Here’s everything you missed at London Fashion Week 2027 Womenswear

In the blink of an eye, the whirlwind that was London Fashion Week SS27 has been and gone. The September show schedule is always the most jam-packed of the year, and this season’s agenda was practically overflowing with shows, presentations, exhibitions, parties and talks. Between the homecomings, debuts and catwalk cameos, here at Dazed, we’ve been keeping you up to date with all the major moments (see here), or, for a more comprehensive roundup of the runways you missed, read on!

For SS27, designer Ronan McKenzie welcomed us all to her body shop. Staging this season’s show at a luxury vehicle repair specialist, guests had to make their way across London to M&A Coachworks in Tuffnell Park, which is basically the Arctic Circle for fashion’s central London set. Nevertheless, the journey was worth it: McKenzie expanded on the Selasi woman for SS27, switching last season’s upcycled dresses for a full-on motorcar moment. “McKenzie looked to the automobile not simply as a machine, but as a space of possibility,” read the show notes. “The sanctuary of the driver’s seat, the conversations that happen behind closed car doors, the women who have travelled alongside her.” The curving lines of cars and the female form were brought together in perfect harmony, while plunging jersey and tactile suede made for a visually arresting collection. A joyful cast of friends and family also made for one of the sweetest moments at London Fashion Week.

A surprise on the first day of London Fashion Week SS27: Francesca’s Lake’s debut presentation was in fact not a presentation, but a full-blown catwalk show, with two separate runs across her two-hour slot. The show was held in the basement of 180 the Strand, the first this season in the NEWGEN catwalk space, whose entrance had been given a shiny new revamp thanks to Laura Weir’s improved approach to LFW.

A Central Saint Martins graduate and native of Kingston, Jamaica, Lake’s previous collections have celebrated the maximalist aesthetic of her home country, and this season was a masterful expansion of that work. Called Wake The Town, SS27 was inspired by processions and wakes in Lake’s home country, the collection title acting as a double entendre. On the runway, models came encased in concertina folds or covered head-to-toe in lace. A bodice made from a sea of pearls gleamed under the harsh lighting, while imposing collars and structured tailoring brought a kind of formality to proceedings, despite the amount of leather and denim used throughout.

LFW vet Ashley Williams returned to the ICA for SS27, and brought her deranged depiction of femininity along with her. This season, the British designer was appealing to the agoraphobic inside us all, centring her collection on people who never leave the house. “For SS27, Ashley Williams asks what life looks like when interiority is all that remains,” read the pastel-coloured show notes dotted along the white benches. “House clothes take new shapes after years spent inside.”

Williams’ cast of recluses first appeared on the runway in a brown and yellow print straight from the 1970s, one you could imagine splattered across a couch or a pair of curtains. Next, a sun-bleached fleece that looked like it had spent too many years by a window pane, followed by nightgowns repurposed into tracksuits and tops. Accessories were as oddball as the clothes too – a majority of models wore hosiery stuffed with plushies, while a huge ceramic cat figurine was wrapped around one model’s waist as a belt. “Cherished trinkets collect fine dust on the bedside table and wood panelled walls form a protective cave where dreams finally settle,” wrote the designer.

This season, design duo Matt Empringham and Freddy Coomes showed their debut runway show under their new name A Letter (formerly known as Aletta). The pair met on the first day of their foundation course at Central Saint Martins and have remained close ever since. They founded Aletta at the start of 2025, and in the past 18 months, have solidified their reputation as one of London’s most exciting brands. For SS27, they took over Bethnal Green’s Rose Easton Gallery with their most pared-back collection yet. While in the past they’ve been known to experiment with textiles, making clothes out of paper, they kept it simple this season. They used the same five models, who each walked the runway six times each (they did two laps of the space with each walk, allowing the models backstage more time to frantically quick-change). It’s a concept that could only have worked with clothes so simple – if there’d been any buttons or intricate fastenings, they would’ve needed a lot more models. Instead, we saw a series of square-necked mini dresses, ultra-light, easy-to-pull-on materials (though no tearable paper), and one simple white tee, with a large ‘A’ written on it – in case we’d forgotten the brand’s new name. 

This was a fashion show like no other. On Saturday afternoon, Steve O Smith hosted a salon-style presentation for an intimate audience of around 30 guests. It took place inside the Royal College of Art’s life drawing room, which first opened in the 1860s. However, instead of asking the industry’s top editors to take up life drawing, the designer brought his own drawings to life. Smith entered the space first, before the first model emerged. There was no soundtrack or background music, just the sound of the model’s footsteps and Smith’s voice as he talked us through each look. As he explained, every piece began as a quick sketch. He doesn’t begin with an idea; he lets the ink make the decisions for him. After drawing hundreds of sketches, he goes through them all and decides which to turn into real-life garments. Inspired by artists such as André Derain, George Grosz and Matisse, Smith used just four shades: red, cobalt, Prussian blue and black. Last year, he was awarded the Karl Lagerfeld Prize at the 2025 LVMH Prize, but if this presentation was anything to go by, there are plenty more successes to come for this young designer.  

London Fashion Week takes us to all corners of the city. From a bowling alley (Chopova Lowena) to the Royal Academy (Steve O Smith), it introduces us to buildings we’d likely never see otherwise. It also grants us entry to some of London’s most exclusive spaces, Rosewood London, for example, the luxury five-star hotel where Priya Ahluwalia hosted her SS27 show. Born and raised in southwest London, the designer is known for exploring her Indian-Nigerian heritage throughout her collections. This season, she turned to Festac ‘77 for inspiration – the month-long celebration of African arts and culture hosted in Lagos, which brought together 16,000 creatives from across Africa and the global diaspora. The photographer Marilyn Nance described the event as “the Olympics, plus a biennial, plus Woodstock. But Africa style.” On the designer’s mood board were images that fused both celebration and resistance – off-duty Black Panthers, for example. She also used the opportunity to debut her latest collaboration with Puma, which, it’s safe to say, will likely be a very popular shoe of 2027. 

This season marked a homecoming for several quintessentially British brands. M&S celebrated 100 years of fashion with its first-ever runway show. Mulberry welcomed new creative director Christopher Kane. Alexander McQueen returned to the UK capital for the first time in 25 years, and Burberry returned to the city after summer holidaying in Athens. Barbour also got involved. The 136-year-old British heritage brand, famous for its wax jackets, hosted an exhibition all about tartan. Partnering with the British Fashion Council, the brand took over the Saatchi Gallery to explore the story behind its original tartans, as well as various brand collabs (including Erdem and Gucci). There was even a workshop showing visitors how the waxing process works, plus a pub-style bar for thirsty fashion folk to sink a pint between shows. 

The fashion world went into mourning when Christopher Kane announced the shuttering of his namesake brand in 2023. After a three year fashion hiatus, during which he was sorely missed, it was announced in March this year that the Scottish designer would return as creative director of Mulberry. On Sunday, we finally celebrated Kane’s grand return to London Fashion Week, with a show hosted inside Parliament Square’s Queen Elizabeth II building. For his debut, he decided to wipe the slate clean. With muted tones and uncomplicated silhouettes, Kane kept it simple – laying solid foundations to build upon in future collections. Naturally, he reverted to Mulberry’s DNA, founded as a leather brand in 1971 by Roger Saul and his mother, Joan. Soft leather was cut into skirts, dresses, T-shirts, jackets and blazers; meanwhile, Kane also introduced new bag shapes, such as the Axe and the Chop. While we can’t help but miss the designer’s eponymous brand, we’re certainly happy to have him back on schedule.