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What began as quiet uncertainty soon dissolved into enthusiasm, flashes of cameras and the rising hum of conversation. This was Modern Circuit, a limited-edition collaboration between Hackney-based leather goods brand Nosakhari London and multidisciplinary designer Tega Akinola, presented on the first day of London Fashion Week.

On a Sunday evening in Knightsbridge there was a hum of excitement and anticipation from everyone surrounding the entrance. It was only natural, given that this was Genaro Rivas’ sixth consecutive fashion week. Rivas has always presented collections that were fresh and innovative and his recent collection ‘A Glass to Break’ was no exception.

The queue outside snaked around the corner, leaking onto the streets in colourful streams, all attendees buzzing in designer streetstyle - as if they could take on the catwalk at a moment’s notice if the opportunity struck. Fashion Scout’s AW26 edition of Ones to Watch was already announcing itself as the moment. Seven designers, and one runway that might decide the pressing future of the fashion industry.

Photo by Becca Morgan Designed for mess and made to last, Becca Morgan’s bags sit at the intersection of function and play. Reimagining classic outdoor gear through a city lens, her handmade designs prioritise practicality without sacrificing colour, character, or craft. From waterproof, spill-proof interiors to joyful, unexpected palettes, each piece is built for people who do a bit of everything – commuting, freelancing, wandering, and forgetting where they left their keys.

The age-old paradox: so many clothes, yet nothing to wear, affects us all. It’s so common to get dressed and feel uninspired, with these symptoms only relieved through buying something new. This creates a cyclical pattern – boredom leads to purchases, which in turn lead to more boredom, and so on. Since this cycle is so prominent, it’s worth asking, is “wardrobe burnout” really our own fault?

Creativity under capitalism, and how fashion designers can launch their own businesses using the free resources and guidance compiled by Virgil Abloh.

Low-rise denim hugs the hips under dim party lighting, bodies moving through thick, heavy air. Perfectly drawn eyeliner softens into smeared shadows, sequins catching flashes of purple as faux-fur coats slip from bare shoulders on cold campus nights. In Tell Me Lies, the late 2000s return not as a glossy Y2K fantasy, but as something raw, emotional

The Standard called it “a feast for the eyes and the mind,” while The Guardian described it as “a mucky joy to behold.” Despite its modest-sounding premise, 'Dirty Looks' curated by Karen Van Godtsenhoven, is one of the most beautiful exhibitions I have ever visited. Highly relevant too, considering I had just read Susan Strasser's Waste and Want in December (worth the read if you're interested in sustainability and design.)

Haute Couture Week is a battle of craftsmanship and creativity. A space in which designers convey abstract motifs through their collections. In Jonathan Anderson’s debut at Dior, it became immediately clear that his design language was not contingent on his work at Loewe. While he retains a sense of playful elegance and trompe l’œil elements, this collection stood as a defining moment of Haute Couture Week in its own right.

It is January 5th and, already, the pressure is on. My social media is flooded with posts warning which prints, colours and silhouettes I MUST invest in before the season’s over – enough already! I do wonder, however, if these harmful trend predictions will still exist in the same format come this time next year? It’s well known that the aesthetic trends which gain the most traction are usually rooted in broader cultural and economic shifts, and, after 2025’s storm of fast fa