Platinum blonde manes swung uninhibited from left to right, with strands grazing the nape of the neck and longer locks framing the “EBONY” logo up front. This season, Mowalola Ogunlesi digs deep into the layers of fetishization and representation, referencing the legacy of EBONY, the iconic publication known for documenting African-American experiences and amplifying Black voices. Ogunlesi, with her signature keen sense of visual commentary, once again showcases her creative prowess. The Nigerian-born “mother” of the quadrupled and multiplied clones returned to London Fashion Week with an experimental performance show titled ‘Dirty Pop,’ flaunting a chaotic burst of logos and plenty of subversive beauty, mirroring the cultural waves of her subjects.

Glossy lips in metallic hues, courtesy of Isamaya Ffrench, infused heat across the spectrum. Varying from high-shine finishes to rich, molten shades, flecks from Isamaya’s namesake makeup brand punctuated the collection’s assertiveness. Steamy, hot, and smoky were the backstage notes – especially under the eyes, where gloss and dark shadows reigned supreme on models which had previously been concealed. The eyes featured dramatic, winged and feline-like lashes, while others showcased a sultry, smudged effect that exuded an angular allure. This was followed by a standout prosthetic look, a melange of otherworldly yet profoundly human elements, blending avant-garde with a deeply grounded, visceral edge.

Emma Chopova and Laura Lowena unveiled their SS25 collection at the old Shoreditch Town Hall, delivering a vibrant ode to London’s sartorial spirit. The casting stood out, surpassing typical diversity quotas, with a mix of semi-familiar faces – including editors, family, and friends – strutting down the runway. A bit darker than in previous seasons, Chopova Lowena’s ‘Chukaboo’ titled collection drew influences from the Victorian age to the Wild West, which was duly paid respect to in perfectly clashing yet harmonized makeup keyed by Lauren Freynolds – a masterclass in controlled chaos. The duo’s signature mystique and cultural nods shone through in the oversized silver hardware and heavy layers, locked in a subtle battle with the vividly placed gems framing the eyes. The gems extended into a second row along the upper lids, creating a sharp, wing-like edge; an unexpectedly bold contrast that gave the look an additional prod of spark. Meanwhile, Kiyoko Ono’s hairstyles ranged from intricate braids and ring-curled fringes to untamed, textured looks, each style adding its own layer of complexity and depth to their Goth Doll subjects.

This season blended contrasting elements, fusing classic figurine aesthetics with a whimsically dark twist, all anchored by an unexpected detail – our favorite condiment. While unconventional, the playful inclusion of Hellmann’s Mayonnaise alongside the models added a touch of quirky charm, perfectly complementing the Victorian silver spoons that enriched Chopova Lowena’s eclectic universe.

DI PETSA’s symbolically charged presentation at London Fashion Week felt more like a procession of deities than a traditional runway. Set at 180 Studios, the models appeared as ethereal figures, walking through metaphorical journeys of self-discovery. Titled My Body is a Labyrinth, the show continued the narrative woven through previous collections, where Greek mythology seamlessly merges with Petsa’s vision, becoming an integral part of the brand’s identity.

MUA Crystabel Efemena Riley’s vision came to life through fake sunburns and tan lines, with peek-a-boo string details and sun pendant imprints. These touches reflected the idea of “memories that fade like a summer tan,” as teased on the brand’s Instagram ahead of the event. The whole thing felt more like performance art than the conventional presentation. Nail artist Tyler Phoenix contributed period blood-stained accents on fingers where claws sat and were sensually placed, mimicking self-play – an evocative commentary on themes of womanhood, worship, and pleasure.

All the while, boring beach waves were discarded as hair stylist Efi Davies showed what they ought to actually look like. ‘Sand-tousled siren waves’ were crafted using Toni and Guy’s LABEL.M Sea Salt Spray & Gel with long strands dunked in sand that looked like it was imported from the dreamiest of beach destinations

ANCUTA SARCA took work-life balance quite seriously this season; office sirens may not be long gone, but they’re certainly more eclectic than before. For their Spring/Summer ’25 presentation, models moved in and out of stirrups and armrests reminiscent of gynecological chairs, offering a striking visual. This setup allowed guests to marvel at leopard-print kitten heels, shimmering chrome accents, and the standout collaborations with Crocs and Clarks, from every angle imaginable.

The pairing of office wear with these bold elements conjured sympathy for remote workers, but the true beauty lay in the synergy of the looks. Utilizing Lashify, the beauty team showcased colossal lashes that echoed the charm of earlier seasons, highlighting doe-eyed elegance with dramatic 60s-inspired flair applied by none other than Bea Sweet. Deliberate placements on the corners of the upper and lower lash lines made it all the more demurtsy, while gaps and varying lengths introduced a playful spike. The flutter certainly ensured for an intriguing contrast, amplifying its vibrancy and infusing the collection with a sense of whimsy and intrigue. Kota Suizu prepped the hair to match the aesthetic, featuring styles with sharp middle partings and gelled-down looks, where crowns were drenched in product to achieve a bold, high-shine finish that emphasized the overall display’s sculptural quality.

Tolu Coker, too, was channeling the warmth and optimism of the ‘60s and early ‘70s. The British-Nigerian designer paid special tribute by dedicating her Spring/Summer ’25 collection to her mother, aptly named ‘Olapeju.’ Straying from the often clinical, detached sentiment that can linger around fashion week, Coker’s presentation put community and heritage at its core. Drawing from the diasporic experience in Britain, the collection became a stirring blend of cultural narratives entwined with heartfelt intimacy and personal anecdotes.

The beauty looks further amplified this sense of connection, featuring radiant skin that glowed with natural warmth reminiscent of the yellow-tinted colors of keepsake photographs depicting Coker’s family–the kind that captures joyful parties set against the somber backdrop of Thatcher-era Britain. Using these sentimental visuals as backstage references, MUA Bea Sweet created luminous second-skin finishes that kept the essence of bare skin while also drawing on ‘the large makeups of Donyale Luna’ using bold graphic liners to shape exaggerated cut-creases punctuated with stark white accents around the eyes. Hair stylist Efi Davies, meanwhile, created a lineup of 30 bespoke wigs for the “models who walked and danced,” as they shared on socials. The styles varied from soft, voluminous waves to towering beehives, each look dripping in nostalgia. By playing with structure and scale, Davies imbued the wigs with a playful sense of movement, evoking the bold silhouettes and joyful rebellion of the era. The result? A visual symphony that was equal parts celebratory and rooted in legacy.