Simone Rocha’s Spring/Summer 2025 collection at London Fashion Week was a visual feast, blending performance art with fashion in a way that felt both intimate and daring. Held at the historic Old Bailey, Rocha's runway paid homage to the work of choreographers Pina Bausch and Michael Clark, infusing the collection with a theatrical, dance-inspired energy. This season, Rocha explored the tension between perfection and imperfection, as models appeared half-dressed, showcasing unfinished garments and highlighting the construction process itself. Opening with a monochromatic palette, Rocha played with proportion and contrast—think oversized coats paired with ballerina skirts and thick-cut socks. These looks combined masculine and feminine elements, creating a sense of duality that has become central to her design ethos. The details were everything: crystal-encrusted socks, flower-adorned anoraks, and lingerie-like bralettes peeking through undone jackets. Floral motifs took centre stage in the second half of the show, as carnation-covered gowns and petal-strewn dresses cascaded down the runway. These blooms, delicate yet powerful, embodied the collection’s romanticism. New to the runway was denim, embellished with crystals and reimagined as high-fashion through corseted jackets and oversized jeans, a nod to Rocha’s stint at Jean Paul Gaultier. Rocha’s collaboration with Crocs continued to be a highlight, with platformed ballerina flats and embellished slip-ons in muted tones. Her ability to turn the pragmatic into the ornate shone through, cementing her place as a designer who consistently challenges norms. Simone Rocha’s Spring/Summer 2025 collection was not just about fashion—it was a performance, a living tableau of contradictions and contrasts. By pushing boundaries, Rocha once again redefined modern femininity, blending delicacy with rebellion in a way that feels undeniably her own.

In the age of "Brat Summer"—a cultural moment where youthful defiance and nostalgic girlhood collide—it’s no surprise that Sinead Gorey delivered a Spring/Summer 2025 collection that feels like a teenage rebellion in motion. Drawing from her own experiences and ever-sharpening eye for subcultures, Gorey took the quintessential coming-of-age moment, prom, and turned it on its head. In her hands, the prom queen is the anti-heroine, the misfit who rolls her eyes at the event’s rituals, preferring to own the afterparty in something far more subversive than tulle and tiaras. It’s prom, but from the vantage point of the outcast, the girl who skips the slow dances for something much more exciting—and far less polished. Gorey’s SS25 runway was a visual diary entry of every outsider’s dream prom. Held in a sports hall drenched in retro kitsch—think pink foil, tinsel, and cheap plastic ribbons—this wasn’t the sanitized version of prom we’re used to seeing. No, this was the grungy, post-party aesthetic, a nostalgic nod to those chaotic high school moments that teeter between innocence and rebellion. The disco ball flickered overhead, casting light over models who looked like they were on their way to the after-after party, if they had ever bothered with the main event at all. In true Gorey fashion, the SS25 collection was filled with the tension between sweetness and rebellion. The candy floss pinks and pastel hues set the stage, but it was the dark, punk-inflected details—studs, exposed hardware, and sweetheart necklines—that stole the show. Imagine the moment Georgia from Angus, Thongs and Perfect Snogging sneaks into the party in a daring dress, catching everyone off guard. That’s the Gorey girl: sweet, but not naive, rebellious but playful. Body-con mini dresses, pierced corsets, and outrageously short shorts broke every prom dress code in the book. The collection’s signature touch? Ribbon-fastened outfits dripping in diamantés, complemented by lace-up fronts that teetered on scandalous. School is out, and this girl is ready to show off her style evolution. Gone is the innocence of childhood, replaced by a new awareness of her body, her desires, and her power. Gorey spotlighted another surprise on the runway: the return of Converse, but this time reimagined. Custom versions of the XXHi, Chuck Taylor All-Star, and Chuck 70 Wedge adorned the feet of the models, each pair revamped with Gorey’s rebellious touch—think belly button bars and intricate detailing that made the iconic footwear look like the only acceptable choice for the outsider’s prom. These were not the sneakers you wear to gym class; they were the footwear of the future, where comfort and punk aesthetics collide. Adding an unexpected element, Gorey debuted her collaboration with Human Mobile Devices, unveiling the “HMD Skyline” as part of the new “Phonecore” collection. Tech meets fashion in the most practical of ways: phones tucked into spiked belts, bras, and pockets, all seamlessly integrated into the clothes. It was a Gen Z’s dream of fashion meeting functionality, perfectly capturing the moment we’re in. This wasn’t a prom of pastel chiffon and glittery tiaras. Instead, Gorey played with an eclectic mix of fabrics, pairing traditional prom materials like silk and satin with harder-edged textiles: denim, fur, and nylon bodysuits. The juxtaposition of soft, luxurious fabrics against rebellious elements like studded detailing and faux Mongolian fur was a nod to the designer’s ethos of blending innocence with defiance. A standout moment came with her reinterpretation of the faux Mongolian fur jacket. Reworked in unexpected hues of meringue, frosted ochre, and bubblegum pink, the piece was a standout, cementing Gorey’s reputation for turning the familiar into something innovative and daring. Prom might have been the initial inspiration for the collection, but it was Gorey’s fearless exploration of tech and youth culture that defined this show. From the plaid leggings and boyfriend patchwork shirts, evoking post-prom sleepover vibes, to UV-reactive leatherette sets, this collection didn’t shy away from celebrating the chaotic, messy moments of youth. The collection’s finale was a spectacular disregard for tradition: models donned exposed fly skater jeans, military-inspired micro skirts, and admiral jackets, stamping out the notion of a typical prom wardrobe. In short, Sinead Gorey’s SS25 was a celebration of the anti-prom queen—a girl who doesn’t fit into the mold, who chooses self-expression over conformity, and who, above all, knows how to break the rules in style. It’s the perfect collection for an era where individuality reigns supreme, and rebellion is just another form of self-discovery.

Untitlab® has always been a brand known for pushing boundaries, but their Spring/Summer 2025 performance took the brand to a new level, staging an atmospheric plunge into the depths of human desire and its unrelenting tension with fulfilment. Staged in a dark, fog-filled room with chains suspended from the ceiling and an eerie, ambient soundscape, set the tone for an intense meditation on desire, death, and the rebirth of sensuality—themes Untitlab® explored in both their designs and their storytelling. Photo by Yiling Zhao The brand’s press release referenced the French philosopher Georges Bataille’s work Erotism: Death and Sensuality , using his evocative language to guide the audience through the emotional and psychological underpinnings of the collection: “How sweet it is to gaze long upon the object of our desire, to live on in our desire, instead of dying by going the whole way, by yielding to the excessive violence of desire! We know that possession of the object we are a fire for is out of the question. It is one thing or another: either desire will consume us entirely, or its object will cease to fi re us with longing. We can possess it on one condition only, that gradually the desire it arouses will fade. Better for desire to die than for us to die, though! We can make do with an illusion. If we possess its object we shall seem to achieve our desire without dying. Not only do we renounce death, but also we let our desire, really the desire to die, lay hold of its object and we keep it while we live on. We enrich our life instead of losing it.” Untitlab® is one of those brands that feels less like a label and more like an art collective. Launched in 2019, its name pulls from that intriguing moment when artists leave their works “untitled,” acknowledging that what they’ve created refuses to be boxed in or simplified. That same spirit of experimentation pulses through untitlab®’s approach to footwear and accessories. The brand’s designers pull from their backgrounds, environments, and use cutting-edge materials to craft bold, unconventional silhouettes. But what really sets them apart is their multi-disciplinary approach to storytelling. Untitlab® isn’t just about the shoes; it’s about the multimedia experience — performances, music, video, and imagery — that conveys their take on everything from power dynamics and beauty standards to the fluidity of gender and the fragility of the human condition. Each piece is an invitation to reinterpret and redefine, making the wearer an active participant in the narrative. Drawing from untitlab®'s adventurous ethos, the SS25 collection immerses itself in themes of exploration and boundary-breaking. With vibrant colours and dynamic shapes, it encapsulates a powerful sense of freedom. This season, we’re pushing the limits of innovative craftsmanship by collaborating with the eco-friendly British wool brand Cloudwool to introduce mule bags and slip-ons, alongside HILOS Studio for fully recyclable 3D-printed shoes. We’re also thrilled to partner with artist *toooomyng for the inflatable rubber Reel Boots, adding an artistic twist to our offerings. In a bold reimagining of formal wear, we’ve integrated sneakers into our new Helix thick-soled racing shoe series and Malar Boots, both made with cutting-edge overall embossing technology. Each piece is designed not just to be worn but to inspire a lifestyle of exploration and creativity. Presentation credits: Concept and directed: Nicolas Tian Music composition:Oscar B.Morgan Choreography: Lewis Walker Rehearsal Director: Courtney Deyn Performers: Alex Thirkle and Andrew Lennox Scott Campaign credits: Art Direction: Nicolas Tian Styling: Orch Leong Hair and MUA: Wendi Liu Talent: Han Zhang, Yang Yang Light: Mu Styling Assistant: Levi, Suki Production: Pyogi Public

For Spring/Summer 2025, Yuhan Wang delivered a knockout collection at London Fashion Week, titled The Rose Fist . Drawing inspiration from trailblazing female boxers like Laila Ali and Jane Couch, the brand reimagined sportswear through a uniquely feminine lens. Athletic leotards and biker shorts, crafted from Chantilly lace, were paired with corsets adorned with ribbons and numbers, balancing strength with softness. Voluminous silk tops with football-style shoulder pads and lace boxing gloves reinforced the collection's message of merging power and elegance. Yuhan Wang’s references extended beyond boxing, incorporating elements from football, soccer, and baseball. Playful touches, like kitten-graphic crop tops styled with lace-trimmed boxing shorts, added a whimsical flair to the otherwise athletic vibe. A standout influence came from Bolivia's Fighting Cholitas, with voluminous skirts and exaggerated panniers adding bold silhouettes to the runway. Sustainability was a key focus, with repurposed fabrics reconstructed into slip dresses and mini skirts, while 19th-century-inspired court shoes took on a sporty twist. The collection celebrated the duality of fierce determination and delicate femininity, proving that Yuhan Wang continues to push the boundaries of modern womenswear.

Richard Quinn brought his signature flair for drama and romance to London Fashion Week Spring/Summer 2025, transforming The Dorchester Hotel’s grand ballroom into a breath-taking celebration of occasion dressing. Known for his couture-inspired designs, Quinn’s latest collection was a vibrant fusion of mid-century elegance and bold, modern embellishments. The presentation was a visual feast, with towering chandeliers, black carpeting, and lush rose and orchid arrangements setting the stage for his latest creations. The show opened to an orchestral rendition of Evanescence’s Wake Me Up , with supermodel Jourdan Dunn strutting down the runway in a little black dress adorned with crystal latticework and a striking red rose, setting the tone for what would be an unforgettable display of fashion artistry. The collection itself was quintessential Richard Quinn—filled with sweeping gowns, voluminous tulle skirts, and exaggerated florals. Drawing inspiration from the 1940s and 1950s, Quinn added his signature maximalist touch with bursts of colour, bold prints, and lavish embellishments. Standout pieces included a red tulle gown adorned with black bows, a baby pink beaded column dress, and a floral beaded yellow dress paired with a matching coat. Each garment sparkled with sequins, flowers, feathers, and pearls, turning the runway into a kaleidoscope of textures and colours. Quinn’s love for bridalwear also shone through, with an array of gowns for every kind of bride—from a baroque mini dress with big sleeves to a high-waist regency gown and a stunning beaded jumpsuit. As always, the front row was as dazzling as the runway, with celebrities like Kelly Rutherford and Leigh-Anne Pinnock turning heads in Quinn’s designs. The show was not just a celebration of fashion but a testament to Quinn’s ability to evoke emotion through his work. His mastery of craftsmanship, attention to detail, and penchant for drama make him a standout in the fashion world, and this season’s collection further cemented his reputation as the king of London Fashion Week’s most extravagant moments.

Lueder made a striking debut at London Fashion Week Spring/Summer 2025 with its ALBEDO collection, marking a bold return to its British roots under the British Fashion Council’s NEWGEN program. Fresh off a smoke-filled Berlin presentation just two months earlier, Lueder took to the runway with a theatrical edge that has become the brand's signature. This season, the label explored medieval art forms through light and radiation, partnering with French-British artist Thomas P. Grogan to infuse alchemical reactions into its fabric treatments, creating prints and patterns that felt both experimental and otherworldly. The ALBEDO collection brought a medieval fantasy to life, with 30 looks that reimagined historical silhouettes through a futuristic lens. Models stumbled purposefully down the runway before transitioning into abstract dance, a move that mirrored the chaotic yet controlled energy of the collection. From swirling denim panels that looked battle-ready to deconstructed pinstriped shirting, Lueder dismantled traditional fabrics and pieced them back together in ways that felt almost armour-like. The collection’s eco-friendly ethos remained a cornerstone, with distressed leather hoods, coiling bomber jackets, and asymmetrical uniforms stained in gradient finishes, crafting a modern-day suit of armour. In a new turn for the brand, Lueder introduced soft tailoring, offering strong-shouldered blazers and calf-length skirts reminiscent of historical dress, but updated for the modern warrior. It was a collection that blurred the lines between past and future, art and fashion, with Lueder firmly establishing itself as a rising star on the global fashion stage, ready to push the boundaries of contemporary design.