LONDON FASHION WEEK SPRING/SUMMER 2026: DAY 3
YUHAN WANG
review by ANANO SHALAMBERIDZE
all images YUHAN WANG provided by the brand
For SS26, Yuhan Wang presented *Armor of Roses*, a collection inspired by the fractured realities of *Mulholland Drive*. In Lynch’s world, identities collapse under outside forces, but in Wang’s fantasy, her heroines seize authorship instead.
Lace remained central, lace socks, frilly tiered dresses, and delicate details, while actual pieces of armor were strapped over garments, reframing them as vessels of feminine power. Yet while quintessentially Wang, the Lynchian reference hinted at a cinematic intensity the collection didn’t fully reach.
TOGA
review by ANANO SHALAMBERIDZE
all images TOGA provided by the brand
Toga, long known for its silver-buckled shoes, delivered a sharp SS26 collection for a modern woman. Echoes of Phoebe Philo’s Céline and even a touch of Miuccia Prada were felt, but the real influence was Claes Oldenburg, inspiring pieces that played with classic forms.
Tailored shorts and trousers came with fabric panels attached at the back, slightly deconstructed yet never unfinished. A palette of black, white, pops of orange and red, and muted florals carried across women’s and menswear, all punctuated with Toga’s signature silver hardware.
LUEDER
review by ANANO SHALAMBERIDZE
all images LUEDER provided by the brand
Lueder invited us for a feast. Latin for banquet or feast, Convivium was LUEDER’s lens for Spring/Summer 2026, where carnival met chaos, devotion met desire, and ritual met rave. Marie Lueder drew on the energy of medieval carnivals, football matches, and Baz Luhrmann’s Romeo + Juliet to question who performs, who consumes, and who resists. Bikinis, strappy tops, and maxi dresses appeared alongside drawstring outerwear, while vintage football kits and recycled tees were reworked through shirring. Fabrics spanned waxed cotton, denim, jersey, regenerated ocean plastic nylon, and custom jacquards in a palette Marie called “muted doomsday Venice Beach,” sunburnt asphalt through washed-out neutrals. The collection carried that dark, cool energy people mean when they say London Fashion Week is “so very London.”
SINEAD GOREY
review by ANANO SHALAMBERIDZE
all images SINEAD GOREY provided by the brand
Like Zinko and Lueder, Sinead Gorey channelled the themes of party dressing and London energy, bringing a distinctly British, devil-may-care attitude to Spring/Summer 2026. “Hardcore Happiness,” “English Rose,” “No Knickers,” and “SEX” stamped the looks, while scratched flag prints, suspender details, and dinky Union Jacks amplified the chaos. Still true to the hot-mess sensibility that built her brand, Gorey pushed towards something sharper, where rave, festival, and late-night London energy were refracted through a lens of expensive finesse. Grass-stained glamour appeared in muddied windbreakers, tasselled patchwork silks, and Converse Chuck Taylors reimagined in dirt and fringe.
That bratty spirit spilled into after-party outings, from Mongolian gilets to terracotta suede tailoring, chainmail corsetry, and lingerie-printed stockings. “I went through a few years of not wanting to go out,” Gorey said, “but now I’ve found a new route of partying. It’s still raw and fun, but just a bit more grown-up.” The collection captured that shift, combining countryside escapism with London clubland, proving Gorey could evolve without losing her irreverence.
RICHARD QUINN
review by MAREK BARTEK
all images RICHARD QUINN via vogue.com
Richard Quinn turned his runway into an opera, complete with a theater backdrop, soaring hydrangeas, chandeliers, orchestra, choir—and Naomi Campbell opening the show in black velvet with a sculptural white satin collar and camellia. What followed was 52 gowns in full Quinn mode: corsets, bell skirts, duchesse satin, crystals, and acres of tulle, moving from monochrome to pastels, reds, and a finale of bridal whites. The silhouettes remained rooted in ’50s couture, but the sheer scale and embellishment spoke to Quinn’s thriving eventwear business. Grandeur, excess, and drama is Quinns’ recipe, unmistakably maximalist, unmistakably his.
PAULINE DUJANCOURT
review by ANANO SHALAMBERIDZE
all images PAULINE DUJANCOURT provided by the brand
Straying from the high-energy party dressing of other shows, Pauline Dujancort presented a gentle, introspective Spring/Summer collection at her Saturday evening show. Guests were greeted with hand-crocheted bird brooches, yes, all 450 of them made by Dujancort in memory of a close friend, a delicate gesture that set the tone for the collection. Inspired by Nina from Anton Chekhov’s The Seagull, Dujancort drew on the character’s resilience and creative strength, connecting her own experience of loss to Nina’s journey. A poem included with the show, an extract that guided her through weeks of grief, became the seed of the narrative, emphasizing how creativity can transform pain into beauty.
Birds were central to the designs, their folded wings echoed in drapes and silhouettes, evoking memories of her mother’s feathery, swan-like wedding dress. The collection juxtaposed mourning and celebration, from an all-black “Mourning Dress” to the luminous closing “Mother’s Dress.”