My experiences working as a dresser and styling assistant at several shows this season have illuminated the potential future of fashion: immersive showcases that transcend the conventional catwalk. I worked backstage for YAKU, Tolu Coker and Kazna Asker — all presentation format, all incredibly different, all unbelievably moving. They were not merely a display of garments but the creation of an entire world that encapsulates their heart and their vision.

Kazna Asker’s presentation was a beautiful and touching exploration of her Yemeni heritage and her South Yorkshire upbringing, transporting guests to the souks of the Middle East. Her collection transformed the venue into a vibrant market filled with local delicacies like Adeni shahi tea, delicious dates and Palestine Cola, alongside handmade jewellery from small artisans and books from independent Arabic bookstore Maqam Books. Models wore traditional keffiyeh headdresses, bright ornate printed suits, long tailored coats and shimmering silver jewellery.

I have such a vivid memory of standing backstage, traditional music trickling over the sound system, securely tucking a Yemeni jambiya dagger into a model’s leather body strap before sending him out to take his position on the exquisite Persian carpets decorating the floor.

A vision I won’t forget anytime soon. The entire show was an absolutely beautiful mirage, filled with so much love, selflessness, community and authenticity.

Similarly — yet completely differently — British-Nigerian designer Tolu Coker conjured an emotionally charged atmosphere with her AW25 collection titled “Ori – Upon Reflection”, inspired by the Yoruban metaphysical concept of destiny, consciousness and spiritual intuition. Drawing from the African Diaspora, her collection referenced Aladura churches, the ritual attire of Black spiritual traditions in Louisiana and Haiti, and the ceremonial dress of Brazil and Cuba; all merged with classic European tailoring and British sartorial codes. These dualities united in models dressed in beautiful deadstock wools, tartans and poplins that emphasised sustainability and longevity, swaying in a trance-like state to a live band on a breathtaking altar.

My fingers laced corsets, cinched waists, tied ties, arranged pleats and smoothed collars to the comforting and transportive scent of palo santo filling the room. The collection lookbook itself was shot within the presentation space, and the centre room was transformed into a copy of her atelier filled with mannequins, rolls of fabric and sewing machines, along with her entire team — all of us clad in white shirts, ties and lab coats.

It was an absolute honour to be a part of.

The presentation welcomed guests into Tolu’s mind and her entire creative process, meticulously curating a mystical experience of spirit, craftsmanship, storytelling, and a fusing of the past, present and future that transcended the typical fast-paced runways.

YAKU too, showcased a visionary approach that seamlessly blended insanely striking visuals with touching themes in his presentation titled “Sunset on Tutorial Island”. Yaku Stapleton’s talent for immersing his guests in his rich, afrofuturistic universe is absolutely extraordinary. I was completely awe-struck by his attention to detail and deep, deep lore. While fashion is often a commercial and superficial space, YAKU stands strong as a refreshing beacon of depth and honesty. His collection was the fifth chapter in a saga chronicling his family’s fictitious journey through fantastical realms in a story of hope, resilience and growth. Each family member is portrayed as a distinct archetype reflecting their real-life counterparts, with garments worn by actors instead of models that actually interacted, played games, and lived a full day of vibrant life in front of the audience’s eyes.

The collection was so eye-catchingly futuristic and fantastical, with oversized puffers adorned
with horns, spikes and colourful graphics, distressed layered pieces, and even huge cushioned spears and swords. I felt like a giddy child backstage, obsessing over hyper-realistic pillows shaped like giant fish with sheer delight.

The showcase included a space called “Grandad’s Workshop” that offered deeper insights into the characters through personal diary entries and sketches. Visitors could question themselves and engage with their own concept of identity through YAKU passports, with probing questions such as “What fuels your drive in life?” and “What are you working on within yourself?” that earn them personalised badges to place themselves in this extremely intricate world. The experience was as much about fun and exploration as it was about family and connection.

Anyone who stepped into the room could find a sense of belonging in Yaku’s world.

By the end of the show, I felt such a kinship and deep admiration for the love and support I witnessed between the entire YAKU team.

I’m so deeply grateful to have been a part of these shows. A true honour.

Rather than just being passive observers, attendees of these presentations became part of a living, breathing dialogue that sparked true connection and reflection. It all felt so human, so real, so authentic.

Fashion is superficial, where?

To me, the emergence of new-generation designers like Kazna Asker, Tolu Coker, and Yaku Stapleton herald a very important shift in the fashion landscape. These designers’ inclusive, sustainable and conscious approach to fashion truly spark my hope for a more aware and deep future of this industry.

By merging art with activism, social issues, environmental plights, genuine profound storytelling, and worldbuilding, these designers are leading the charge against the antiquated structures dominating this industry. It fills me with so much life and so much pure, unfiltered joy to witness these feats of imagination, fantasy, talent, and collaboration.

And trust me, I’m also genuinely surprised to read these words pouring out of me. As a fashion stylist by career choice and fashion lover by inherent, undeniable nature, I never thought I would be one to say, “Yes! Death to Fashion Week!”

I have spent hours glued to my laptop screen, watching shows over and over, utterly captivated and hypnotised. I have fever dreams of flicking through Vogue Runway.

Tears silently flooding down my face just last year as I sat fixated on the Maison Margiela SS24 Artisanal show in complete and utter awe. It was all I could talk about for days. Truthfully, weeks. And honestly, I love this world. I love fashion shows. I love productions, real productions. Nothing gets me more riled up, more awake, hyper-focused and deeply alive than a real experience. Something that gets people feeling truly inspired.

And I have always been so inspired by shows. It’s always been a dream to be a part of them, to play even the smallest role in creating a different world for others to live in.

To experience wonder. To experience awe. To experience connection in creativity.

There’s truly no greater feeling, and I humbly believe that I was put onto this Earth to aid in the expansion and sharing of that feeling.

This got incredibly profound and personal. Apologies. But that’s just how important this conversation is to me, and how deeply near to my heart all of this is.

So I sincerely hope that my love transcends off the screen enough for you to trust me when I say, as someone who truly truly loves this, that I am glad fashion week as we know it might die.

*gasp*

These immersive presentations I had the privilege of working on show that change is not only possible but is already happening. The NewGen designers of London could just be the start.

London has so much heart, craftsmanship, imagination, and dedication. The crickets at LFW are absolutely not representative of the incredible talent of this city. Repeat after me!

The future of fashion might just be here at a dead fashion week.

In fact, the quiet schedule also likely allowed for the increase in freedom to explore and experiment with show styles. In my opinion, by openly encouraging these experimental formats, LFW can evolve out of an early grave into a space where designers can thrive without the constraints of traditional runway shows. This evolution will invite more diverse voices and visions from around the globe and continue to push the boundaries of creativity. Moreover, as the industry leans toward sustainability and transparency, we can create a future where fashion contributes positively to society and the planet.

London has a chance to do something truly incredible.

It’s not fair to these designers pouring their entire heart and soul (and finances…) into a mere fifteen-minute show, nor to the villages worth of teams it takes to put them together. In this context, the death of the traditional format is not a lament but a celebration—a necessary turning point. The old must indeed die, but it is in that death that we find the seeds of a breathtaking resurrection.

I’ve seen it myself. I worked on it myself.

That’s why I felt the indescribable pull, this undeniable duty to sit here, write out these words, and — for the first time in my life — marry my worlds of fashion and writing together, my two pillars of work/creative life force that have always been so separate.

Truly no better cause than this one to finally merge the halves of my Self.

Apologies for the macabre and dramatic title of this article. This is actually a piece about hope, imagination, authenticity, and raw unfiltered dreams, as I hope you have realised now.

The future is what we make of it. Call me overly optimistic and naive, but I truly believe that we can create change and build the world that we dream of.

I’m a believer. And I just lived a wonderful, busy, hectic, inspiring, crazy, beautiful fashion week in supposedly “dead” London.

So happy Deathday to LFW!

My heart leaps with joy and anticipation for what’s next.