London Fashion Week, one of the “Big Four” alongside New York, Milan and Paris, has once again dazzled us with its eclectic showcase of creativity. London’s fashion scene was influenced early on from the city’s clubs and counterculture and this iconic history was noticeable in the abandoned car park setting of one catwalk (Sinead Gorey) and the eerie rave-like performance of another (Marie Lueder). On the other end of the spectrum, there is a distinct ode to grandmothers and wise muses. Air brush artist Mia Violet highlighted the emerging collaborations happening across collections and the “immersive tactile experience” coupled with audio descriptions gave blind and low vision guests a front seat at the catwalk. Another thread (or ball of yarn) that runs confidently across the catwalks was, you guessed it, knitwear! For all those needing a convenient round up of all things merino, crochet and cable from LFW25, look no further. We got you.
Chet Lo, celebrated for his iconic merino wool spiked knitwear, unveiled a more refined collection that retained his signature playfulness while exploring work-ready silhouettes. This evolution reflects the diverse lifestyle of the modern consumer, effortlessly transitioning from boardroom to bar. Lo, along with Roksanda and SS Daley took part in the initiative created by the non-profit organisation Hair & Care, allowing guests to touch runway pieces and hear detailed audio descriptions.
Sinead O’Dwyer’s collection took an exciting turn, intertwining traditional Irish dance motifs with contemporary silhouettes and an innovative collaboration with Japanese footwear brand Ground. Fusing the brand’s signature bubble sole with squiggle-knit socks and front-lacing technology introduced a new dimension to knitwear, complemented by tailored leather pants and sheer organza. A footwear sponsorship with Puma seamlessly blended elegance and everyday practicality, making Dwyer a force to watch.
A particularly poignant moment came from BFC NEWGEN designer Pauline Dujancourt, whose debut runway show was a testament to familial connection. Inspired by her grandmother and the plant Vriesea, Dujancourt’s knitwear collection featured silky draping and delicate cobweb knits in an autumn palette with vibrant red accents.
Raquel de Carvalho, fresh on the scene, invited audiences to engage with fashion as a ritualistic experience. Reimagining vintage wool sweaters from her grandmother – again, referencing knitwear’s associations with female lineage – Raquel’s pieces meld together bold innovation with personal reverence, challenging these traditional perceptions of knitwear. Since her LVMH Prize shortlist last year, the designer has paused her freelance knitwear work for Alexander McQueen, Molly Goddard and Rejina Pyo to prioritise her namesake label, and it certainly paid off.
Ashish’s eclectic looks, including glittery knitwear and interesting silhouettes, delivered a refreshing pulse of optimism. Daring to marry playfulness with political commentary, Ashish swept audiences off their feet with his vibrant runway show. One model walked down the runway holding a cardboard sign which stated “The end is near” and another wore a hoodie which spelled out “Slut for socialism” in gold glitter. Is there such a thing as hopefully irony?
The whimsical presentation by Georgian designer George Keburia transported viewers into an enchanted world reminiscent of Alice in Wonderland. Several different coloured berets were stitched together to create one new hybrid hat; separate knitted cardigans and sweatshirts formed together to construct dresses; black and white gloves served as chokers. Fantasy and reality was blurred with confidence.
Khanh Brice Nguyen, founder and creative director KBN Knitwear (member of UKFT) created a collection influenced by both French and Vietnamese cultures, exploring identity through queerness, artistry and self-expression.
Matty Bovan, known for his sculptural knits and wild, handmade adornments, showcased a collection that continued his exploration of knitwear textures and forms. His designs often feature a cacophony of sculptural knits and textures, reflecting his innovative approach to fashion and we only want to see more!
Last but not least – new but far from unseasoned – Central Saint Martins MA Fashion graduates shared their collections in a very impressive student showcase. Scar Kennedy showed off her brightly coloured knitwear adorned with glittery pom-poms, tastefully clashed together. Two names to watch out for are Fagerstrom and William Palmer as they won this year’s much coveted L’Oréal Professionnel Award. The future looks bright for the class of 2025.
It’s clear that the knitwear is being continuously reframed, redefined and reconstructed on the runway and was used this season to celebrate innovation, inclusivity, and personal narratives. Each designer has approached their craft with a fresh lens, inviting us to consider not just how we wear our clothes, but the deeper stories woven into each stitch. In a fashion landscape that’s constantly transforming, knitwear stands as a timeless yet self referential medium, making waves that resonate far beyond the runway.
