteran textile designer Celia Birtwell, whose 1960s- and ’70s-inspired prints brought a playful yet refined touch to the lineup. The collection balanced heritage with a sense of casual comfort, reflecting a blend of tradition and contemporary British style.

Mulberry’s runway marked the much-anticipated creative debut of Christopher Kane as its new director. The brand, once iconic for its Bayswater and Alexa bags, aims to regain market relevance under Kane’s leadership. The collection featured streamlined leather dresses and skirts with design elements inspired by Mulberry’s heritage, such as notched hems resembling the Bayswater bag flaps. Kane’s presentation combined sharp tailoring with subtle references to the brand’s origins, incorporating oversized sweatshirts and funnel-hooded parkas that echoed its ’90s football casual roots.

Alexander McQueen returned to London for its show after a period in Paris, signaling a strategic repositioning under new CEO Gianfranco D’Attis. Presented in a vaulted chapel at Lincoln’s Inn, the collection drew on religious art and rave culture, reflecting the brand’s complex identity. The runway featured bespoke wool suits crafted by Savile Row tailor Huntsman, evening gowns with intricate lace, and distinctively edgy accessories like devil-horn hairpieces and BDSM-style belts. The collection aimed to elevate the brand’s luxury credentials while maintaining its signature subversive aesthetic.

Simone Rocha’s collection paid homage to Caravaggio’s rediscovered masterpiece “The Taking of Christ,” blending 1930s silhouettes with rich textures and delicate details. Presented at the frescoed Old Bailey, the show melded historical inspiration with contemporary femininity through sumptuous velvets, lace, and embroidery, earning praise as one of Rocha’s most accomplished presentations.

Erdem Moralıoğlu marked his 20th anniversary with a show inspired by Barbette, a 1920s Parisian trapeze artist known for gender fluidity on and offstage. The collection explored themes of androgyny and theatricality through double-breasted jackets paired with rhinestone-embellished hot pants, draped bodysuits, and oversized outerwear softened by intricate embroidery. Held at the Roundhouse in Camden, the show reflected Erdem’s ongoing exploration of gender boundaries and craftsmanship.

Overall, London Fashion Week 2026 showcased a blend of nostalgic references and forward-looking innovation, highlighting established designers reassessing heritage alongside bold new voices navigating the evolving landscape of British fashion.