London Fashion Week couldn’t have ended with a bigger bang than Mowalola’s spectacular show, Dirty Diop. Buckle up because nothing could’ve prepared us for the creative chaos, electrifying energy, and jaw-dropping fashion moments that took place on that runway.

Voir was right in the thick of it, and we’re bringing you the spark that had the audience on fire.

Welcome to MOWA WORLD

Nigerian designer Mowalola Ogunlesi turned up the heat with her bold, unapologetic collection that defied the limits of what fashion can be. Bigger and wilder than ever, this show felt less like a presentation and more like a fever dream of edgy, rebellious, and liberated expression.

As our editor Jyoti Matoo said,

“You know you’re invited to something big, but nothing prepares you for the madness and genius you’re about to witness. You walk into a hangar, and the energy slaps you in the face. Just what, just wow.”

A Show on Fire

The atmosphere? Unmatched. Mowalola took us to an underground rave, a private night of mayhem. The set, designed by Tor Studio, featured a customized neon-lit cage, an electric bed, and an all-encompassing vibe that screamed unapologetic fashion rebellion.

Models strutted, danced, and checked themselves out in bathroom mirrors, while electro-rock guitar riffs flooded the space, thanks to Foushee and her electric guitar performance.

The star-studded lineup? Unforgettable. With icons like Irina Shayk, Yves Tumor (aka Sean Lee Bowie), and Crystalmess, gracing the runway, each brought their own edge to Mowalola’s unhinged universe.

Irina Shayk, who opened the previous show, this time closed the curtain with an aura that left us in awe.

The Performance of Fashion

It wasn’t just a fashion show—it was a performance. Mowalola herself took to the runway alongside Detoblack and Chi, turning the show into a real-time, multimedia art piece.

Belen Mar Leroux also gave us a fierce performance, crawling on all fours with an iconic head toss, adding to the wild energy of the event.

Beauty That Commanded Attention

The makeup was a work of art in itself, led by the legendary Isamaya Ffrench. Think: doe eyes with exaggerated lashes, sharp contours, and accentuated dark circles that gave each model an almost alien-like ethereal glow. It was raw, unapologetic, and totally in sync with the collection’s boldness. It wasn’t just makeup—it was a statement.

Details that Set the Stage on Fire

What truly made this collection iconic was the attention to detail. From the metal thongs that felt both avant-garde and daring to red ensembles and tights that dominated the collection, each piece brought something fresh to the table, giving to the show, a raw, sensual aesthetic.

Innovative fashion moments were abundant: animal prints, latex nearly everywhere, mini skirts paired with custom masks emblazoned with “Mowalola,” oversized bags that read “Ebony,” and bold, structured vests. The 3D makeup work by TildaX further enhanced the futuristic, boundary-pushing look.

A priceless fashion mood board universe, Mowalola dives us deep into her world, where fashion is performance, art, and rebellion.

Words By Noa Balou

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LFW hosted 47 catwalk shows and 127 brands over the 5-day event, and so there was a lot of fashion to consume this past week. But don’t you worry, we’ve done all the leg work for you and put our favourite collections in this one convenient article for you. So just keep reading to see everything you need to from this London Fashion Week. 

Sinéad O’Dwyer

Sinéad O’Dwyer is putting the rest of the fashion industry to shame. Her inclusive fashion shows prove how easy it is to diversity the catwalk, showing us that if brands wanted to, they would. O’Dwyer champions designing clothes for everyone, and when you design for everyone, they are modelled by everyone, proving that other brands are simply not pulling their weight in terms of inclusivity. For Sinéad O’Dwyer diversifying her casting call is not a publicity stunt or a way to gain brownie-points among Gen-Z, it is simply fulfilling the purpose of a catwalk; demonstrating how the clothes will be worn to a consumer. This attitude to diversity may seem like a no-brainer, of course you would model clothes on a variety of bodies because there is no one type of body that will be wearing them, but unfortunately in the fashion industry this outlook is a breath of fresh air. Designers like Sinéad O’Dwyer are restoring our faith in the fashion industry and our next generation of designers who will hopefully champion inclusivity in an attempt to undo the damaging exclusion that has occurred across the history of fashion. 

The collection was a tribute to Sinéad’s late grandmother, Rita O’Dwyer, titled Dúil, an Irish word meaning ‘desire’. The collection featured looks inspired from the 1940s cinematic glamour that her grandmother loved including the array of vintage-inspired halter neck gowns that took to the runway.  

The collection came with Sinéad’s signature stretched knits; a technique that has become a distinct style associated with her brand. We saw the cobweb-style knitwork across dresses and bodysuits, to leggings and vests, demonstrating the versatility of both the technique and Sinéad’s designs.  

_{Photo Credits: Sinéad O’Dwyer}

Di Petsa 

Di Petsa’s AW23 show was inspired by Dimitra Petsa’s Greek heritage. Greek mythology, particularly the story of Persephone, was central to the collection. Persephone, daughter of Demeter and Zeus, was abducted by Hades and became queen of the underworld. The catwalk acted as a representation of Persephone’s journey to the underworld while Dimitra narrated the voyage from the centre of the catwalk.  

The collection was inspired by the iconography associated with Greek goddesses through the flowy silhouettes and delicately draped gowns, but perhaps the most prominent exploration of Persephone’s story was through the theme of fertility. Not only were maternity looks worn by pregnant models across the runway, but there were designs that mimicked the pregnant body throughout the collection. Whether these designs were padded belts that were ripped off mid-walk or rigid, protruding structures built into the looks, this collection celebrated the pregnant body. 

_{Photo Credits: Di Petsa}

Sinead Gorey

Sinead Gorey saw Cowboy-core and took it clubbing. The cool-girl brand that has taken over London’s nightlife is now taking over London Fashion Week with their debut solo show. But this was not the only debut that Sinead Gorey had in store for us this LFW, the collection also presented their first boot collaboration with Kickers, which was very on brand for the Wild West theme. 

The collection featured an array of rave-worthy looks spanning from the iconic body-print dresses to lace catsuits. While the collection was expansive and offered a variety of looks for the London clubbing scene, one thing remained consistent throughout the collection: female empowerment. The brand, the collection and the show itself all have this notion at its heart. ‘Sinead’s Saloon’ became a space that symbolised a woman’s right to have fun and take up space. Sinead successfully moved women from being the side-characters of old Western films and placed them centre stage.  

_{Photo Credits: Sinead Gorey}

Ahluwalia

Music influences our everyday lives, from what we think about, how we feel and even to what we wear. The extent to which music influences our fashion choices is a phenomenon that has only increased over time; we personally feel like we deserve a qualification for our ability to recognise a Tyler, The Creator, Taylor Swift or Harry Styles fan with a simple glance at their outfit. In the age of TikTok aesthetics we see a constant linking between style decisions and music as we see a montage of ‘streetwear inspiration’ videos soundtracked to MF DOOM. Similarly, we have seen the ’rockstar girlfriend’ become almost synonymous with Arctic Monkeys fans. It is this relationship that exists between music and style that Ahluwalia explores in their Autumn/Winter 2023 collection ‘Symphony’.  

This collection was influenced by the soundtrack of Priya Ahluwalia’s childhood, predominately 90s hip-hop and Bollywood tracks. These influences are clear in the designs, the purple and red fur coat would fit in perfectly in a Snoop Dog music video, whereas the more casual layered looks could have passed as a Lauryn Hill look. However, the music influences do not end there, Alhuwalia took it one step further and actually had the soundwaves from some of her favourite songs made into prints for the collection. 

_{Photo Credits: Ahluwalia}

Mark Fast

Mark Fast’s designs are far from the jumper or scarf that you may expect from a self-proclaimed knitwear designer. His Autumn/Winter 2023 collection is home to perfect party looks and everything you could want for city nightlife. From neon accents to cut-out LBDs the show had it all.   

The use of both male and female models marked the designer’s first foray into menswear and this collection felt like the perfect place for him to do so. The androgyny of rave-wear is certainly prominent in this collection with many of the looks playing with notions of masculinity and femininity. This created the perfect environment for Mark Fast to step into Menswear as the looks were not necessarily gendered. 

Chet Lo

Chet Lo teased their upcoming collection on Instagram at the start of the month with videos of hands and feet being dipped into luminescent water. They’ve had us excited for weeks since and on Saturday we finally got to see the collection.  

The show got off to a shocking start; from what we know of Chet Lo’s vibrant collections in the past combined with the bioluminescent teaser, it was safe to say that nobody expected an entirely black look to open the show. However, Chet Lo did just that. The show was inspired by the designer’s battle with depression, with the bioluminescent algae that brightens the otherwise pitch-black ocean symbolising Lo finding light in the darkness of this time.  

This journey was visible in the collection, with ink-black looks that featured a vibrant pop of blue or red making up the majority of the show. However, even when exploring such important and serious themes, the designer remained playful. As the models strutted their way down the runway, they turned their heads to the audience and stuck out their tongues to reveal the bright colours that would incriminate even the sneakiest of children. This light-hearted touch reinforced the message that light can be found in the darkness.  

_{Photo Credits: Chet Lo}

Fashion East

Fashion East is Lulu Kennedy’s non-profit “talent incubator” for new designers. This London Fashion Week they presented designs from Michael Stewart’s Standing Ground, Johanna Parv and Karoline Vitto. Each designer had their distinct style, but the show remained impeccably cohesive through shared colour palettes. Standing Ground featured some light blues and greys as well as red tones that were also seen in Johanna Parv’s collection. These reds were then continued all the way into Karoline Vitto’s segment of the show where we also saw some bright pinks that circled back to Michael Stewart’s designs at the beginning of the show. 

Michael Stewart’s designs favoured simplicity, focusing on clean-cut lines and classic silhouettes. These structural designs were carefully and purposefully constructed, every pleat was wisely placed and every corset perfected. These designs offer a gimmick-free look at luxurious womenswear, where designs are thoughtful yet minimalist.  

Johanna Parv’s looks starkly contrasted that of Standing Ground’s presenting a more utilitarian collection that prioritised practicality in womenswear, a cause that has often been neglected. Inspired by women commuters the collection seeks to combat the image of women who are hectic, frazzled and struggling with their bags. The athleisure appropriate looks combine chic designs with practicality, a genre of dress that has traditionally been monopolised by men; Parv is opening this world up to women everywhere. Johanna has since been named one of the semi-finalists for the coveted LVMHPrize for her practical yet luxurious designs. 

Karoline Vitto also used her collection to empower women, focusing on championing the folds and curves that make up women’s bodies. A design choice that was particularly compelling was the integration of metal into the looks. As we know, silver is the thing in fashion right now, but we have mainly been seeing it used as a colour, rather than a metal. Vitto, however, used bent silver as a structural element in her looks. It held skirts together, constructed necklines and filled in gaps or slits, bringing a whole new, and well appreciated, perspective on the silver trend.  

_{Photo Credits: Fashion East}

Nensi Dojaka

Nensi Dojaka is famous for her ‘naked dresses’ and has a long list of celebrity fans including Emily Ratajkowski, Bella Hadid, Zendaya and Rihanna. This collection was full of the usual dainty tulle and sheer looks that we know and love from the designer. However, for Autumn/Winter 2023 Dojaka utilised some heavier materials such as velvet. Despite the more substantial material, these designs were not without their usual lingerie inspired details such as exposed bra-cups or lace trims.  

_{Photo Credits: Nensi Dojaka}

Julien Macdonald

Julien Macdonald just made his return to the runway after almost four years. Macdonald rose to fashion stardom in the 1990s; changing the way that we look at knitwear with his ‘cobweb’ designs. Working everywhere from Chanel to Givenchy, it is safe to say that he has been severely missed in recent years; and he certainly came back with a bang. 

Macdonald has been known to dress the biggest names in show-business including Beyoncé and Jennifer Lopez, and we all remember Paris Hilton’s 21^st birthday dress that was designed by no other than Julien. With knowledge of Macdonald’s clientele, it was no surprise that this collection was filled with glamorous looks fit for the stars. The collection ranged from bodysuits made for a popstar, sparkling gowns and even dresses that seemed reminiscent of Paris Hilton’s iconic 21^st birthday look. It safe to say that the star-studded audience made a lot of sense at this show. 

16Arlington

16Arlington’s Autumn/Winter 2023 collection ’Wake’ took on a double meaning. While the floor of the venue was dusted with coffee grounds and the teaser posted on Instagram ahead of the show was a short clip of a pupil dilating, the ritual of waking up was not the only theme of the collection. Following the passing of 16Arlington’s co-founder and Marco Capaldo’s romantic partner Kikka Cavenati in 2021, the term ‘Wake’ takes on a whole new meaning.  

Capaldo was inspired by witchcraft when designing this collection, recognising both the powerful imagery associated with the image of witches but also the historic prejudice that women have experienced. This influence was evident throughout the collection which played with light and dark, sparkling sequins and delicate lace, flowing dresses and structured suits. The looks explored the push and pull of the power yet vulnerability of femininity. 

The collection also marked 16Arlington’s debut in Menswear. The structured suits, lace-up knits and fur coats held their own next to the Women’s dazzling gowns, which is an impressive feat. The impeccable tailoring served as the perfect transitional pieces, trousers could be taken from day to night and from smart to casual with something as simple as the addition of a blazer or swapping a jumper for a sparkly top. 

_{Photo Credits: 16Arlington}

Yuhan Wang

With a title like ‘The Women Who Came Back’ there was no way to not be excited about Yuhan Wang’s latest collection. The show celebrated female resilience and was heavily inspired by the Quentin Tarantino film Kill Bill. In the spirit of this the collection celebrated femininity with just a hint of danger, balancing the delicate with the deadly as she paired ribbons and bows with katana swords.  

The hyper-feminine dresses were slashed and cut as if the model had just stepped out of a brawl, trousers and jackets were tied in knots and lace-up shoes sat just below the knee in a Tomb Raider-esque fashion. These outfits perfectly represented the powerfully feminine and slightly dangerous characters that we have known and loved across cinema for decades; and we can confidently say that they were looks that Beatrix Kiddo would’ve loved.  

_{Photo Credits: Yuhan Wang}

Mowalola

So, we all knew that low-rise jeans were back in fashion, we just didn’t expect them to go that low. Mowalola just debuted their ‘Dark Web’ collection and among a sea of looks all we can think about are those jeans. We are less tempted to call them ‘low rise jeans’ and think they should be technically classified as ‘knee high jeans’ instead. Inspired by New York streetstyle, Mowalola took the skater/hip-hop look of low-hanging baggy jeans to the extreme by having their trousers sit just above the knee. While maybe somewhat impractical, the same could be said about the increasing trend of not wearing trousers at all, and we are loving that at the moment, and so with that in mind I think this is a genius step in re-invigorating denim for a ‘pant-less’ generation.  

However, the collection was so much more than just one style of jeans; inspired by an apocalyptic society where technology is rampant, the show fed into the latest tend of ‘dystopian dressing’. These are the designs that Mowalola Ogunlesi imagines us wearing when we are fighting our last battle against the ever-expanding world of tech.  

_{Photo Credits: Mowalola}

DILARA

Dilara Findikoglu is a designer of Turkish heritage. In light of the recent earthquake that has had disastrous consequences in Tukey and Syria, Dilara used her Fashion Week spotlight to platform the disaster and urge the public to make donations to relief campaigns. But this was not the only way that Dilara used her voice this London Fashion Week, the collection titled ‘Not a Man’s Territory’ had feminism at its core.  

Each look contributed to the story of women reclaiming their lives, bodies and fashion choices in a world that has been dominated and dictated by men. Inspired by the protests that followed the death of Mahsa Amini in Iran last November, the collection fights back against the treatment of women’s bodies as location for discourse; why should a woman’s decision on what to do with or put on her body be open to discussion? The answer is simple, it shouldn’t.  

_{Photo credits: DILARA}

^{Words by: Amelia Gregory}

^{Header Image: British Fashion Council}

The post Cheek’n’Tongue Expressions, Greek Goddesses and Cowboys… What Didn’t LFW Have? Here Are Our Faves appeared first on Voir Fashion.

The thirst for horror is nothing new, we have experienced it for decades through cinema and literature with movies like The Omen, The Shining and more recently Zombieland. Jordan Peele’s latest film ‘Us’ has reportedly left viewers ‘seeing demons’ such is its graphic content.Fashion has now taken up the mantle with Moschino’s SS2020 Halloween collection and the statement bullet wounds on some Mowalola Ogunlesi’s new garments. There is a peculiar intention behind the rise of horror in popular culture; and that is to depict the world as it is.

Most recently, designer Mowalola Ogunlesi crafted her clothes to reflect a dark reality of America with her latest SS20 Menswear collection ‘Coming For Blood’. Naomi Campbell took the internet by fire during London Fashion Week when she was spotted wearing one of the pieces—a long white dress with a striking bullet wound right in the middle. A risky move which, in light of the 22 school shootings that occurred in America this year, sparked negative comments accusing the model of glorifying gun crime. The controversial outfit was defended by the designer who explained that the bullet hole is a symbol of “her lived experience as a black person”.

When correctly contextualised with the rest of Ogunlesi’s collection ‘Coming For Blood’ the dress makes sense. Playing with bloody and ghostly colours, the Nigerian designer portrays the “horrific feeling of falling in love”. From bloodied hands to red contacts and gothic make-up, the male models sport bleak but stylish outfits; aptly embodying the intertwining feelings of joy and fear that come with loving someone. With this concept, Campbell’s dress then has a dual meaning. It signifies two types of dangers felt by the designer: trusting another person with your heart, and also living in a racist system as a black individual. Literally, the bullet injury reflects police brutality towards African Americans, and therefore the real horror that this subjects the black community to. Figuratively, the wound design signifies the pain of love.

Fashion Designer Jeremy Scott displayed a ‘horror collection’ of his own earlier this year, however with a rather different intent and tone than Ogunlesi. With Dracula tops, Scream-inspired outfits and even a dress mirroring a scene from King Kong, the Moschino SS20 collection is full of cinematic references; rendering the work modern and reflective of today’s pop culture. With the growing political statements being made through fashion, Scott appears keen to spread much-needed humour and positivity amid all the horror.

Undoubtedly, Scott’s choice to take inspiration from horror films for his collection stems from the undeniable fact that cinema was the first field to explore the genre, and exploit it to tell fictional stories most commonly based on real events.

After the Oscar-winning director of ‘Get Out’, Jordan Peele, surprised us all once again with ‘Us’; a thrilling story symbolising the consequences of systemic racism. Based on the idea of doppelgängers, the film follows an American family getting attacked by their doubles—known as the ‘Tethered.’ In their angry and frustrated nature, the Tethered embody the trauma of African Americans upon enduring discrimination and violence for so long. They come from an ‘underground’ version of the world—a dark and sinister environment which represents the strong oppression that the black community is subjected to in America. What is unexpected is the way in which Peele confuses us not only through an ambiguous ending, but also by merging pure horror and comedy throughout the entire film. This creates numerous layers of meaning; a literal one where a family tries to survive a nightmarish night, and several figurative interpretations regarding the horror of America which fans continue to try and dissect—and this is a clear example of Peele’s genius.

Slowly but surely, horror is also making its way into music as well. Just like in cinema, musical artists are often using their platform to draw their audience’s attention towards specific social or political issues, and that is exactly what pop musician Grimes is planning for her forthcoming project. Reportedly interested in the horrors of climate change, the singer is going to personify global warming as an evil villain in the album. This take on climate change is unique and perfectly symbolises how dangerous and threatening the situation only grows to be. Grimes’ music is known for incorporating different genres; pop, r&b, electronic and hip hop, and touching on multiple subjects such as love, feminism and now global warming. In line with the originality and bold variety of her craft, her new album will undoubtedly also be filled with upbeat melodies, or colourful music videos and lyrics to contrast the dark aspect of the villain.

Horror is present in the arts because, more frighteningly so, it is all around us. It is on the streets, in the governments and in the ocean. Individuals like Ogunlesi, Peele and Grimes imitate life in their art, conveying powerful messages about the gravity of the respective subjects that they present. And they do so by evoking horror in unique and distinguishable ways which aptly reveal the talent behind their artistry.

Words by Carla Pelosoff

Graphics by Fiona Campbell

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