For the first time, The Mancunion had the amazing opportunity to attend London Fashion Week. Writers Lily Amos, Mila Burek, Katy Jones, and Poppy Clayton took to the streets of London for 4 days of fashion and fabulousness. Having attended one show after another, our writers have rounded up the best of the best for The Mancunion.
Pam Hogg ‘Of Gods and Monsters’
Pam Hogg’s ‘Of Gods and Monsters’ press preview on 12th September at the Emalin Gallery in Shoreditch marked a bold and evocative start to fashion week, with Hogg’s team explaining the exhibit’s powerful commentary on global injustices. From the moment of arrival, the urgency of her message was clear—a timepiece at the entrance read ‘time ticks like bombs’ setting the tone for a collection rooted in protest and social consciousness.
The exhibition blended Hogg’s signature punk aesthetic with a strong political undertone. In her launch message, Hogg stated ‘It’s an unfair and imbalanced world. There is no time like the present to correct this. Please use your voice’. Hogg aimed to shift the focus away from the glitz and glamour of fashion week and spotlight the harsh realities faced by those impacted by conflict all over the world. The contrast between the high-fashion environment and these issues was striking and reflected in her designs, juxtaposing raw elements with symbolic opulence.
Blindfolded mannequins reminded the audience of society’s blind eye to suffering, while the designs—held together by safety pins and buckles—reflected the fragility of society. Pieces like the model in ‘Palestine’s Home’ showed that grandeur can coexist with destruction, with a towering Marie-Antoinette-style headpiece accompanied by a trunk of basic necessities. ‘Gold Coast’ was another standout that used the same style of headpiece and referenced the environmental impact of gold mining.
Hogg’s commitment to sustainability was central to the collection. By using repurposed materials, she highlighted the beauty in reclamation, creating a collection that commented on global injustices and critiqued the fast-fashion industry itself. The exhibition’s emotional impact was undeniable, resonating deeply with viewers.
Leuder SS25 “ALBEDO” Catwalk
LEUDER by Marie Leuder kicked off day three of LFW with a stunning catwalk that unleashed an army of apocalyptic models and designs. This show marked a return to the brand’s roots under the British Fashion Council‘s NEWGEN programme, which supports emerging talent in the fashion industry by providing mentorship, funding, and opportunities for visibility.
The atmosphere of the runway was experimental and highly theatrical, and light and smoke effects created an intriguing backdrop. The show unfolded in an otherworldly manner, featuring 30 looks that reimagined historical pieces through a post-apocalyptic and futuristic lens.
The varying speeds and chaotic movements of the models generated a chaotic energy reflecting the collection. LEUDER also introduced a fresh take on soft tailoring in this collection, showcasing skirts and blazers and blending elegance with edginess. The eco-friendly ethos was evident in several standout pieces with an avant-garde touch. Baggy garments featured exploratory patterns created through alchemical reactions in fabric treatments, while distressed hoods evoked modern suits of armour.
This collection truly encompassed the movement of time, merging elements of theatre, art, and fashion in a compelling narrative. However, the lack of size diversity was disappointing. As a streetwear brand, LEUDER had the potential to showcase a broad range of bodies to embrace the inclusive spirit of contemporary fashion, but unfortunately fell short.
Paul Costelloe SS25
London Fashion Week saw Paul Costelloe celebrate his 40th anniversary at the event; launching his Spring/Summer collection and his first-ever bridal range. Costelloe founded his luxury brand in 1979, designing for the late Princess Diana, making him no stranger to timeless classics. His ability to reinvent old styles, bringing a modern touch to summer formalwear, emphasises the novelty of his vision while still bringing something new through his bridal collection. Setting Parisian aesthetics against the luxury of the Waldorf Hilton, Costelloe’s vision of a romantic city mixed sophistication with bustle. Baroque-style lamp posts on either side of the runway transported viewers to the streets of Paris for his ‘Le Ciel est Bleu’ (The Sky is Blue) collection.
Costelloe’s SS25 line revived several iconic styles from the 60s and 80s; puffball dresses, shoulder pads, and voluminous back-combed hair were just a few classic features styled with a modern twist. In addition to bold designs, pastel colours and soft fabrics like linen and silk gave the formalwear effortless delicateness. The use of bows throughout added an elegant yet youthful touch, an aspect reinforced by colourful knee-high socks and chunky platform heels.
Accompanied by ‘La Vie en Rose’ by Edith Plaif, Costelloe’s Bridal range exhibited the epitome of romance and classical elegance. Featuring fitted bodices and full skirts to accentuate the figure, the flirtatious gowns brought an element of divinity to the line while also keeping up with popular trends; the addition of oversized bows and three-dimensional florals complimented Costelloe’s vision of flirty fun perfectly.
Inside the venue, the atmosphere was no less extravagant, with a clear dress code consensus: dress to impress! From puffy red frocks to smart button-ups and cowboy boots, each individual personality added to the show’s radiance and excitement; something Mila and Katy captured through their own styles.
Mila went for the business-chic approach; a blue striped shirt, dark jeans, and cherry red shoes to match her bag – a few gold accessories complimenting the look. Meanwhile, Katy went for an elegant yet edgy black leather skirt with a classy laced-front top, accompanied by a tartan handbag and black leather boots. The man behind it all, Costelloe closed the show by making a special curtain-close appearance; a beautiful end to an even more beautiful collection.
London Fashion Week 2024 offered The Mancunion a front-row seat to fashion’s most exciting ticket, and the week was a testament to fashion’s ability to merge art, politics, and innovation into a powerful cultural statement.
