London Fashion Week returned for Spring/Summer 2027 with the city’s signature blend of innovation, individuality and unapologetic creative spirit intact.
Across the capital, designers explored fresh takes on tailoring and pushed silhouettes in new directions. They also continued to blur the lines between fashion, identity, art and culture.
From established names reaffirming their creative vision to emerging talents making their mark, SS27 offered plenty to talk about.
Here, LDNFASHION breaks down the collections, trends and standout moments that defined London Fashion Week this season.
Mithridate
For Spring/Summer 2027, Creative Director Daniel Fletcher looked to the New Romantics of 1980s London for Mithridate’s latest collection. He took cues from the Blitz Club, military dress and the movement’s theatrical style. Victorian and Edwardian military influences surfaced in sharply tailored looks and party dresses. Ballerina references appeared in pink tutus and fine knits inspired by rehearsal hosiery.
The result struck a balance between statement dressing and everyday wearability. Bubble-hem skirts, feather-covered bodice dresses, tulle gowns and corsets with exposed suspender clips brought the drama. Precision-cut tailoring, striped shirting, rugby shirts, tweed blazers and square-toed brogues added a sharper, more classic feel. Relaxed denim, micro shorts, billowing trenches and exaggerated proportions gave it a playful edge. Accessories included glossy belts, silk cummerbunds and Bicorn hats by Noel Stewart.
Bold colour combinations – from hot pink and scarlet to cornflower blue and emerald – amplified the collection’s energy. Oversized studs, West End theatre graphics and Mithridate’s signature numerical motifs did the same. Yet for all its statement-making details, the collection never felt overworked. Fletcher and show stylist Katie Shillingford styled each look with an instinctive sense of ease. Their approach made unexpected combinations feel considered rather than contrived. The result was expressive and eclectic, while remaining firmly rooted in the modern wardrobe.
Kyle Ho
Kyle Ho presented its Spring/Summer 2027 collection, Chapter Three: The Human Condition, at Crypt on the Green in Clerkenwell. It continues the story that began with Love, Louis and Goodbye Martin. This time, the focus turns inward, exploring the idea of humanity itself as a disease. The narrative unfolds through the clothing, the body and the atmosphere around it. Tailoring remains central to the Kyle Ho aesthetic, but the label disrupts and reimagines traditional construction. Sharp shoulders, flowing silhouettes and intricate detailing create tension between the familiar and the unexpected.
The collection has a timeless quality, with just enough edge to give each look its own identity. Accessories and considered styling further elevated the silhouettes. Kyle Ho strengthened its ties to British craftsmanship through collaborations with Pantherella and milliner Katherine Elizabeth. The label also partnered with sustainable fabric supplier Fabric House. The result feels thoughtful and assured. It respects the traditions of tailoring while finding new ways to challenge them.
Aaron Esh
For Spring/Summer 2027, Aaron Esh brought a renewed sense of energy to his signature rock’n’roll aesthetic. The collection explored attraction – that instinctive pull towards something that makes you look twice. It came through in a striking palette of shocking pink, sexy red, mint green, powder pink, peach and mustard yellow. A sheer chiffon dress in vivid pink opened the show. It signalled an immediate break from Esh’s familiar head-to-toe black.
That experimentation carried through a wardrobe that speaks to Esh’s distinctive style set. Esh paired cardigans and skirts, satin blazers and zip-up leather jackets with his now-signature logoed baseball caps. The balance of sex appeal, attitude and wearability central to his work remained intact. The result felt electric without losing the recognisable Esh edge.
Geordie Campbell
For his runway debut, Geordie Campbell presented 15 Steps, a 24-look collection that was playful, provocative and distinctly queer. It translated the coded language of cruising into fashion. Its starting point was Mansfield, Ohio, in the 1970s. There, two police officers used a two-way mirror and hidden camera in a public toilet to identify men. They then arrested them for so-called “indecent acts”. Alongside this darker history, Campbell looked to George Michael’s 1980s wardrobe. He channelled cruising’s visual codes through low-slung sailor trousers, military coats, feathers, flashes of bright lining and ultra-short shorts.
Stylist Alex Kessler helped 15 Steps develop its own vocabulary. Multicoloured trims, revealing details, suggestive prints and provocative T-shirt slogans all played a part. Its references extended beyond fashion into queer image-making, drawing on James Bidgood, Derek Jarman and Tom of Finland. A selection of accessories added further attitude.
Campbell staged the collection as a fully immersive experience. Guests could even take in a re-see through a glory hole, carrying the themes beyond the runway. There was substance behind the provocation, too. British practitioners and small businesses made 92 per cent of the collection in the UK. That gives 15 Steps a distinctly local foundation.
Agro Studio
For their third London Fashion Week offering, Agro Studio – the design duo George Oxby and Angus Cockram – presented Glass Body. The collection continued their exploration of couture-level craftsmanship in a ready-to-wear context. It played with transparency, distortion and movement. Lightweight, translucent fabrics contrasted with the brand’s signature sculpted corsets, structured tailoring and sportswear-inspired details.
Nostalgic references took on an unexpectedly glamorous quality. Inventive fabric manipulation and textural experimentation gave the collection a strong sense of artistry. There was plenty of showmanship, but meticulous craftsmanship underpinned it all. Agro Studio showed that it can push couture techniques into something more contemporary and wearable.
Ksenia Schnaider
Ksenia Schnaider entered a new era for Spring/Summer 2027. Co-founder Anton Schnaider took on the Creative Director role for the first time. He launched the Kyiv-based label with Ksenia in 2011. His graphic design background showed throughout the collection. It borrowed the visual codes of sport and popular culture – football kits, racing gear, team merchandise and travel uniforms. Anton then reimagined them through a distinctly fashion-led lens. Numbers, names, badges and other familiar emblems appeared across the clothes, but he often distorted or obscured them. The effect suggested teams, affiliations and histories somewhere between reality and imagination.
Practicality was equally important. Garments came with generous pockets, and body-wear offered sun protection. Elsewhere, familiar functional elements lost their usual purpose and became decorative details. The collection moved freely between streetwear, sportswear and everyday dressing, with a sense of movement running through it. Despite its playful approach to identity and belonging, the collection remained firmly rooted in place. The label produced every piece at its own facility in Kyiv. That makes the city an integral part of the story rather than simply its backdrop.
Ray Chu
For Spring/Summer 2027, Ray Chu took Taiwan’s fragile yet resilient Sambucus flower as the starting point for Fans Only Club. He translated its clustered, organic forms into a gender-fluid wardrobe of refined tailoring, translucent layers and body-conscious silhouettes. Botanical motifs appeared through fragmented prints, delicate embellishment and subtle shimmer. Two key prints offered contrasting takes on Taiwanese culture and nature. These were the colourful, nostalgic Taiwan Banana Club and the abstract Sambucus.
Tailoring remained central, with sheer layers, relaxed shirting and fluid separates softening it for summer. Swarovski ReCreated Crystals added a delicate sparkle inspired by water droplets and clustered blossoms. A collaboration with Japanese artist MOMOJIRI WORKS introduced sculptural, jewellery-like pieces. Lightweight mint-fibre shirting and quick-drying Icy Grass jersey brought a functional edge. Both reflect Chu’s continued interest in combining sensuality, comfort and more responsible materials.
Oscar Ouyang
For his third on-schedule runway show, Beijing-born, London-based BFC NEWGEN designer Oscar Ouyang presented Cygnet in collaboration with Pull&Bear. Continuing his signature preppy aesthetic, the Spring/Summer 2027 collection explored youth, subculture and self-expression. The wardrobe spanned reworked silhouettes, textured knitwear, denim and elevated everyday pieces. These are clothes that feel equally at home among London’s bright young things, aristocrats and socialites.
The collection had a nostalgic, slightly melancholic quality, with echoes of The Virgin Suicides in its youthful styling. Family heirlooms also informed the designs, with metallic, silverware-inspired elements running through the knits and crochet. The result balanced Ouyang’s polished preppy codes with a more intimate sense of history and youthful rebellion.
Labrum London
Hands of Osmosis is the third and final chapter of Labrum London’s Osmosis trilogy. Foday Dumbuya’s Spring/Summer 2027 collection placed craftsmanship at its centre. Drawing on his Sierra Leonean heritage and life in London, Dumbuya explored links between West Africa, India and Britain. He did so through weaving, embroidery, leatherwork and intricate beading. Lightweight tailoring in earthy beige and brown sat against khaki and navy, with flashes of cobalt and red. A sheer burgundy dress with an asymmetric hem added a more sensual note.
A series of collaborations and deeply personal references also reflected this focus on craft. The adidas collaboration featured a floral motif inspired by Nigerian Adire indigo textiles. Labrum’s signature passport motif remained a recurring detail. A collaboration with British milliner Lucy Barlow combined West African weaving techniques with traditional millinery. Meanwhile, the hand-embroidered Mamie Bakie series brought an intimate sense of heritage. Dumbuya based it on memories of his grandmother working at a market stall in Sierra Leone. The result was a thoughtful exploration of how traditional techniques evolve as they travel. They become something new without losing sight of where they began.
