By the final stretch of London Fashion Week, the Newgen space at 180 Strand had already shape-shifted through medieval rave, suburban realism, and occult reverie. For Fall/Winter 2026–2027, Oscar Ouyang claimed it for something more unruly: the after-party at the end of a legacy.
For Fall/Winter 2026–2027, Conner Ives continued to refine his singular equation: nostalgia plus subversion, filtered through a distinctly contemporary lens. The American-born, London-based designer has long treated memory as raw material, and this season he sharpened that instinct into something more distilled. Rather than merely referencing the past, Ives dissected it, splicing sentiment with wit and reverence with irreverence.
Two decades into his career, Erdem MoralıoÄŸlu chose not to commemorate but to complicate. Staged at Tate Britain, his Fall/Winter 2026–2027 show marked twenty years of independence with a collection titled Impossible Conversations, less retrospective than a reckoning. Rather than revisit past triumphs, MoralıoÄŸlu orchestrated a collision of muses, eras, and signatures, allowing them to overlap and interrupt one another in deliberate discord.
For Spring/Summer 2026, Zuhair Murad reaffirmed his command of haute couture with a collection that celebrates luminosity, craftsmanship, and unapologetic glamour. Presented on the Paris couture stage, the show unfolded as a radiant meditation on elegance, where the house’s signature opulence was refined through precision, restraint, and architectural finesse.
Rejecting the pace and scale that often characterize Copenhagen Fashion Week, Skall Studio chose deliberateness over velocity for its Fall/Winter 2026–2027 presentation. Titled Karen Blixen’s Flowers, the show unfolded as a quiet, inward-looking encounter; less runway spectacle and more shared moments, where atmosphere, memory, and emotional restraint took precedence over momentum.