London Fashion Week SS27: The Collections That Caught Our Eye
From experimental denim and architectural tailoring to traditional craftsmanship and surreal femininity, London Fashion Week Spring/Summer 2027 offered an intriguing mix of emerging talent and established designers. Vingt Sept Magazine revisits nine collections presented during the September 2026 fashion calendar, alongside a collaboration that brought a little New York attitude to the capital.
London Fashion Week has never been particularly interested in following convention. While Paris remains synonymous with its historic maisons and Milan with polished Italian luxury, the British capital has long cultivated a reputation for experimentation, individuality and designers unafraid to challenge established ideas of dress.
For Spring/Summer 2027, that independent spirit remained firmly intact. Presented in September 2026, the season welcomed the return of Alexander McQueen to London, Christopher Kane's debut for Mulberry and a host of emerging designers whose collections demonstrated the breadth of talent operating beyond fashion's most recognisable names.
Across the presentations, cultural heritage, craftsmanship and the relationship between clothing and identity emerged as recurring themes.
There was a noticeable interest in traditional techniques, unconventional proportions and the reinterpretation of familiar garments. Some designers drew inspiration from their personal histories, while others looked towards music, nature and the subconscious.
What emerged was a season less concerned with establishing a singular aesthetic than with celebrating the individual perspectives behind the clothes.
KSENIASCHNAIDER: THE DENIM EXPERIMENT
For Ukrainian label KSENIASCHNAIDER, denim has never been simply a wardrobe staple. It's a material to be manipulated, reconstructed and reimagined, an approach that has become central to the brand's distinctive design identity.
For SS27, the label extended its exploration through Walkwear, a capsule developed in collaboration with British denim specialist Lee Cooper. The partnership brought together two different perspectives on the same material, one grounded in workwear heritage and the other in experimental construction.
The collection revisited the relationship between utility and contemporary dressing, questioning how familiar wardrobe pieces could be transformed through proportion and design. Denim's traditional associations with durability and practicality provided a foundation, while
KSENIASCHNAIDER's unconventional approach introduced a more playful interpretation of the fabric.
What made the collaboration interesting was the contrast between the two brands. Lee Cooper's longstanding relationship with denim provided an established point of reference, while KSENIASCHNAIDER approached the material with fewer restrictions.
At a time when denim continues to dominate both luxury and high-street fashion, the collection offered a reminder that innovation does not always require an entirely new fabric. Sometimes, it is simply a question of reconsidering what already exists.
KYLE HO: THE HUMAN CONDITION
Kyle Ho's Spring/Summer 2027 collection, Chapter Three: The Human Condition, took a more introspective approach to contemporary menswear, examining themes of vulnerability, disease and decline through a wardrobe that contrasted traditional tailoring with unconventional proportions.
Sharp shoulders and structured jackets introduced a sense of authority, while abbreviated shorts and elongated skirts disrupted the expected balance of masculine dressing. The silhouettes moved between control and exposure, creating a visual tension that reflected the collection's underlying narrative.
Veils introduced an almost ceremonial quality, partially obscuring the wearer, while ornate brooches provided decorative interruptions to otherwise structured garments.
The relationship between strength and fragility was particularly interesting. Tailoring has historically been associated with power and formality, yet Ho used its familiar construction to explore something considerably more vulnerable.
The contrast between sharply defined shoulders and softer, less conventional garments suggested a wardrobe concerned with the complexities of identity rather than simply presenting another interpretation of modern masculinity.
It was a collection that demonstrated how traditional menswear can be used to communicate ideas extending beyond the clothes themselves, with construction becoming an important part of the storytelling.
JENN LEE: REINTERPRETING TAIWANESE TRADITION
Taiwanese designer Wei-Chen Lee explored the relationship between tradition, loss and control for Spring/Summer 2027, turning to the qipao as a starting point for a collection that questioned conventional interpretations of femininity.
Rather than simply revisiting the traditional garment, Lee examined its construction and cultural significance, introducing a more provocative aesthetic through corsetry, leather and unexpected fabric treatments.
The collection was informed by her work with a 75-year-old Taiwanese master artisan, whose knowledge of traditional craftsmanship helped preserve techniques that are becoming increasingly rare. Handcrafted frog fastenings, hand-stitched piping and steam moulding brought an extraordinary level of technical detail to the garments.
A floor-length crimson satin qipao featured contrasting black closures, while a sleeveless maxi dress incorporated horizontal fastenings that altered the familiar lines of the traditional silhouette. Elsewhere, a black strapless corset was paired with lace-up cargo trousers, introducing a more rebellious interpretation of dressing.
The colour palette moved between striking reds and subdued shades of black and lavender, allowing the contrast between traditional construction and contemporary styling to remain the focus.
The presentation extended beyond the garments. Industrial techno and dark jazz were accompanied by a Taiwanese recitation of the Heart Sutra, while the beauty direction introduced references to historical courtesans through luminous skin and deliberately imperfect hairstyles.
What distinguished Lee's collection was the relationship between preservation and reinvention. The designer approached traditional Taiwanese craftsmanship with an appreciation for its technical complexity, while refusing to treat heritage as something that must remain unchanged.
RAY CHU: NATURE MEETS SENSUALITY
Ray Chu turned towards his Taiwanese heritage for Spring/Summer 2027, presenting Fans Only Club, a collection inspired by the Sambucus flower. Recognised for its delicate clusters of white blossoms, the flower became a metaphor for resilience, individuality and the strength found in community.
Rather than translating the botanical reference into conventional floral dressing, Chu explored the relationship between nature and the body through a collection that combined precise tailoring with fluid, more revealing silhouettes.
Translucent fabrics introduced an element of sensuality, while relaxed shirting and body-conscious separates challenged traditional distinctions between masculine and feminine clothing. The collection's gender-fluid approach remained central, allowing the garments to exist beyond conventional dress codes.
Prints provided a further connection to the inspiration. Taiwan Banana Club introduced colour and nostalgia, while Sambucus offered a more abstract interpretation of the flower itself. Swarovski ReCreated Crystals added subtle embellishment, recalling droplets of water resting on petals.
There was also an unexpected sense of humour. A collaboration with Japanese artist MOMOJIRI WORKS introduced sculptural accessories, while a partnership with sexual-wellness brand Hello Nancy played on the suggestive title of the collection.
Beneath the more provocative elements, however, was an appreciation for material innovation. Mint-fibre shirting and quick-drying Icy Grass jersey demonstrated Chu's interest in combining contemporary design with technical performance.
What made the collection particularly appealing was its ability to balance contrasting ideas without becoming unnecessarily complicated.
JOHN RICHMOND: ROCK AND ROLL REVISITED
John Richmond returned to London Fashion Week with the rebellious spirit that has defined his career, although Spring/Summer 2027 introduced a more architectural interpretation of the designer's established aesthetic.
Presented at St Martin-in-the-Fields, the collection explored the relationship between light and darkness, structure and transparency, with sculptural silhouettes bringing a sharper sense of precision to Richmond's familiar rock-and-roll influences.
The collection drew inspiration from White Light/White Heat, referencing the energy of music culture while introducing a more controlled approach to construction.
Architectural lines provided structure, while transparent elements softened the silhouettes, creating a contrast between exposure and restraint. The interplay between fitted garments and exaggerated forms introduced a theatrical quality without abandoning the designer's recognisable visual identity.
The historic setting provided an interesting backdrop. Against the grandeur of St Martin-in-the-Fields, Richmond's rebellious aesthetic appeared particularly pronounced, reinforcing the relationship between fashion and the cultural movements that have long influenced his work.
Music remained central to the presentation, with Duran Duran's Roger Taylor and Nick Rhodes among the guests, alongside Carl Barât of The Libertines and Lennon Gallagher. A performance by Eurythmics musician Dave Stewart brought the show to a close.
While Richmond has never been a designer particularly interested in understatement, what distinguished SS27 was the greater emphasis on construction. The collection demonstrated that the codes of rebellion can evolve without losing their original character.
YUHAN WANG: THE BEAUTY OF THE UNCONSCIOUS
There was something wonderfully peculiar about Yuhan Wang's Spring/Summer 2027 collection. The designer, whose romantic interpretation of femininity has become a recognisable feature of her work, ventured into the subconscious, exploring the disorienting moments between sleeping and waking.
The setting established the narrative immediately. Mattresses stacked upon the runway suggested a bedroom transformed into a dreamscape, where familiar objects gradually acquired a surreal quality.
Lace, delicate florals and lingerie-inspired silhouettes provided the collection's romantic foundations. Soft blue tones reinforced the sense of intimacy, while lightweight fabrics introduced the fragility that has become characteristic of Wang's aesthetic.
Yet, the apparent sweetness was repeatedly interrupted. Dresses featured drawers that appeared to spill their contents, while mirrors, combs and teacups became unexpected accessories. Corsetry was distorted, proportions deliberately unsettled and familiar clothing forms transformed into something altogether less conventional.
There was an almost childlike curiosity to the collection, although the references were not entirely innocent. The contrast between delicate fabrics and distorted silhouettes introduced a sense of unease, suggesting that the subconscious can be as unsettling as it is beautiful.
What made the presentation particularly compelling was Wang's ability to move between romance and absurdity without losing her design identity.
Rather than abandoning the feminine codes associated with her work, she used them to explore something considerably more complex. The garments retained their softness, but their construction and unusual details encouraged a second glance.
It was a collection that rewarded closer examination, demonstrating that femininity need not be confined to conventional notions of elegance.
CHARLIE CONSTANTINOU: A STUDY IN CULTURAL HERITAGE
Charlie Constantinou turned towards his Cypriot heritage for Spring/Summer 2027, exploring how traditional clothing evolves through cultural exchange and the passage of time.
Research conducted at The Cyprus Museum informed the collection, particularly the historical transition between Ottoman dress and the growing influence of Western clothing.
Traditional Cypriot vraka trousers provided one of the principal references, their distinctive pleating and generous proportions reinterpreted through contemporary tailoring.
An opening look combined a coffee-coloured blazer with charcoal linen Bermuda shorts, establishing the relationship between formal construction and relaxed dressing that would continue throughout the presentation.
Pleated tunics, military-inspired shirts and utilitarian separates extended the exploration, while an earthy palette of browns and charcoal allowed the garments' construction to take precedence over colour.
There was a practicality to the clothes that prevented the historical references from becoming overly academic. The silhouettes felt contemporary, despite drawing inspiration from garments belonging to a very different period.
What distinguished Constantinou's approach was his willingness to examine heritage as something that continues to evolve rather than a fixed point in history.
The collection raised an interesting question about the relationship between clothing and cultural identity. How do garments become associated with particular communities, and at what point does contemporary dress become part of tradition?
Constantinou offered a thoughtful interpretation of that relationship, demonstrating how historical research can inform modern design without reducing traditional clothing to costume.
ONALAJA: RESILIENCE THROUGH CRAFTSMANSHIP
For Nigerian designer Kanyinsola Onalaja, Spring/Summer 2027 marked a particularly significant moment. Her London Fashion Week debut arrived just two months after a devastating fire destroyed her studio, archives and more than a decade of work.
Against that backdrop, the collection became an expression of resilience, with Onalaja returning to the runway through the elaborate craftsmanship and unapologetic glamour that have become central to her label.
Beading, feathers and tassels introduced movement and intricate surface detail, while sculptural eveningwear silhouettes provided the foundation for a collection designed to command attention.
Scarlet, black, white and metallic tones created a dramatic palette, with embellishment used to emphasise the construction and movement of individual garments.
There was a confidence to the collection's embrace of occasion dressing. At a time when much of the fashion industry continues to champion understated luxury and practical wardrobe staples, Onalaja presented an alternative rooted in decorative craftsmanship.
The intricate detailing reinforced the importance of the techniques behind the garments, while the more dramatic silhouettes celebrated the possibilities of fashion as a form of self-expression.
Equally significant was the brand's approach to size inclusivity, with garments offered across a range extending from XXS to XXXXL. It remains an important consideration within luxury fashion, where broader representation continues to be an ongoing conversation.
Beyond the clothes themselves, the presentation carried considerable emotional significance. Onalaja's decision to continue following such a substantial personal and professional loss demonstrated the determination required to sustain an independent fashion business.
It was a powerful debut, not simply because of the circumstances surrounding it, but because the collection remained focused on the designer's creative identity.
PIPPA TODORSON: THE ART OF CONTRAST
Pippa Todorson's Spring/Summer 2027 collection, Layered Form, explored the relationship between structure and fluidity, presenting a wardrobe informed by the contrasting qualities of strength and softness.
Founded by Bulgarian designer Pepi Todorova, the London-based label has developed an approach to fashion that places personal expression alongside an appreciation for construction and craftsmanship.
Presented at the Guild Church of St Katharine Cree as part of the Style Intersect runway experience, the collection examined how clothing can communicate opposing qualities through silhouette.
Sculptural forms introduced a sense of strength, while softer, fluid elements created movement and a more relaxed interpretation of the body.
The interplay between volume and proportion remained central, with the collection's architectural references balanced by an interest in how garments behave when worn.
Rather than relying on overt embellishment, the designs placed greater emphasis on shape, allowing the contrast between structured and flowing elements to establish their visual identity.
The presentation also reflected the designer's interest in the wider creative community, reinforcing the importance of collaboration and opportunities for independent fashion labels.
KURT GEIGER X KELSEY RANDALL: BROOKLYN MEETS LONDON
Away from the catwalk, Kurt Geiger and Brooklyn-based designer Kelsey Randall brought a rather different energy to London Fashion Week with the launch of their collaborative capsule, Brooklyn Baddie Meets London It-Girl.
Unveiled at Kurt Geiger's Oxford Street flagship on 16 September, the collection brought together two cities renowned for their distinctive approaches to street style, individuality and expressive dressing.
For Randall, whose demi-couture creations have attracted attention for their elaborate embellishment and unconventional design, the collaboration provided an opportunity to translate her aesthetic into a broader accessories and fashion offering.
The streets surrounding her Bushwick studio became a source of inspiration, with references to pizza rats, pigeons, bodega snacks and graffiti introducing an unmistakably New York sensibility.
Leopard print, paint-splatter motifs and decorative details appeared across footwear, clothing, jewellery and accessories, creating a collection that embraced maximalism without apology.
Rather than drawing inspiration from conventional luxury references, Randall celebrated the everyday eccentricities of city life, transforming familiar urban imagery into fashion statements.
The launch itself reflected that irreverent spirit. Against a graffiti-covered backdrop, guests from fashion, music and entertainment gathered to celebrate the partnership, with Mutya Buena, Lady Mary Charteris and Zeze Millz among those in attendance.
What made the collaboration interesting was the contrast between Kurt Geiger's established commercial presence and Randall's more unconventional creative approach. The result was a meeting of two fashion identities that shared an appreciation for colour, embellishment and individuality.
London Fashion Week SS27 was less concerned with establishing a singular aesthetic than with celebrating the individual perspectives of the designers shaping its creative landscape.
What was most encouraging was the emphasis on the stories behind the clothes. In an industry increasingly driven by social media, viral moments, commercial expectations and the relentless pace of seasonal collections, there remains something compelling about designers who approach fashion as an extension of their cultural histories and creative identities.
Of course, originality alone does not guarantee commercial success, and the challenge for London's independent labels remains finding a balance between experimentation and the realities of building a sustainable business.
Yet, what these collections demonstrated was that creativity and wearability need not exist in opposition.
London may not always produce the most commercially predictable fashion, but its willingness to champion designers with distinctive perspectives remains one of its greatest strengths. And for Spring/Summer 2027, that individuality was precisely what made the season worth watching.
Photographer Alma Saddi
Words by Jheanelle Feanny
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