Three days into London Fashion Week, and I was running purely on fumes (and Costa almond milk lattes). If you’ve never experienced the elaborate ceremony that is fashion week, it’s sort of difficult to convey just how watching parades of clothes all day can in fact be exhausting. But complaining about getting to see beautiful clothes is like complaining that you have two cars instead of three. Despite the fatigue that usually sets in by the end of it, there’s still plenty of fun to be had—especially in London.
Undoubtedly, fashion month is the superbowl for many people— for those who work in it and those who just have an admiration for the business of it, and London Fashion Week is where one goes if they’re hungry for the freshest, most conceptual ideas the industry has to offer. It’s precisely why I chose to fly 10 hours across the world to a city that’s nearly cloudy half the time—the unbridled creative energy of London is one of a kind. And nearly halfway into my five day pseudo tour of the city, hopping from one showroom and venue to the next, I was acutely aware just how sleep deprived I was—but I wouldn’t dare miss the action. From the enigmatic to the eccentric, here’s what four jam packed days of London Fashion Week looked like as an editor.
Day 1 – February 16, 2024
Saying Day 1 here is technically, sort of not accurate, but the cadence of shows routinely ramps up on the second day. I had 8 shows and presentations on schedule for the day, and it all started at 10am bright and early for emerging brand Masha Popova. I attended its show last season when the Ukrainian design (and both the label’s namesake) was transfixed on the idea of monster trucks (she built her whole SS23 collection around it). This time I was looking forward to seeing just how far Popova could take denim. Popova’s clothes veer on the experimental side—they’re sold on Ssense if that gives you any clue—usually coming with a slight sprinkle of Y2K flavor. While everything from the dresses to the cut-out pants are popular among the young Hollywood subset, it’s her cool denim with unusual washed finishes that really take the spotlight.
After a few close calls on the Underground, I sprinted to The Old Selfridges in Soho and made it just in time to catch glimpses of the stitch-and-reveal denim Popova is famous for. This time the noughties influences were more of a pour than a sprinkle, with layers of purple and pink tops off the shoulder tops and slim flared out jeans. An exposed thong even made an appearance. And of course, there was plenty of kitschy denim (I swirled denim skirt and pant combo really made my heart sing.)
Before I knew it, I headed across town to Ironmongers Hall (only in London would one find venues named like this) for the Edward Crutchley show. Apparently its history dates back to the late 15th century, and the grandiose chandeliers, carved ceiling and dark wood walls certainly did not dispel that. Crutchely allegedly had many influences for this collection from the Byzantine era to Dionysyus and indigenous tribes in Borneo, but it was the Tudor-inspired shoulder pads that made everyone in the audience whip out their phones and scribble furiously in their notes. Dramatic would be an understatement to describe them—they were likely the most exaggerated shoulder pads I’d ever seen. Later I found out they were made from fiberglass. Those quirky revelations are exactly why an Edward Crutchely show is always a treat.
Some say insanity is doing the same thing and expecting different results, I’d say it’s traveling to the same venue multiple times a day. After Edward Crutchley’s visually arresting show, I headed right back where I started the day—at The Old Selfridges. This time to catch Sinead O’Dwyer’s complex, body-celebratory designs. I’ve been a fan of O’Dwyer since first stumbling upon her pieces on Instagram (shout out the explore page) and the way she centers the female form in her clothes always feels like a peak into how innovative fashion could be if it shed its fixation of thinness and whiteness. Most of the models in her O’Dwyer’s shows are plus size, and feature a diverse sampling of body types, skin tones, and accessibility. O’Dwyer’s work is much better seen than described—there are Shibari-inspired harnesses and criss-cross body suits involved—and her show felt like an art exhibition rather than simply clothes.
By this time the wind started to whip at speeds my newly flat-ironed hair could handle, and the denim dress I had so proudly put on earlier was absolutely no match for the British chill. After heading over to the Completedworks presentation for an enthralling one woman play filled with beautiful jewelry and enviable art set up, I headed back to my hotel to regroup and take notes.
Day 2 – February 17, 2024
It’s always a good idea to start your day with beautiful shoes—my mood after the Malone Souliers presentation can definitely attest to that. Presentations are like a breath of fresh air in between the blocks of big shows with big crowds and long lines to check in—there’s more ease and less stress of making it at an exact time. You come at your own leisure and convenience (albeit still between a certain time slot). The Malone Souliers presentation at The Heal’s Building on Tottenham Court Road felt like one big party. But the chill kind where you listen to jazz and drink wine, versus thumping music and rounds of shots. A two-piece jazz band provided the soundtrack, while sparkly heels and bags filled shelves and creative displays across the space. It was the perfect mood stabilizer before one of the biggest shows on my LFW calendar thus far: Erdem.
Erdem shows always lived on my Instagram feed vis a vis other editors—it was my first time seeing the magic of Erdem Moralıoğlu in the flesh. I’m usually 10 minutes late to shows because they almost never start on time, but for Erdem of course I couldn’t be late. After jumping in a cab I made it to The British Museum where a mob of photographers and paparazzi had already assembled to snap the hordes of VIPs and editors in wacky coats. When you walk into a venue like The British Museum really does take your breath away. New York Fashion Week seldom boasts such grand halls like that, and it really makes you wonder if the typical white blank spaces of studios do the clothes a disservice by not matching their energy. So many themes made up Moralıoğlu’s collection, but Maria Calla’s 1953 performance in Medea was the root of it all. “The production was like alchemy. Callas did not play the role; she inhabited a persona with such force to the point that the boundary between artist and performance vanished. The collection explores the thin realm between myth and reality, on stage and off stage, dressed and undressed, person and persona, sorcery and seduction,” as explained in a release. The hair and makeup reflected that with models wearing slicked back buns with netted headbands and bobby pins, mirroring the beginning stages of getting ready for a big performance. And the dresses really did transport me to another world—the fabulous draping and flowing trains of fabric glided over the cement floors in the most elegant way. There were almost too many gorgeous pieces to fawn over, but the big shearling coats from the show have yet to escape my brain. Erdem brought down two versions, fittingly in black and white, completed with matching fluffy mules. I wonder if he got the Mob Wife memo…
From there, it was a mad dash 30 minutes aways to Ahluwalia, where by the grace of a clever cab driver, knew exactly how to get to the show’s venue escaping the throng of black cars gridlocked from Erdem. I’ve been a long time fan of Priya Ahluwalia’s worldly edge, so I was determined to not leave London without seeing her new collection up close. I was instantly caught off guard by the set design—trees and faux plants were placed around to make you feel like you were in a jungle—whoever did it needs a raise! Rushing to my seat I ran into another editor who also dealt with the mass fashion traffic caused by Erdem.
Then it was time to actually get some sustenance, so after grabbing a baguette sandwich I trekked over to the Labrum London show at the Tate Britain. Going to a museum was on my bucket list of things to do in between shows because it’s almost criminal how I’ve never been, but goodluck finding the time to eat during fashion week, let alone visit a museum! At least checking out the artwork on the way to show space kind of made up for it. The Labrum London show was a surprise hit of the day, considering it wasn’t a brand as familiar to me in the past, but I left wanting to dig deeper into its universe and message; its creative director Foday Dumbuya centers the immigrant experience within his work. A show with a message or something to say always sticks out most when I look back on my fashion week experiences (like Tolu Coker’s S/S23 collection and Pyer Moss’s 2015 production), it stays with you even when the veneer of pretty clothing starts to wear off.
Day 3 – February 18, 2024
This day I toyed with the idea of having a leisurely breakfast, but opted for sleep instead. During Fashion Week the afterparties take up as much space as the shows themselves—this time was no different. I don’t usually stay out too late when the occasion of fashion month rolls around (because stories don’t write themselves!) however I did check out an after party or two. The most opulent being Ahluwalia and Bicester Collection’s party at Gymkhana, and the most fun being Labrum London’s afterparty at 100 Shoreditch. Needless to say I did not make it to an early sit down breakfast. After writing in the cutest cafe at my hotel Leman Locke, I was excited to make my way to see what’s the fuss about Paolo Carzana. Only a few weeks ago I discovered the designer, his layered designs that could easily pass as sculptures was unlike anything else I had seen in London thus far. Like I said before, the city harbors some of the best up and coming design talent out there right now, so I’m intentional about viewing collections from names I’ve never heard of before. At the show’s conclusion I completely understand why Carzana has already generated hype among writers, editors and buyers. It was magical!
It was back down near the River Thames to catch Holzweiler at the Tate Britain—no one does puffers quite like them. The finale look, a gigantic puffer that dwarfed its model, was primed for a viral moment. As soon as it entered the runway, everyone’s phones went up at that moment.
With an hour until the next event I decided to walk through Westminster like a proper tourist. The sun managed to peak out for 30 glorious minutes, which I counted as a win, but my heeled boots started to turn on me. After a quick change it was time for Saul Nash. The theme was “Dresscodes” a callback to the “no hoods/no hats/no trainers” policy of London’s garage clubs. It definitely delivered on that front. Models spontaneously danced on the runway, and that was the first time I’d seen fashion people dance at a show. Yup, I Shazamed the whole playlist.
Is Sketch passe? When restaurants notoriously fall in and out of favor among the fashion crowd every millisecond, I wondered if the buzzy London restaurant was still as trendy and chic as it was five years ago when its velvet pink dining room dominated every nook and cranny of my Instagram feed. A day running around taking almost every form of transportation under the sun, worked up my appetite, so I decided to take a chance to check out Sketch sans reservation. From the cocktails to the food, I’m happy to report its just as enjoyable and amazing as ever. And of course I couldn’t let a visit go by without taking pics in its famed restroom (yes the bathroom is about as TikTok famous as the actual dining hall).
Day 4 – February 19, 2024
Good thing I’m not a breakfast person. The prospect of frilly, dopamine-boosting clothes had me up at 7:30am (despite the slight headache from last night’s drinks) to get ready for Yuhan Wang. After chugging some coffee I was at The Old Selfridges once more to check out what the designer had in store for A/W 2024. Turns out it was not necessarily what I had expected! There was plenty of the glorious lace and sort of Edwardian tropes Wang is known for, but while last season saw plenty of strawberry girl motifs with color, this season he opted for a more subtle palette or black and white. Despite the restraint of color, no one would dare call it boring: the strong shoulder capes layered in ruffles over mini skirts and tights with garter belts was unlike anything else I’ve seen all week. Floor length robes with padded shoulders were a nod to Ruth Bader Ginsburg, and somehow Wang managed to make the uniform of a Supreme Court judge sexy.
There’s a thrill of being in an unknown city when doing Fashion Week, the traversing between shows results in you exploring in ways you wouldn’t normally. I probably saw the Big Ben 5 fives in a four day period. Most times when I’m in London I never even see it. The next show, Marques Almeida, took me to Brick Lane—one of my favorite places to shop in the city. The narrow cobble-stone streets and sticker-heavy walls are an entirely different world from the grandiose green parks and statue lined streets of Covent Garden. As much as I wanted to stop into the Brick Lane Vintage Market and pick through racks for hours on end, I had a show to catch and I’m on the clock! In a large warehouse space Marques Almeida presented a collection of big peplum pants sets and organza ruffled tops that definitely hit the mind like a shot of espresso. A stand out though, was the mommy and me moment when children were paired down the runway with a model. It was so cute when a toddler dressed in chic all-black look teetered down behind their leading model, sometimes struggling to keep up. A welcomed break from the usual format of shows!
