Inside the revamped June edition of London Fashion Week

Sign up to receive the Vogue Business newsletter for the latest luxury news and insights, plus exclusive membership discounts. London Fashion Week’s June edition looked a little different this year. At the heart of the event was an exhibition hosted at the Institute of Contemporary Art, which celebrated three cultures that have impacted London’s menswear scene: the Black, South Asian and queer communities. Guests who weren’t busy swarming British Fashion Council (BFC) ambassador David Beckham — who opened the event alongside the organisation’s CEO Caroline Rush — wandered the exhibition, which had been guest-curated by brand consultant and creative Simran Randhawa, radio and TV broadcaster Clara Amfo and model, activist and poet Kai-Isaiah Jamal, curious as to what the new format would bring. The exhibition featured designs from some of the city’s most exciting designers, including Ahluwalia, Nicholas Daley and Labrum London. These designers are “leading the way when it comes to innovation in menswear design today”, Beckham said in his opening speech. It was a bold new approach from the BFC amid a turbulent time for British designers. “We are spotlighting culture to highlight London’s point of difference during men’s fashion month,” said Rush in an interview ahead of the event. “This is a city of unparalleled creativity and culture, and we want to honour the designers, brands and communities that make a rich and significant contribution to the British fashion industry.” There wasn’t the usual flurry of black cars and street style photographers as attendees rushed to back-to-back shows. Instead, the three-day event, which ran from 7 to 9 June, was mainly made up of panel talks, events and activities. Highlights included run clubs by Labrum London and Represent; a tour of Savile Row; a pub quiz for industry insiders; the BFC/GQ fund announcement, which was awarded to Bianca Saunders; and a number of panel conversations — open to the public hosted by principal partner 1664 Blanc — on topics including diversity and performative activism. Alongside the exhibition and cultural celebration, there were a few menswear shows scattered across the schedule — Denzilpatrick, Charles Jeffrey Loverboy and Qasimi held catwalk shows, while Harri hosted a presentation. On Sunday, there was a designer showcase at The Groucho Club featuring emerging names such as Carlota Barrera, Denzilpatrick, Derrick, Harri, Kyle Ho, Lueder, Paolo Carzana and Roker — some of whom are part of the BFC’s Newgen programme. Attendees were excited to try a new format for the June event, which has been in flux over the past few years, though some questions remain over where design talent should fit into the event. The idea for the new format was planted last June when the BFC hosted a well-received panel on South Asian representation in menswear, which acknowledged the contributions of a community that has, historically, been largely disregarded. Following the publication of its DEI report at the start of the year, the BFC felt it was also important to highlight the Black and queer communities. The BFC is also working with the Museum of London Docklands on an event to celebrate the influence of Jewish Londoners on global style and is planning to “continue to champion more of the incredible communities that are the bedrock of what London has to offer as a creative capital”, according to Rush. London Fashion Week’s June event first launched as London Collections: Men in 2012. In its heyday, shows including JW Anderson, Alexander McQueen, Wales Bonner and Craig Green attracted global buyers. It was rebranded as London Fashion Week Men’s in 2017 and pivoted to London Fashion Week June in 2020 as designers increasingly shifted to co-ed shows during the pandemic. In 2022, a small but buzzy event included shows from Ahluwalia, Labrum London, Yuzefi, Robyn Lynch and an off-schedule show from Martine Rose, while 2023 saw just a handful of presentations from Saul Nash, resortwear brand SMR Days and incubator Qasimi Rising. There were around 25 international guests at the 2024 edition — primarily buyers rather than press, according to the BFC. International retailers in attendance included French department stores Galeries Lafayette and Printemps, while international press included Dazed France and Vogue Korea. British retailers including Machine-A and Liberty London were also present. The response from those taking part in the cultural celebration was largely positive. “I think [the celebration of culture] is important,” said Hoor Al Qasimi backstage after the Qasimi show. She presented her first live show as creative director since she took over in 2020 after her brother Khalid, who founded the brand, passed away. “There’s so much that can be done with London Fashion Week, I hope that it continues to grow and be a bit energetic as well.” Many appreciated the community focus. “This fashion week is more about the people, local events and much needed conversations,” said cultural inclusion consultant Arooj Aftab at the dinner hosted for the South Asian community on Saturday night. “I’m looking forward to seeing more shows in September and to seeing whether the community initiatives carry through.” Some attendees wondered whether the few shows would be better placed in the main September and February editions. The June event is still a work in progress, and the BFC says it is open to feedback. “We pivoted in response to feedback from brands about how the June showcase can best serve them, so it is imperative to us that fulfils that objective and really speaks to the needs of our designers and creative community,” said Rush. “We will continue these conversations with the brands after the event to understand how the purpose was met.” Space for emerging names to make an impact At the designer showcase, those Vogue Business spoke to were largely in praise of the event’s new format, which they said allowed them to connect with press and buyers on a more intimate level — more akin to a trade show, though not as overtly transactional. “It’s really nice to have the opportunity to talk about the clothing but also a bit about myself and where I come from,” said Carzana. “Seeing my peers and being able to speak with them rather than just being a ball of anxiety [around a show] is a very nice change.” Denzilpatrick held its first-ever runway show on Friday, ahead of taking part in the showcase. Designer and founder Daniel Gayle, who is supported by the artistic direction of his husband James Bosley, explained that the relative sparsity of the schedule (in terms of shows) was an opportunity for a brand the size of Denzilpatrick, which is seven seasons in but had a relatively quiet start. “Looking at how busy the September schedule has become, this was a perfect opportunity to find a little space that can be our own,” said Gayle. Spanish born designer Carlota Barrera returned to London after relocating back to Spain post-Brexit. “I’ve seen buyers. I’ve seen press. It’s been a wonderful platform to showcase the new collections,” she said. She pointed out that the menswear order books open in June, so waiting to show co-ed collections in September could put brands at a disadvantage. “I wish the sales market would change, but it’s still like that. The budgets are biggest in June.” Harri, the designer best known for his sculptural latex, held a presentation at the Royal Academy of Arts, as well as being at the showcase. He said the more fluid format of this London Fashion Week allowed him to lean into a conceptual approach that may not have been a “wise option to do from a business point of view” during other fashion weeks. Celebrating culture Randhawa’s segment of London Fashion Week’s June event was dedicated to acknowledging South Asian craftsmanship and featured designs by Indian-Nigerian designer Ahluwalia, Bangladeshi designer Rahemur Rahman and Punjabi newcomer Lahos, as well as a traditional cabinet filled with accessories including jewellery by Misho and shoes by Roker. The bright and vivid colours of South Asian textiles were captured by photographer Tami Aftab. “South Asia as a region has such a global impact on fashion, so many of the luxury fashion houses source and use craftsmanship from [the region], but I feel like it’s never acknowledged on a global scale,” said Randhawa during a panel discussion with the guest curators on Friday about culture, moderated by journalist and consultant Ezreen Benissan. Amfo celebrated self-love in the Black community with designs by Labrum London, Nicholas Daley and Abigail Ajobi. “This [event] is happening in June, and I’m thinking about June 2020, which was a really tough time for Black people,” Amfo said in the panel discussion. “With [the Black] experience, there is so much trauma attached that is real and is important to our history, but there’s joy there.” Amfo found comfort in the softness of the photos, which were taken by Stephen Akinyemi, as opposed to the common representation of the strong Black man or woman. Jamal spotlighted queer creatives including Chet Lo, Monique Fei and Patrick McDowell, with a particular focus on the celebrating young trans community. “I think [the trans community] is probably one of the most exploited and referenced subcultures, but often our experience and aesthetic is what’s pushed rather than our being,” said Jamal during the panel discussion. A series of photographs for Jamal’s exhibition were taken by non-binary photographer Dani D’Ingeo, picturing trans painter Inès Michelotto around her studio and home. “Being able to see through a queer trans person’s viewpoint allows us to really understand that we’re not just subjects, that our stories are important,” said Jamal. As part of the three-day event, all three guest curators hosted events to celebrate their cultures. Amfo spotlighted Black musicians including soul singer Debbie and DJ Jordss, with her Sound & Harmony event. Jamal hosted an afternoon “T”, which was closed for only the non-binary and trans communities, a play on words: T stands for trans, as well as the term ‘tea’, which originated in the queer community to mean gossip or information. Randhawa hosted a family-style banquet for the South Asian community where guests ate traditional dishes, including daal, monkfish curry and pakoras. “In terms of the cultures we are spotlighting, we wanted to ensure we are honouring and reflecting the work of each of them in an appropriate and authentic way,” says Rush. “We worked very closely with guest curators, photographers and creators, allowing them space and creativity to create a moment — be it an exhibition or event — that really reflects their community.” However, for celebrations of culture to have longevity, there needs to be more institutional support. “The government needs to stop cutting away from the arts and work with more grassroots funded initiatives. It’s not just for middle-class white folks, art is for everyone,” said Amfo during the panel discussion. It’s a critical discussion given the UK is gearing up for a general election on 4 July, where the Labour party is expected to be voted in for the first time in over a decade. The BFC has identified five priorities for the new government to support economic and social growth, employment and opportunities in the fashion sector, which include restoring tax-free shopping in the UK and improving trade and export investment for British designers. “Fashion weeks are a fantastic moment to celebrate the diversity and impact of British fashion, but we are, of course, being realistic about the challenges that face the sector globally, but particularly in the UK,” said Rush in her opening speech. “We’re hoping [the general election] will be an opportunity for us to reset, refresh and really think about growth moving forward. We [in the UK’s fashion industry] are world leaders culturally and creatively, and we know we can be stronger commercially with the right kind of support.” With additional reporting by Kirsty McGregor Comments, questions or feedback? Email us at feedback@voguebusiness.com. More from this author: Berlin Fashion Week launches sustainability requirements How to future-proof a 100-year-old brand Fashion’s freelancers are under pressure. What’s the solution?

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