Another season, another outpouring of style from the British capital, with new and established houses making a heady impact. Nataal reports on the shows that moved us the most from the AW24 collections as London Fashion Week celebrates its landmark 40th edition.

On the eve of LFW, Momonary made its debut. The label’s ‘Mappa Mundi’ collection was all about the coming together of sophistication and functionality. Taking cues from cartography, it explored innovations in warmth, breathability and lightness through the use of 3M™ Thinsulate – representing the merging of artistic expression with cutting-edge technology.

Over at Paul Costelloe there was a symphony of style that used nostalgia to transport the audience to his days spent in New York’s Lower East Side. Traditional British grey and green tweeds waltzed in harmony with the label’s bold and romantic tailoring to bring together the rustic allure of the countryside with the glittering vibrancy of the city’s most exclusive soirées.

Next up was Bora Aksu. This season, the Turkish virtuoso drew inspiration from the complex life of Eva Hesse. The catwalk, a former Swedish war hospital, gave life to garments that bore witness to the modern sculptor’s dichotomous trauma. An ethereal off-white cardigan adorned with ruffles opened the show in tandem with a romantic silk shirt, setting the stage for a mesmerising collection. A mandi maxi-skirt, punctuated by an audacious bow, spoke to the collection’s juxtaposition of femininity with masculinity, which was further explored with sweeping lines and diaphanous fabrics.

Onward to Edward Crutchley at Ironmongers Hall – the Tudor venue where he first showed a decade ago. For AW24, volumes were bold. Oversized shoulders, hints of 19th-century couture, cowboy hats and a fusion of Victorian elegance with grunge and rock & roll rawness were all hallmarks of collection that pulsated with unapologetic authenticity. In the months ahead, the streets of London are poised to become a living manifesto of Crutchley's profound influence.

Natasha Zinko looked to Stanley Kubrick's 2001: A Space Odyssey. A white lunar lab suit propelled us to the moon and a celestial realm, where dreams transcend earthly boundaries. Weaving pragmatic simplicity into her designs to allow unresricted movement, neutral tones were punctuated by the interplay of zips, pockets and visionary headpieces, while oversized shoulders recalled 1960s car racing uniforms – a nod to Zinko’s vision of a brighter future.

Back to earth, Tolu Coker took us to Nigeria with a monologue echoing the colloquial charm of a streetside auntie outside her hair shop. The collection opened with strong tailoring: grey denim trousers adorned with pockets, a matching gilet, an oversized shirt and a sculptural hat perched upon a radiant red-haired model. This season Coker’s muses are the street saleswoman and a man she encountered on her travels to Ghana, who, to her, was the embodiment of resilience and resourcefulness. The collection is an ode to enduring beauty and history, and an invitation to reimagine the future.

This season’s Fashion East triumvirate lent into the kind of radical experimentation that we’ve come to expect from the new talent incubator that has made LFW such a ripe bed for launching international careers. Olly Shinder brought together the lexicons of protective workwear, middle management suiting and fetish clubs for an exacting collection relishing in its queer eye on masculine tropes. Joanna Parv imagined the ultimate city commuter’s wardrobe – functional, storm proof and cocooning – and ready to take to the cycle lanes. And special guest Samara Scott presented a photographic tapestry of her second-skin looks, each one a sensually textured and psychedelic treat.

Then we stepped into the enchanting realm of Annie's Ibiza – a journey that took us on a mystical and theatrical odyssey. A gothic church was the stage for her show and as the lights gently illuminated the sacred space, a woman emerged, draped in a sheer white gown, which was adorned with an intricately embroidered spider web that sparkled with a kind of celestial brilliance when caught in the spotlight. A veil, crafted from the same shimmering material, shrouded her with an air of mystery. The collection was a seamless tapestry, weaving together 17th-century silhouettes with whispers of bohemian glamour and the natural world.

The next day commenced with Roksanda’s avant-garde showcase. Set at the Tate Britain, the atmosphere crackled with excitement as the classical strains of a composition by Dan Lywood permeated the air. Her show opened with a tailored purple suit cinched by a leather belt, and each look that followed revealed inspiration from the designer’s recent pilgrimage to Le Corbusier's architectural masterpiece on Cap Martin. A palette inspired by the luminous green and pink of the 60s felt timeless and effortlessly vibrant. And the collection as a whole was quintessential Roksanda – bold shapes, audacious colours, artistic ingenuity, and an unyielding portrayal of powerful, independent womanhood.

Following Roksanda, we were immersed in the Italian salone of Malone Soulier. Both brands draw inspiration from architecture, with the latter enamoured by the golden era of mid-century Italian design. The period produced luminaries such as Gio Ponti, Carlo Scarpa and Gae Aulenti. Celebrating the epitome of Italian craftsmanship, the collection combined elegance and timeless design with practicality. Shoe styles were a marriage of form and function seamlessly danced in harmony.

Next we headed to Central Hall Westminster for Ahluwalia’s showcase. The designer continues to reflect on her heritage, with the art and traditions of the Igbo people of Nigeria and the Indian diaspora skillfully woven throughout the collection. The results included exquisite silk hoodies adorned with glittering crystals. Ahluwalia's extensive research is in every stitch, with a clear reverence for artist Kelechi Nwaneri evident in the collection. Here, Igbo fairy tales are brought to life, offering a contemporary narrative that bridges the realms of tradition and modernity. Elsewhere we saw the influences of Laxman Pai and Raja Ravi Varma. A collaboration with Levi's was also a central narrative speaking to the brand’s commitment to ethical practices with deadstock denim reimagined as couture.

Against the backdrop of the Guildhall School of Music & Drama, Patrick McDowell celebrated the confluence of music and fashion while emphasising the importance of cultural heritage and artistic expression. Exploring the Guildhall’s costume archive, the designer drew on the sartorial codes of composers' outfits and crafted silhouettes inspired by discarded musical instruments. A corset-inspired top and voluminous skirt – house signatures – made a triumphant return to the Liverpudlian’s adopted city.

Paolo Carzana’s offering felt deeply personal and poignant. Utilising his eponymous brand as a diary, it became a vessel for stories and secrets. Titled ‘Melanchronic Mountain,’ the designer summed up the collection with the words, “It’s within the bones that we carry, how we can transform that pain into hope.” Look 11 – resembling a beating heart – was a visceral representation of his emotional odyssey. Another brilliant debut came courtesy of couture designer Oiza. Drawing inspiration from her Nigerian and English upbringing, the show was a reflection on both the similarities and juxtapositions in wedding and funeral rituals of the two cultures. The stunning array of genderless outfits were characterised by the use of necklines cut from delicate crochet and hand-stitched lace. Each look became a canvas for pearls and ostrich feathers.

Saul Nash presented ‘Dress Codes’, a deep dive into London’s UK garage scene and its influence on clubland for the past 30 years. Considering what it takes to get past the door whore – ‘no hoods/no hats/no trainers’ – and spinning these codes on their head, Nash offered up clothes for keeping on the move. Elevated technical sportswear made from regenerative textiles were fit for the VIP while Smiley symbols (in collaboration with Smiley®) were a cheeky hint to the halcyon days of then, and now. With MC Bushkin from Heartless Crew on the catwalk and Envy on the mic, we wanted a rewind.

First our list for day three was Yuhan Wang, who honoured the women who have held pivotal roles at the High Commission and helped to shape the annals of history – among them Ruth Bader Ginsburg, Dame Rose Heilbron, Sandra Day O'Connor and Brenda Hale. In a stroke of creativity, Wang translated the significance of the high court uniform into a demi-couture collection. The show sang with delicate organza, intricate Sangallo lace and sumptuous silk juxtaposed against animal-print cotton and hardy wool.

Returning to LFW after four years away, Marques’ Almeida unveiled a collection that delves into the journey of life and the graceful art of ageing. Many models were paired with a child or a young teen – a glimpse into the brand's foray into childrenswear. The collection was also testament to the brand's distinctive aesthetic – cool, effortlessly wearable, and inherently sustainable.

Di Petsa paid tribute to the divine essence of Venus with ‘The Body as Prayer’. This ethereal exploration delves into the convergence of divine beauty and sexuality and illustrates how it manifests in the sacred act of dressing; adorning one's body becomes an act of devotion. The meticulous way in which the fabric falls in the brand’s trademark wet draping, gracefully tracing the contours of a woman's curves, is nothing short of extraordinary and elevated the catwalk into a place of spiritual artistry.

At St. James, Colville took over the gallery of a quintessentially English apartment, the stage set for a unique and immersive experience. At the helm are Molly Molloy and Lucinda Chambers who unveiled a collection that was an ode to the visionary Consuelo Castiglione. Its unwavering commitment to sustainability was expressed through the designers’ mastery in reutilising fabrics in innovative ways, creating a harmonious blend of artistry and eco-consciousness. Looks were vibrant and inviting, a canvas for prints and textures allowing romanticism and boldness to intertwin.

In a breath-taking showcase, Ukrainian designer Ivan Frolov’s collection was a beautiful blend of couture craftsmanship and a celebration of freedom that emanated an empowering essence throughout the catwalk. The incorporation of corsets and the masterful use of colour revealed an artistry that was timeless and elegant. We expect to see these pieces make waves on red carpets in the months to come.

Another captivating debut came from designer Derrick. ‘Nightwalking’ explored the designer’s nightly 12-minute journey home from Bethnal Green to Spitalfields. Overcoats became shields against the biting city wind while there were echoes of the area’s historic silk industry in black sportswear to represent the contemporary urban landscape. Silk and nylon were woven together to shimmer in unison and the collection became a visual poem that encapsulated the essence of the nocturnal pilgrimage.