London has always been presented as a place where fashion trends are born, and yet this season, Paris and Milan fashion weeks seem to be pulling way ahead in media attention. The focus on Britain as a fashion powerhouse has depleted, and yet it’s still brimming with talent. After watching Hector Maclean’s runway, there’s no doubt that the UK still has lots to give, and these fashion designers don’t shy away from iconic British imagery, instead, Hector Maclean has embraced it.
The Bastard Aristocrat Runway
What could be more British than the rain? As if scripted for Hector Maclean’s runway, umbrellas were placed on each seat—some featuring a Union Jack, others in a red love-heart shape. Before the show even began, I was surrounded by a sea of umbrellas, creating a quintessentially British scene. Little did I know, it was about to get a whole lot more British.
St Paul’s Church in Covent Garden was decked out with fairy lights, with VIPs seated inside and a crowd of influencers and journalists spilling out onto the benches lining the pathway to the entrance. Once the show began, it felt as though new life had been breathed into St Paul’s. ‘You Really Got Me’ by The Kinks blared as models strutted down the makeshift garden-path runway. Each garment, crafted from second-hand and repurposed materials, showcased unmistakable British symbolism.
Whether it was dresses made from Remembrance Day poppies, actual Union Jack flags or buttons stitched in its shape, there was no doubt this show drew heavily on Britishness, especially its pop culture. As the music transitioned to a Spice Girls classic, ‘Who Do You Think You Are’, one of my favourite dresses of the evening made its way down the runway. A mosaic of Union Jack flags fluttered past me, stitched together to create a skirt with a train cascading behind the model. The top of the dress was flattering in a low cut and halter-neck straps. Even in the use of colour, the focus was clear, with red, white, and blue dominating most of the garments.
The show felt young and vibrant, with energising music and a clear sense that this talented designer is just getting started. Using only second-hand textiles and zero-waste pattern cutting, the collection—aptly titled “Bastard Aristocrat”—was both bold and unique. Sourcing materials from charity shops to friends, Maclean created a distinct, individual style. Ruffles and fringe featured heavily, alongside intricate embroidery of the brand’s logo. Beyond the Union Jack flag dress, one of my favourite pieces was an embroidered corset paired with a brown skirt. The earthy tones grounded the previous bright reds, blues and whites that had blazed down the runway. The corset was pleated, fitted in the middle of the torso but flared out at the top and the bottom, creating an almost peplum top. The Hector Maclean embroidery was in the centre, standing out from the neutral tones. The ruffles along the asymmetrical hem of the brown mini skirt added a beautiful movement to the garment as the model strode down the runway.
It’s a brilliant example of how second-hand materials can be transformed into structured, wearable garments. With greenwashing rampant across the fashion industry, it’s refreshing to see a young, upmarket brand embrace sustainability in a truly transparent way. No carbon offsetting gimmicks or recycled polyester—just a fully circular company giving textile waste a new life instead of sending it to landfill.
Reflecting on big British designers
All this Britishness got me thinking about UK designers once seen as rebellious fresh talent. Mary Quant and her scandalous mini skirts, Vivienne Westwood’s provocative shop SEX, and Alexander McQueen’s bold, theatrical shows. Yet, despite their roots in defiance and innovation, none of these brands remain at London Fashion Week. For Spring/Summer 2025, both Vivienne Westwood and Alexander McQueen showcased in Paris, alongside Stella McCartney and Victoria Beckham. With Burberry now the only major British brand still showing in London, it begs the question—why are designers moving away?
The British fashion industry compared to “The Big Four”
In recent years, London Fashion Week has increasingly felt overshadowed by the rest of the “big four.” In terms of Earned Media Value (EMV)—a measure of a brand’s unpaid media exposure—London lags far behind. For Spring/Summer 2025, Paris Fashion Week generated over $400 million in EMV, while London barely reached $20 million. Even New York, which also falls short of Paris and Milan, still pulled in $132 million—almost seven times that of London.
With powerhouses like LVMH and Kering dominating the French and Italian luxury markets, their brands remain loyal to Paris and Milan. London simply can’t compete with the Haute Couture of Paris or the established names in Milan. But a lack of media coverage doesn’t mean a lack of talent—it just means London Fashion Week is a breeding ground for emerging designers rather than a showcase for global fashion giants.
To an outsider, it might seem like the UK is falling behind. But after watching Hector Maclean’s show, it’s clear that London Fashion Week still has energy and fresh ideas—young talent just needs more attention.
