Every season of London Fashion Week is a stage for the young generation of designers to show their feet, here, you will see their unrestrained and unrestrained, and will applaud for their creative inspiration, of course, if you are lucky, you will also find that fashion can actually make people get happiness and fear at the same time two different emotions, in 2023 Autumn and winter London Fashion Week, These wonderful feelings have been realized by the designers.

This season, as viewers eagerly anticipated the soft and romantic "fairy" brands at London Fashion Week, they were surprised to find that the princess world, which had been carefully wrapped in colored candy paper, no longer exists, but instead found inspiration in the haze of history and the suspense and thriller of art works.

Designer Erdem Moralioglu discovered that the house he now lives in, in Bloomsbury, had taken in lonely women in the mid-19th and early 20th centuries: Green wallpaper with the heavy metal arsenic all over the house, and a hatch that resembles a spy on prisoners, make Moralioglu shudder and resolve to free the hands of women who were held captive by the forces of conservatism and darkness in the Victorian era. Therefore, the dark makeup and skirt changed the sweet taste of the past, and the dark space was permeated with sharp Gothic tone. Even the iris climbing on the skirt was aggressive, seemingly breaking away from the shackles and cages of the history and times.

Traditional customs and legends became the new ideas Simone Rocha brought to the creative, this season inspired by the Irish official festival Lughnasadh, symbolizing the arrival of autumn and harvest time.

Looking closely at the loose hair of the models and the knots in the corners of the eyes and clothing, the thin silk satin bows appear in these easily overlooked places, but all represent a special rite of Lughnasadh - the smearing of blood on the faces of children to ward off evil spirits.

Rocha presents this overly cult sounding practice in a soft form that also leaves plenty of room for imagination.

After a lapse of three years, Chinese designer Huishan Zhang finally returned to London to leave his sincere and humble figure at the end of the Huishan Zhang 2023 autumn/Winter collection.

Instead, the women wearing his designs on the runway this season have become more powerful.

Those femme fatales in the films of suspense master Alfred Hitchcock laid the tone of the design, "I hope to find my own way to bring Hitchcockian women into the 21st century, creating a fantasy, with both dangerous temptation, and full of confidence in the female image."

A series of black organza and irregular polka dots, bringing the psychedelia and tension of the movie to the fashion design, sharper and tougher lines, and a new attempt at denim fabrics, are proving that Huishan Zhang has more possibilities than red carpet battleles.

Designer Yuhan Wang also pays homage to classic films in Yuhan Wang's latest collection, focusing on director Quentin Tarantino's Kill Bill, opening with a series of yellow and black colors reminiscent of Uma Thurman's bumblebee colored leather onesie in the film.

However, Yuhan Wang chose to take a more personal approach, incorporating thin lace into the structural silhouette of biker jackets and sweatpants, to bring out the romantic and dangerous female image.

Dilara Findikoglu was one of the most notable names at London Fashion Week this season, and even those who didn't pay attention to fashion week were already overwhelmed by her new collection, Not a Man's Territory, especially the battle dress decorated with various table knives. Derived from Findikoglu's recent attention to global women's issues, these sharp designs are full of her anger and resistance to the reality, "Why should all problems be attributed to women's bodies?" Why is it used so much? What should she wear? What shouldn't she wear? It's always used as a public issue."

The finale of the show, Joan of Arc, was her answer to these questions: "She is coming back for revenge, dressed as she wants, with her knife."

The foundation of innovation is inseparable from the study and improvement of tradition, whether starting from the brand archives or paying tribute to a classic era, the creation based on the retrospection is particularly evident in this season's London Fashion Week, through the evolution of materials, processes and concepts, the good of the old time to a new dimension.

As one of the most talked about launches of the season, Burberry's new creative director Daniel Lee brought the brand's traditional equestrian knight logo back to our vision with a more realistic and everyday silhouette. At the same time, to put a sense of humor in the cultural tradition of Burberry, the British brand - those duckling prints everywhere, models and guests almost a hand warmer handbags, are reminding you of the "temperature" of the city of London, "I think it's very British, Burberry is obviously a very outdoor brand, it's about rain and conservation, you know, Ducks like water."

"I want it to be positive," he explained after the show. "I want it to show a positive side of Britain to the world."

Jonathan Anderson is undoubtedly one of the most talk-making designers of the moment, and on the JW Anderson show this season, he did not fully immerse himself in the "concept design" of the past few seasons, but extracted the core elements of the brand's iconic works over the years to form a new collection.

From the ruffled strapless skirt on the men's Fall/Winter 2013 collection, to the tire rubber top in the spring/Summer 2014 collection, and several deconstructed trench coats from the spring/Summer 2020 collection... When these works are gathered together again, you will find that Anderson has a stronger sense of proportion in silhouette and material, and those controversial fashion topics he led back then are still worth discussing again today.

Chinese designer Marrknull, a finalist for this year's LVMH Prize, unveiled a new collection online at London Fashion Week this season.

Designers Wang Kuma and Shi Tian around the Paleolithic site unearthed "animal master" image, "the Book of Mountains and Seas" in the half-human half-animal spirit and other elements of imagination, placed it in the context of the future jungle, breaking the binary opposition between humans and animals, into the fuzzy boundary of non-human non-animal gray area.