London Fashion Week was back in full swing for 2025, bringing with it models, stylists, and, of course, a scattering of Love Islanders. I spent an exciting Friday dashing between shows, sipping coffee in the British Fashion Council press lounge and trying to decipher the creative visions presented on the runway. From the classic elegance of Paul Costelloe to the chaotic spectacle of Malan Breton, here’s everything you missed.
Paul Costelloe
The day kicked off with Paul Costelloe’s show at the Waldorf in Aldwych, a venue as grand as the collection itself. Known for his signature 9 AM slot, Costelloe transported us back to the ’80s with a collection inspired by his own late-eighties/early-nineties designs. Think equestrian chic meets power dressing: broad shoulders, cinched waists, and structured mini-dresses paired with long socks. The autumnal colour palette—rich browns, deep greens, and bursts of berry red—felt luxurious and warm, complemented by fabrics sourced from Magee of Ireland and Harris Tweed of Scotland. Hair was sleek and sophisticated, styled into sculptural micro-French braids, while makeup took a more understated ’90s approach.
As always, Costelloe’s attention to detail was impeccable. His signature structured coats were back, this time reimagined with exaggerated lapels and delicate embroidery that subtly referenced Celtic designs. The standout look? A deep red and pink dress with a defined waist and statement ruffle collar that exuded class and confidence. The venue, adorned with Costelloe’s signature horse sketches, added an extra layer of elegance to an already stunning collection. It was a masterclass in refined, effortless luxury— proof that Costelloe remains one of the stalwarts of British fashion.
Noon by Noor: Fall Winter ’25
Over to Somerset House for Noon by Noor’s salon-style presentation, which took inspiration from Bahrain’s architectural landscape — specifically the striking, multi-storey car parks designed by Swiss architect Christian Kerez. The space itself was breath-taking, with a reflective floor that gave the illusion of models walking on water. The collection stayed true to the brand’s ethos: sculptural jackets, draped bodices, and sliced silhouettes, all executed in a neutral colour palette with the occasional pop of chartreuse. A standout piece was a beige trench coat with a high-shine finish, effortlessly sophisticated.
What set this collection apart was the innovative use of fabric manipulation. Designers stripped and frayed wool tweeds before reapplying them onto tulle, creating an entirely new lightweight material. The resulting garments had a beautifully deconstructed yet refined quality, embodying the duality of tradition and modernity. Designers chose to play with these fascinating textures instead of colour, which kept the collection refined and cohesive. Accessories were minimal, with structured handbags and sleek pointed-toe boots reinforcing the collection’s architectural inspiration. This was fashion with intellect, an exploration of form and function that never felt forced. Subtle, wearable, and beautifully crafted, Noon by Noor delivered a masterclass in understated luxury.
LUEDER: The Shell
My mouth dropped open as I entered LUEDER’s venue—walking in was like stepping into an underground rave. Music blared, models danced, and the energy was electric. The show blurred the lines between performance art and fashion, which was both exhilarating and slightly frustrating—the dancing was captivating, but it did make it difficult to actually see the clothes. The silhouettes ranged from baggy, oversized hoodies to sleek, body-hugging wrap skirts and cycling-inspired two-pieces.
The star of the show? A white tank emblazoned with the phrase “Men Are So Back”, which quickly flooded Instagram feeds. Designer Marie Lueder explained in an interview with Dazed that the collection was inspired by contemporary anxieties: “The idea is, there’s a specific horror in the world… this is about Donald Trump, basically. Being scared of him coming back”. This political edge added an extra layer of depth to the collection. The distressed leather jackets, layered over sportswear-inspired co-ords, reinforced a sense of rebellion and defiance. Political, provocative, and undeniably cool, Lueder’s show was a highlight of the day. It felt like a rallying cry for a new generation of fashion — one that refuses to be apolitical.
Temperley London: La Victoire
Held in the basement of the brand’s Sloane Square store, Temperley London’s presentation felt intimate, almost like stepping into an opulent living room. The collection itself drew inspiration from the Napoleonic era, with military greens, deep reds, and imperial blues dominating the palette. Lavish embroidery, jacquard weaves, and tassel details added a sense of historical grandeur.
Despite the gorgeous setting and impeccable craftsmanship, the presentation format was a little awkward — the models stood in a photoshoot-style setup, which made me feel like I was unintentionally photobombing every shot. However, the designs themselves were breath-taking. A navy-blue velvet coat with gold military buttons was particularly striking, while a series of structured corsets paired with voluminous skirts evoked a sense of romanticism. This collection wasn’t just about nostalgia; it was a reclamation of historical femininity, proving that Temperley’s designs remain timeless. A celebration of the brand’s 25-year legacy, this was a fitting tribute to its enduring aesthetic.
Malan Breton: The Celestial Serpent
Where to begin with Malan Breton? Held at the Royal Horseguards Hotel — a venue that, with its grand yet slightly eerie atmosphere, reminded me of Disneyland’s Tower of Terror — the show was a masterclass in chaos. From the start, it was clear that things were not going to plan. Guests were made to wait in a random bar room with barely any seating (and, most importantly, no drinks!). Even with stylists being called in to fill empty seats, the venue was nowhere near full. The show started late, and when it did, the real issues began.
Models tripped repeatedly, dresses sagged in all the wrong places, and at one point, I could clearly see a model’s nipple covers through a poorly fitted gown. The soundtrack, consisting of an odd mix of sirens, screams, and dramatic calls for help, didn’t seem to align with the collection’s aesthetic or inspiration. There was no clear theme, and the music kept abruptly switching, with the DJ seeming confused about when to change tracks.
The highlight of the show? Guest performer Ben Hazlewood, who gave an incredible live performance (though even that was marred by a mic failure). By the time the show ended (well, kind of ended, since there was no official closing and the event organiser had to come out and signal guests to leave) it was clear that Malan Breton had bitten off more than they could chew. The Asian-inspired fabrics were beautiful, particularly a jade-green silk gown with intricate gold embroidery, but the execution left much to be desired. A show can be chaotic and still be genius, but this felt like pure disarray, which was an awful shame as I was very much looking forward to this collection.
Final thoughts
London Fashion Week’s Friday line-up was a rollercoaster, with moments of brilliance and, well, moments of absolute mess. Paul Costelloe and Noon by Noor delivered polished, elegant collections, while Lueder brought the energy and excitement of modern fashion discourse. Temperley London’s presentation, though slightly awkward in format, was beautifully crafted and rich in history. As for Malon Breton—sometimes, a show is memorable for all the wrong reasons.
Regardless of the highs and lows, there’s no denying that LFW remains one of the most exciting events in the fashion calendar.
