All the Major Highlights from London Fashion Week

London Fashion Week FW 2023
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Last year, Britain was mourning the passing of Queen Elizabeth, and London Fashion Week was a low-key affair. This season, it was back to business as usual, and the designers delivered all the eccentricities we’ve come to expect from the Brits. From Christopher Kane’s chopping board-style collars and JW Anderson’s pop art clothing to Erdem’s hauntingly romantic lineup of Victorian-style silhouettes, Savoir Flair takes you through some of the best shows at LFW.



Molly Goddard steered away from her signature maximalist aesthetic for the fall/winter season. She harbored restraint this time, and the collection was preppier and less voluminous – not always a bad thing. Plush velvet infused with grosgrain ribbons came in maxi skirts and a pinafore dress. Outerwear, like coats and preppy blazers, were also adorned with ribbons, adding an element of tweeness to the looks.

There were also spaghetti strap dresses worn over hot pants or tights and colorful leopard print skirts covered in tulle that could as easily be worn for a fun brunch or a night out. Overall, the separates were solid, and we couldn’t help but gravitate towards her simple yet sculptural sweaters with pin tucks – an absolute must-have for chilly fall evenings. Don’t be surprised if this collection “inspires” an entire range of clothes at high-street retailers.


Simone Rocha knows how to tell a story with her clothes. This time, the designer looked to Lughnasadh, an Irish harvest festival with pagan origins and its rituals, as a point of reference for her collection. From jewel-encrusted dresses to sublime peacoats and puffed-sleeve bomber jackets to gauzy slip dresses and ribbon-tied tops, Rocha’s show was an absolute treat. As always, there was plenty of drama, be it delicate red ribbons hanging from the models’ clothes, ears, and eyes, or lace detailing. A beautifully embroidered nude pink dress came with hay stuffed inside the puffed sleeves and the crinoline, along with a few others.

There was also an obvious nod to sailors, as beaded (and plain fabric) collars were layered on blazers and coats – a lesson in elevating even the most basic looks. Elsewhere, glitzy gold cloque was transformed into a puff-sleeved top with a matching skirt, and leather was molded into jackets with fascinating trims. Ultimately, it is the goddess-like white lacy floor-length number with extra-long sleeves that we’ll be wearing when celebrating the next winter solstice.


Roksanda Ilinčić’s collection celebrated workmanship in perhaps her most conceptual collection to date. Inspired by the Japanese visual artist Atsuko Tanaka, she sent down a series of avant-garde creations like architectural evening dresses in black, fuchsia, and blue featuring large padded tubes surrounding the gowns at various angles. The latter was an ode to the artist’s ‘Electric Gown’. A voluminous crinkled taffeta gown with silver foil accenting was an absolute winner.

Meticulously draped satin dresses followed; a red number with an abstract print on the bust and flowing blue silk cape and another in pink, styled abstractly with the fabric covering half the head, were both knockouts. Woolen coats were elevated by needle-punched threads in bright crimson and yellow – another display of complex craftsmanship. Meanwhile, exaggerated proportions came as tailored separates where a mint green blazer with an extended tail and a beige skirt forming a U-shape stood out.


Trust JW Anderson for always keeping things eccentric at LFW. Case in point: a top that looked like it was made from Tesco plastic bags and yellow overalls with an inverted smiley face. Fusing pop art and fashion, Anderson sent down a whimsical lineup inspired by the choreographer and dancer Michael Clark. Graphic tees, like one with a reimagined Coca-Cola poster with the words “Enjoy God’s Disco” (from a 1988 Clark performance flyer) and another with glittering fingers, were as fun as they were wearable. Other quirky numbers included furry bustiers with pre-stitched muffs, a stole with multiple slits reminiscent of a tarantula’s legs, leather miniskirts that jutted out from one side, and high-neck tops with funny slogans.

Next was a series of experimental looks boosted from Anderson’s own archives featuring geometric panels jutting from pants and tops. There were many wearable garments too, and our favorites were a sweater dress with shearling-like detailing on the waist and a striped top bearing the classic JW Anderson anchor logo. Not to be missed were his series of architectural coats. The camel-colored cocoon coat with a larger-than-life collar served as a reminder that Anderson can be creative and commercial in equal doses.


Erdem Moralıoğlu’s spin on historical silhouettes is unparalleled. For his Fall/Winter 2023 collection, typical Victorian elements were stripped down and reimagined for the 21st century. The poof of a leg-o-mutton sleeve started below the elbow in the case of a short black overlay – or rather, a shrug (a la the 90s). Meanwhile, he amped up the puff for the opera gloves seen in almost every look. Elsewhere, he sent down a series of cropped Victorian jackets paired with twisted draped taffeta skirts – the acid yellow one, in particular, was a knockout. Next up, a lineup of dresses with intense detailing – long-sleeved dresses with iris velvet cutwork, organza ones with degradé hems, and heavily embroidered full-skirted numbers – all spectacular. There were regal jackets, too, of which a simple blazer with Victorian buttons and a double-breasted brocade number with frayed hems got full marks.


Please don’t blame us if we swell up with pride when our favorite homegrown brands showcase their collections at international fashion weeks. Bahraini label Noon By Noor sent a stellar lineup of meticulously cut garments for their Fall/Winter 2023 collection at LFW. In a predominantly black color palette, the silhouettes were long and lean, and the garments were very wearable. Case in point: those almost floor-grazing high-waisted trousers, a double-breasted coat with slits, and a spaghetti strap maxi dress. Sublime. Sheikha Noor Al Khalifa and Sheikha Haya Al Khalifa also designed stellar separates that were both stylish and timeless. Swishy skirts with large buttons on the front, dramatic tops (the cape, in particular, was lovely), and masculine blazers would all make great wardrobe staples.


At Christopher Kane, bustles were the word of the day. Seen on many of the dresses and pencil skirts, they added just the right touch of volume. Some of our favorites were the sheer white drop-waist dress with colorful embroidery bursting with bustles and a black vinyl pencil skirt overloaded with exaggerated peplums on the waist. Additionally, he took quintessential grey uniform fabric and whipped it up into elegant offerings like strapless shift dresses with a single flower embroidered at the bottom and a well-cut suit. His knitwear will be wildly successful come winter; the classic yet unexpected silhouettes of the oversized sweaters will appeal to even the pickiest dresser. And the floor-length stretch jersey dresses with life-like rats, pigs, and chickens printed on them reminded us that fashion is most delightful when served with a side of humor.


A departure from last season’s volume and drama on the runway, Richard Quinn pared things back for Fall/Winter 2023. His love of old-school Parisian couture was seen in soft yet masterfully crafted silhouettes. Think Christian Dior and Hubert De Givenchy style cocoon dresses and resplendent coats. Except his renditions came exploding with his signature floral motifs as jet bead embroidery, glittering sequins, or large prints. He also served lots of red carpet looks – a feathered polka-dotted frock with an exposed bustier and a tiered ballgown with a white corsage, in particular, stood out, as did the psychedelic jumpsuit with a crisscross neckline paired with gloves. Quinn also showed that he’s in the wedding business – if 24 out of the 45 looks were bridal couture – you know it’s selling.


Harris Reed’s ten-look collection celebrated the art of dressing up – Reed style, of course. So naturally, each look was theatrical. Gold lamé from repurposed theatre curtains adorned the models in almost every look – flowing like molten lava as exaggerated trains or decorating the crinolines and panniers in the collection. A sequined diamond harlequin jumpsuit with a domed crinoline and a sculptural velvet corset and another look with a model draped in lame and covered in gold-flecked tulle blew our minds. Reed is the breakout designer the fashion industry has been waiting for, and we can’t wait to see his first collection for Nina Ricci next month.

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