Simone Rocha invited us to the The Old Bailey, London’s criminal court, where it’s grandiose interior was an exquisite backdrop for an exquisite collection. Shortly after, it was over to the steps of The British Museum, where its 43 Greek temple-style columns backdropped Erdem’s emotional collection that was festooned in its own history as the designer drew inspiration from Radclyffe Hall’s 1928 queer love story ‘The Well of Loneliness.’

Roksanda showed her voluminous, colourful collection in a yet-to-be-occupied office block with a circular catwalk that made the most of the crisp September sunshine as models veered to an outside balcony overlooking the city. Labrum too showed outside, uprooting the fashion crowd to Arsenal’s Emirates stadium, where models – including midfielder Declan Rice – walked the edge of the pitch.

Foday Dumbuya takes his bow at the SS25 Labrum show hosted in The Emirates stadium.

Once-classmates Emma Chopova and Laura Lowena-Irons of Chopova Lowena and Charlotte Knowles and Alexandre Arsenault of KNWLS breathed new life into really old venues. At both Chopova Lowena and KNWLS the music boomed so loud that the already-crumbling ceilings caused dust to fall from above. It added to the atmosphere of the Shoreditch Town Hall basement and the old Central Saint Martins (their alma mater) building on Southampton Row.

The KNWLS SS25 show at the old Central Saint Martins building on Southampton Row.

Yet, for us much as these spaces are chosen for their aesthetic brilliance, they also speak of fashion’s important role within the city’s landscape. The latest statistics tell that fashion contributes around £60 billion to the UK economy and London has a steadfast reputation and history as a city of expansive style.

When designers choose to show at art institutions, it’s a nod from that exclusive industry that it welcomes fashion as a creative medium, proud to show it in within its hallowed halls. This idea comes most into play when its independent designers whose own work already sits on the fringe of the art world. Consider then 16Arlington that traded in the Barbican of last season for The Royal Academy. The room’s stark white walls might have been somewhat anonymous and yet the context of showing at The RA was brought back into focus with an installation by British artist Jesse Pollock sitting centre stage. Just a few days before, S.S. Daley had also shown in the Piccadilly location, with a room of florals inspired by the work of Constance Spry.

Edie Campbell, in the show’s opening look, stands in front of 16Arlington’s centrepiece installation.

Things can also work the other way, too. Burberry, London’s tentpole big brand, did away with the tents in the park to show in the foyer of the National Theatre. The house has long had a commitment to supporting Britain’s creative culture with this choice of location playing exactly into that.

The Burberry show space at the National Theatre, with an installation by Gary Hume.

It’s safe to say that fashion week looks good on London, with plentiful buildings wanting and willing to host these elaborate, over-in-a-second shows to add to their own creative clout. So, if you ever needed proof that a collective appreciation of creativity is at the beating heart of London, take fashion week — this one, the last one and no doubt the next one — as proof.

ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.