While there remains much chatter about the difficulties of founding – and indeed maintaining – a young label in London, the expansive schedule, with shows running from early morning until late into the evening, is proof that London Fashion Week remains buoyant four decades on, even if a few familiar names are missing from the line-up (this year marks the week’s 40th anniversary).

When it comes to young talent, there is plenty in the mix: the Harry Styles-invested label S.S. Daley has already shown its first dedicated womenswear collection, on Friday afternoon; LVMH Prize winner Nensi Dojaka will return to the schedule and debut a collaboration with American behemoth Calvin Klein; while Michael Stewart’s Standing Ground will hold its first solo show after graduating Fashion East. More new-generation talent comes from Chopova Lowena, Paolo Carzana and Aaron Esh, the latter working with stylist Katy England – a close collaborator with Lee Alexander McQueen – for the first time.

Elsewhere, eyes will no doubt be on the week’s two biggest draws – JW Anderson and Burberry, on Sunday and Monday respectively. The latter will take place at Southbank’s National Theatre, including a set created for the occasion by the British artist Gary Hume. Meanwhile, stalwarts of the week Simone Rocha, Roksanda and Erdem will round out the schedule.

Here, reporting live from London, Wallpaper* fashion features editor Jack Moss picks the very best of London Fashion Week S/S 2025, updated as it happens.

The best of London Fashion Week S/S 2025

S.S. Daley

The not-so-surprise guest for S.S. Daley’s first dedicated womenswear outing, shown in an upper gallery of Royal Academy of Arts on Friday afternoon, was the popstar Harry Styles, who was also the runway show’s final arrival. Not so surprising because Styles, a longtime wearer of Steven Stokey-Daley’s eponymous label, invested in the business earlier this year. Taking his seat next to Anna Wintour (who wore a red, white and blue Kamala Harris scarf for the occasion), he was no doubt satisfied with his business decision – this was arguably Daley’s most refined collection yet. Because, while the designer’s fascinations with the traditions and idiosyncrasies of the English class system – often hovering around the Bloomsbury era and its protagonists – have occasionally veered into the realm of costume, here was a considered, real-world offering for a woman’s wardrobe, with just enough of his more outré flourishes to keep it interesting.

The inspiration point this season was the British artist Gluck, the carefully constructed identity of artist and painter Hannah Gluckstein, who rose to prominence in the 1920s and 1930s. A proponent for masculine dress who was openly queer, her subjects – like the florist Constance Spry, who inspired the colourful floral display at the end of the runway – were often the opposite, favouring the blousy, feminine codes of the era. It was a juxtaposition that Daley mined throughout the collection, shifting from masculine nipped-waist tailoring, worn with shorts or voluminous pants, to sinuous bias-cut dresses and beaded floral motifs. ‘Gluck used clothing to curate their identity, then observed the fashion of a lifetime of lovers,’ said Daley. ‘This collection is about the universe around Gluck, allowing us to go deep into the techniques of womenswear. As with our men’s collections, every piece matters, designed to create a full wardrobe.’

Stay tuned for more from London Fashion Week S/S 2025.