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Annie’s delivered a rich display of vintage glamour at Spencer House during London Fashion Week, filling the neoclassical interiors with florals, feathers and high-shine embellishment. Presented against a backdrop of marble statues, gilded archways and sweeping staircases, the collection embraced Annie’s signature: opulence. The collection featured vibrant orange silks and fringed capes (Lucy North/PA) Founder Annie Doble has built her brand on a love of rare vintage and enduring glamour. Born and raised in England, she began buying and selling vintage pieces as a teenager, eventually opening a boutique in Ibiza with just £200, calling it Annie’s Ibiza. That small venture grew into an internationally recognised fashion destination, now known simply as Annie’s, Doble has regularly dressed celebrities including Kate Moss, Taylor Swift and Margot Robbie. For this show, while much of the autumn/winter collections lean into dark palettes and heavy layering, Annie’s offered saturated colour and ornate detail, proving vibrant, statement dressing has a place even in February. Prim puffed sleeves also featured throughout the collection (Lucy North/PA) Floral hair accessories were a defining motif. Oversized crimson blooms were pinned into sleek updos and glossy curls, lending a romantic, almost flamenco-inspired energy to the looks. Models strode onto the runway in richly patterned jacquards and brocades, their silhouettes sharply defined against the ornate cream background. Texture played a central role. Tapestry-style florals in burnished orange, teal and gold were cut into high-necked dresses with sculpted shoulders, while metallic threads caught the light as the models turned. Fringe and tassels added movement, with one look in particular combining a high-neck woven dress with swaying orange fringing that brushed across the bodice, reinforcing the brand’s bohemian tone. Fringe featured in most garments (Lucy North/PA) Feathers, a recurring trend across runways this season, were given full theatrical treatment. Voluminous feathered capes framed heavily embellished corsets, while fluffy trims exaggerated cuffs and shoulders. A standout look featured a gold beaded corset gown paired with a dramatic feathered stole in blush and black tones, the texture contrasting with the rigid sparkle of the bodice beneath. Feathers are a dominant trend currently on the runways (Lucy North/PA) Another ensemble featured a cropped black velvet jacket with oversized shearling-style sleeves, worn over intricately embroidered briefs and lace tights – a juxtaposition of softness and structure. Elsewhere, a nude illusion gown layered with delicate lace embroidery was topped with a pale feather collar, the detailing extending down the sleeves and into sheer panels that revealed ornate underpinnings. Nude and sheer were also prevalent trends (Lucy North/PA) Doble played with the relationship between exposure and embellishment: corsetry cinched the waist, while crystal beading and metallic thread work elevated traditionally intimate silhouettes into eveningwear statements. The collection leaned heavily into Annie’s signature codes: vintage-inspired shapes, couture-level beadwork and a confident embrace of maximalism. Gold lattice embroidery, jewel-toned floral prints and richly textured fabrics referenced antique upholstery and heirloom textiles, yet the cuts remained contemporary – high-cut briefs, sharply tailored jackets and structured bodices anchoring the historical references in the present. Maximalism was the headline for this collection (Lucy North/PA) In recent years, Annie’s has expanded into ready-to-wear, debuting on the London Fashion Week schedule in 2023. Sustainability underpins the label’s ethos, with limited production runs and a focus on craftsmanship designed to ensure longevity rather than trend-led turnover. At Spencer House, that philosophy manifested in garments that felt considered despite their exuberance. Intricate hand-beading, carefully placed applique and densely worked embroidery spoke to hours of labour behind the scenes. Even the most theatrical pieces – from feathered capes to heavily embellished corsetry – retained a sense of precision. Founder and creative director Annie Doble with the show’s models at the end of the show (Lucy North/PA) The setting amplified the mood. As models moved through the grand rooms beneath sculpted ceilings and beside classical statues, the collection’s baroque influences felt at home. The overall effect was immersive, as the audience was transported into a world of gilded romance, where florals bloomed in winter and feathers framed crystal-studded silhouettes.

Cassie Easton and Ellie Lindsay-Wood both had successful careers in the beauty and luxury industries before taking the plunge into entrepreneurship in 2018. Avid skiers, the pair were inspired to set up their brand, My Sunday Ski, by a vintage ski-suit worn by Lindsay-Wood that was a big hit on the slopes. Easton (above left) had previously enjoyed a successful career at upscale publisher Condé Nast – home to Vogue, GQ, Glamour and more – while Lindsay-West (above right) worked at beauty giants L’Oréal and Estée Lauder. Her most recent role at Charlotte Tilbury helped fire her ambitions as she embraced the legendary make-up artist and brand founder’s mantra of “dream, dare and disrupt”. Their combined experience of scaling brands, international marketing and story-telling was poured into My Sunday Ski, which they established with a small family loan. The pair have not taken any further investment since, enabling them to retain full control of the brand and build it in an authentic and considered fashion. An intimate knowledge of the ski scene helped them to understand exactly how to blend performance with style, and their aim is to make skiing accessible and welcoming to as many people as possible. Today the predominantly DTC brand is on course to exceed sales of £7 million this season, and can be seen on some of the most high-profile women in snow sports, as well as on countless fans on ski slopes and après bars globally. The pair talk to TheIndustry.fashion about establishing a brand – dependent on travel – while the pandemic was in full swing, how they have built their community, how they developed their product line-up and what their ambitions are for the future of My Sunday Ski. I understand the brand was inspired by Ellie’s mother-in-law’s vintage ski suits. What was special about them – they must have been quite something if you decided to launch a brand inspired by them! Cassie Easton (CE): Interestingly, it was actually just one suit – and while it was stylish, classic and beautifully made, it wasn’t wildly extravagant. What really stood out was the reaction it received. Every time Ellie wore it on the slopes, the response was completely disproportionate. It turned heads – not because it was loud, but because it had presence. People constantly stopped to ask where it was from, and in that moment, we realised women were still being asked to choose between performance and style. As skiers ourselves, we couldn’t accept that trade-off. For us, technical performance has always been the non-negotiable foundation, but we felt strongly that women shouldn’t have to compromise on how they look and feel in order to get it. We saw a clear gap for skiwear that delivers in the toughest mountain conditions while still feeling modern and considered, and we decided to build what we couldn’t find. How did you go about setting up the brand. I understand you were funded by a family loan but how did you design, sample and manufacture the products? Ellie Lindsay-Wood (EL-W): Perhaps surprisingly, the design element has always been the simplest part and our philosophy hasn’t really changed. From day one, we’ve created the pieces we ourselves dream of wearing on the slopes. Legacy skiwear brands were largely built around men’s performance needs and adapted later. We approached it differently and designed from the female perspective first. Because we’re primarily direct-to-consumer, we’re able to stay very close to our customer – listening carefully, moving quickly, and designing for real women who ski, travel and live full lives beyond the mountain. On the sampling and manufacturing side, it’s been about partnering with factories that are true experts in technical outerwear and then being relentlessly detail-focused throughout the process. We push back constantly until every element feels right. Early on, we were fortunate to draw on my husband’s expertise, developed through years of experience in his family’s global sourcing business. His insight helped us navigate the complexities of technical production from the outset, and that support has continued to be invaluable as we’ve grown and refined our processes across the business. Fit, in particular, is everything. Tiny adjustments – where seams sit, how insulation is distributed, how fabric moves with the body can completely transform how confident and comfortable a woman feels on the slopes. What people don’t always see at first glance are the technical touches underpinning the fashion story: fully fleece-lined suits for warmth without bulk, carefully engineered internal features, and hardware that is both functional and elevated. Every decision is there to bring modern luxury to the mountain without compromising performance. It must have been challenging to manage a start-up (particularly one centred on people being able to travel) during the Covid era, how did you manage it? CE: It was certainly a challenging period but it ultimately made us far more resilient operators. We had only just entered our second full season when the pandemic began to disrupt global travel, but in many ways it forced us to build the business with real discipline from the outset. We had to navigate everything from Covid disruption and supply chain delays to rising tariffs and shipping costs – but rather than slowing us down, it sharpened how we operated. Being direct-to-consumer gave us agility, and we stayed incredibly close to our community, focusing on what they wanted both during and beyond lockdown periods. Crucially, we’ve always built the brand for the long term. Skiing is inherently cyclical, and we understood that demand would return strongly once travel reopened. By staying lean, protecting product quality and continuing to invest in the brand while others pulled back, we were able to keep scaling through a very volatile period. What did the brand look like at the start and how did you market it? EL-W: We launched with a very tight, focused collection – the ‘Luxe’ Ski Suit in three colourways – which quickly expanded to include our OG ‘Signature’ and ‘Élégance’ styles. From there, the collections

Exports fell 3.6 percent in January, led by a decline in the most expensive precious metal watches and a slump in the US market.

As London Fashion Week returns, all eyes are on Paul Costelloe, now poised for a defining moment under the direction of William Costelloe, son of the brand’s late eponymous founder. For more than 40 years, the British-Irish fashion house was synonymous with its visionary creator, and William’s new leadership signals a fresh chapter in its storied legacy. Paul Costelloe pictured at his studio in London. Paul Costelloe was famously the only designer to have shown at every London Fashion Week since its inception, with his show a beloved and consistent fixture as the event’s opener. In September 2025, he presented his final collection – an ode to the bold, colourful streets of 1960s Beverly Hills – fittingly titled Boulevard of Dreams. At Boulevard of Dreams for SS26, Paul’s final show, the models were styled in Sixties-inspired silhouettes. Renowned as a true couturier, Costelloe built his reputation on impeccable construction and luxurious fabrics, with a particular passion for Italian textiles. Trained at the Chambre Syndicale de la Haute Couture in Paris, he spent the 1960s working alongside Pierre Cardin and Emmanuel Ungaro, influences that left a lasting mark on his designs. While contemporaries such as Vivienne Westwood and Mary Quant captured London’s rebellious spirit, Costelloe remained devoted to classic couture silhouettes and timeless femininity. His family announced his passing last November, stating they were “deeply saddened to announce the passing of Paul Costelloe following a short illness”. He died in London, surrounded by his wife and their seven children. His son, William, now takes the helm as Creative Director, having collaborated closely with his father throughout his career. For the past seven years, he served as Design Director at Paul Costelloe, where he played a pivotal role in shaping the brand’s catwalk collections and guiding its expansive global portfolio. Speaking exclusively to TheIndustry.fashion, William opens up about the deeply personal journey of stepping into this role following his father’s passing. “It’s incredibly personal. My father’s presence is felt in everything he built, and that brings both comfort and responsibility. For me, honouring his legacy isn’t about trying to replicate what he did, but about staying true to the values he believed in – craftsmanship, integrity and a deep respect for fabric and tailoring. From there, I allow myself the freedom to design instinctively and honestly, in a way that feels natural to me,” he explains. William is recognised for his expertise in colour and material, a sensibility shaped through formal training in womenswear design and textiles at Istituto Marangoni in Milan. He also holds a Bachelor’s degree in Fine Art Painting from Camberwell College of Art and a Master’s degree from Chelsea College of Art in London, grounding his fashion approach in both artistic vision and technical skill. “My artistic abilities are key to me. Much like my paintings, my design voice is rooted in structure and form, and in how a garment sits and moves on the body. That feels closely aligned with my father’s love of tailoring,” he says. William makes his London Fashion Week debut later today with the autumn/winter 2026 show, scheduled for 12 pm at the Waldorf. While this marks his first outing at the helm, he brings with him the invaluable lessons learned from working alongside his father – principles that continue to guide his vision as he prepares to make his own mark on the LFW stage. “My father had an incredibly strong vision, and that clarity is something I carry with me. Rather than changing things abruptly, I see this as an evolution,” he emphasises. “I take forward his attention to detail, above all. He also believed deeply in commitment; in showing up season after season. That sense of dedication has really guided me as I’ve prepared for this show. I go with my gut instincts… they’re usually right!” The collection is described by William as “a new beginning for the brand”, with new silhouettes that he has always been passionate about. “It reinforces what the brand has always stood for: strong tailoring, beautiful materials, and timeless design, while gently introducing a slightly more contemporary, sculptural edge.” As for the inspiration, he adds: “Tailoring is my inspiration – I will be championing this moving forward. There is a sense of strength running through this collection. I hope the audience feels this moment of confidence and a celebration of the Paul Costelloe brand.” In fact, these elements serve as a heartfelt tribute to his father’s influence. “The tailoring language, the discipline of the cuts, and the respect for heritage fabrics all speak to his influence. Knowing that these fabrics were selected by my father adds a quiet emotional layer to the collection,” William shares. “The fabrics are also especially meaningful. Many were chosen by my father just before he passed, which gives them a very personal significance. There’s a focus on traditional British and Irish textiles. The colour pallet is confident and refined allowing texture and silhouette to take centre stage. There are big structured shoulders, sculpted silhouettes, precise constructions and cuts.”   View this post on Instagram   A post shared by PAUL COSTELLOE (@paulcostelloeofficial) While we eagerly await the collection’s debut, William confirms that the brand will continue to honour his father’s London Fashion Week legacy, maintaining the tradition of showing at LFW in the seasons ahead. “Fashion week has always been an important moment for the brand. It’s where ideas come together and where the brand speaks most clearly, so continuing that tradition feels very important to me,” he says. On the wider brand ambitions, William shares his desire for the Paul Costelloe name to represent integrity, quality and relevance. “A brand that honours its heritage and confidence,” he notes. Beyond the catwalk collections, his focus is on building on the brand’s established strengths. “Refining the product, ensuring consistency across the business, and nurturing the relationships that have supported the brand for so long. We’re beginning to look at new territories and product areas that feel like a natural extension of

Ebay has struck a $1.2 billion (£890 million) deal to buy second-hand clothing app Depop from rival Etsy. It is offloading the brand, which has become increasingly popular among Gen Z shoppers looking to buy products sustainably, five years after buying it for $1.62 billion (£1.2 billion). Ebay said the deal will help it cater to a “younger demographic” as the online marketplace giant targets long-term growth. The deal is expected to close in the second quarter of this year. Depop, which was founded in London in 2011, is expected to retain its name, brand, platform and culture, the companies said. The business has expanded on the back of growing demand from Gen Z and Millenial shoppers to buy sustainably and avoid old items going into landfill. At the end of last year, Depop’s marketplace had seven million active buyers, with almost 90% of these under the age of 34. The business has also benefited from recent rapid growth in the US, with sales in the country rising by almost 60% over the past year. Jamie Ianonne, Chief Executive of eBay, said: “Depop has built a trusted, social-forward marketplace with strong momentum in the pre-loved fashion category, and we are confident that as part of eBay, Depop will be even more well-positioned for long-term growth, benefiting from our scale, complementary offerings, and operational capabilities. “We’re excited to welcome the Depop team to eBay, and look forward to building on what makes them unique – their brand, culture and community – to deliver compelling benefits to buyers and sellers.” Kruti Patel Goyal, Chief Executive of Etsy, said: “We are excited that this transaction allows us to focus exclusively on the compelling opportunity we see in front of us: to grow the Etsy marketplace in ways that matter most to our buyers and sellers.” Peter Semple, Chief Executive of Depop, said: “We’re thrilled to begin this next chapter with eBay, whose experience in the C2C (consumer-to-consumer) fashion space and shared belief in people, opportunity, and a more sustainable future positions us to meaningfully accelerate our marketplace in the US and beyond. “This transaction is a testament to the significant growth we have delivered as we have evolved our product experience and strengthened our brand’s place in the world.”

Debenhams Group has raised £40m in a share placing to fund its turnaround plan and to cut debt. The retail group, which owns Debenhams, Boohoo, Warehouse and Karen Millen among others, initially aimed to achieve £35m from the process. The group said investor demand was “significantly in excess” of its original target and it raised £40m meaning it will achieve net proceeds of approximately £38.7 million after expenses associated with the fundraise. Trading of the newly issued shares will begin on the alternative stock market AIM on 23 February. Group CEO Dan Finley said support had come from new and existing shareholders. “The success of the fundraise demonstrates the strength of support for our multi-year turnaround strategy. The fundraise will deliver an improved capital structure for the Group, providing us with greater financial flexibility to execute our turnaround strategy and deliver value for all shareholders,” he said. Debenhams also announced that Non-Executive Director and Chair of the Renumeration Committee Iain McDonald would be stepping down with immediate effect, facilitating participation in the fundraise by certain funds he manages. There are no plans to add further to the independent board, following the appointment of Tom Handley last year and Tim Morris’ transition to the role of independent Chair in 2024. Dan Finley, CEO at Debenhams Group Dan Finley, Boohoo co-founder Mahmud Kamani (together with his close relatives and related trusts), and Iain McDonald all participated in the fundraise and have subscribed for an aggregate of 61,944,443 New Ordinary Shares. Kamani’s investment totalled £8m, McDonald’s £3m and Finley’s £150,000. McDonald said it has been “a pleasure to be a non-executive director at Debenhams over the last 9 years and I am delighted to support the Company in the Fundraising.” “This should be viewed as a measure of how much I believe the current market valuation of the business undervalues its future prospects. Dan has transformed the cost base and business model since being installed as CEO and with the re-basing of the business to a profitable core now largely complete, the prospects for strong growth and cash generation are the best for many years. I have confidence in the Board and wider management team on delivering its turnaround. I look forward to watching the continued momentum of the business as a supportive investor,” he added. As part of its turnaround the group has previously said it was continuing to explore opportunities to help drive an “asset-lite model”, such as selling non-core assets, supply chain partnerships, strategic IP licensing and other financing options. It is also reducing its property costs, telling shareholders that lease costs are set to reduce from £17m this financial year to around £13m next year; will fall by a further £6m when the lease on a vacant US property expires. The group also plans to cut its capital expenditure from £16 million over the past year to around £8m. A proposed sell-off of the PrettyLittleThing brand, founded by Mahmud Kamani’s son Umar, has been halted. Main image: Boohoo

247 by Represent, the performance-focused line from British streetwear brand Represent, has launched a new men’s collection for SS26 inspired by the aesthetic of the Los Angeles ’84 Olympics. Blending elevated everyday wear with technical performance, the range integrates Represent’s mainline DNA into its performance category with contemporary silhouettes. The colour palette evolves from core neutrals into bold cayenne tones, while the LA ’84 Olympics-inspired star logo and torch motif nod to vintage athletics. Key pieces in the range include the 247 ‘Torch Crop Tee’ in the brand’s signature boxy cropped fit, featuring heritage-inspired graphics and washes, and the PU coated ‘Foil Jacket’ with neck and hem adjusters for a more tailored fit. There’s also accessories such as the 80s-inspired ‘Duffle Gym Bag’, and the ‘Running Belt’ – which was worn and tested by TEAM 247 athlete Jake Dearden during his 2:22 marathon in Houston in January. George Heaton, co-founder and Creative Director of Represent, who now resides in Los Angeles, said: “Since moving to LA and bringing Represent to America, the city has been a constant source of inspiration for the brand. “Vintage designs have always been integral to Represent, so it felt natural to bring them to the 247 line whilst paying homage to the city as our second home. With the next Olympics set to take place here, it felt especially relevant.” The 12-piece hybrid training collection, which launched yesterday evening, is designed for athletes who move between strength, running and HYROX. Read TheIndustry.fashion’s interview with Head of 247 by Represent, Matt Shotton.

After leading sales and product development roles at True Religion, Red Card, and Rag & Bone, Tsuyoshi Kikushima is redefining classic Japanese denim with softness, soul and modern cuts, with his own brand Needby Vintage. Give us an overview of your career so far and what has led you to launch your own brand. My career began with experience on both sides of the industry: sales and manufacturing. While working directly with customers in the marketplace, I was also deeply involved in the production sites of Japanese denim. That dual perspective has shaped my approach to making things. In the brands I previously worked on, offering products at a price that made sense in the market was always a fundamental premise. This is an essential condition for a brand to remain sustainable and credible in the long term. On the other hand, even when we wanted to devote ourselves fully to fabric development and processing techniques, there were unavoidable limitations from a cost perspective. Japan possesses techniques and sensibilities that stand as an extraordinary exception on a global scale. From yarn engineering and weave structures to the subtlety of finishing, these qualities deserve to be pursued beyond conventional constraints of price and efficiency. “What could we achieve if there were no such constraints?” That question became the starting point of NEEDBY VINTAGE. Rather than denim that asserts itself through weight or ruggedness, we set out to create denim that balances softness with depth—selvedge denim that remains supple, and that maintains a calm, cohesive expression even when extensive processing is applied. Instead of overtly showcasing Japanese craftsmanship, we chose to let it reside quietly within the product itself, presenting a standard that can stand on a global level. NEEDBY VINTAGE exists as an extension of my previous experience, while at the same time moving beyond its limitations. It is a brand born to fully realise Japanese technique and sensibility, free from conventional constraints. History and craftsmanship is at the heart of Needby Vintage.  Take us through your “slower and deliberate” production process. In today’s manufacturing environment, labour is limited, and improving efficiency is an unavoidable challenge. We continually reassess areas where processes can be rationalised, as long as quality is not compromised. However, we do not pursue uniformity simply in the name of efficiency. There are expressions and nuances that can only emerge through handwork. What machines can do, we leave to machines. But textures and tonal depth that only human hands can impart are entrusted to human sensibility until the very end. That distinction defines NBV’s approach to making things. We pursue efficiency and precision simultaneously, while intentionally taking time on the processes that can only be realised by human hands. We do not take pride in doing everything by hand. Rather, we take responsibility for discerning which processes must be done by hand. You’ve created an exclusive selvedge denim ‘N1V-SO’.  Why was this important for you? Selvedge denim itself is not particularly rare. Traditionally, however, it has often been discussed in terms of weight, ruggedness, and pronounced vertical fading – qualities that sat at some distance from the direction we were aiming for. What NBV sought was not heaviness, but depth; not rigidity, but suppleness. Rather than selecting an existing fabric, we reconsidered everything from yarn combinations to weave design. Our objective was to create selvedge denim that feels soft and fluid, yet retains depth and richness in its expression. When it comes to vertical fading—often regarded as a symbol of vintage denim—we chose not to emphasise it through strong linear contrast. Instead, we focused on building depth through texture and subtle tonal shading, aiming for an expression that settles quietly rather than asserting itself. For us, fabric is not a surface element, but the very foundation upon which every product is built. With that in mind, we defined the direction at the fabric stage so that any silhouette or processing could stand on its own. The original selvedge denim was not created as a means of differentiation alone; it serves as a tangible expression of NBV’s philosophy. Tsuyoshi Kikushima, founder of Needby Vintage Your production process is so unique, and can take up to a 6 month leadtime for a product. Talk me through the process and how you plan for demand. NBV does not operate its own factory; instead, we share production backgrounds with multiple other brands. As a result, we cannot occupy a production line on a constant basis. Each product begins with fabric design, followed by sewing, processing, and finishing. Because each stage requires specialized expertise, the process does not move forward in a single continuous flow. Adjustments and waiting periods inevitably occur between stages, meaning that some products take up to approximately six months to complete. It would be possible to compress production into three to four months. However, for products involving complex processing and finishing, prioritising speed can cause decisions to become rushed, compromising precision in the details. To avoid that risk, we intentionally build generous timelines into the schedule. In terms of demand forecasting, we do not assume mass production. We first determine appropriate quantities, then establish production plans accordingly. Rather than pursuing rapid expansion, we prioritise operating at a scale that allows us to maintain quality. For NBV, time is not merely lead time; it is a fundamental requirement for sustaining the level of precision we demand. You truly are creating pieces of art, one-offs if you will, with all of your shaving for example, done by hand.  This is commendable, but is it sustainable long term, in terms of growth for the brand? Laser processing has become the global standard for shaving due to its stability and efficiency. From a rational standpoint, it is an effective method. However, in terms of subtle shading and three-dimensional expression, we still believe that handwork offers a level of sensitivity machines cannot yet replicate. Slight differences in pressure or angle can significantly affect the final impression. For this reason, NBV carefully distinguishes between

Norfolk-based eco-designers Vin + Omi unveiled their latest collection, “JORD: Bring Back Nature”, at an off-schedule London Fashion Week AW26 show last night. It marked the launch of a new collaboration with the British Heart Foundation, bringing together sustainable fashion and charitable purpose in a powerful creative statement. The collection itself focused on reconnecting fashion with the natural world, using plant-based textiles, recycled materials and traditional techniques. Celebrities including restauranteur Dame Prue Leith, journalist Dylan Jones and designer and stylist Jo Wood walked the catwalk wearing garments made from holly, nettles, butterbur, wood clippings and recycled aluminium. In an previous interview, Vin said the theme reflects concern about society’s growing detachment from nature. “I think what I was noticing was that we’re getting further and further into technology, further into the internet,” he said, “using more and more screen hours, and we really are losing nature.” Dame Prue Leith walked the runway in a pink ruffled shirt and orange suit, with a floral headpiece for the design duo’s latest eco-collection –  the day before her 86th birthday. Her tailored suit was made from fabric developed using waste clippings of holly from the King’s Sandringham Estate, part of the designers’ ongoing collaboration with King Charles III. Fellow guest model, Editor-in-Chief of the Evening Standard Dylan Jones, wore a similar holly-based look, reinforcing the autumn/winter 2026 collection’s central material innovation. The partnership with the BHF follows designer Omi suffering two heart attacks and being diagnosed with heart disease. For the first time in Vin + Omi’s 24-year history, selected one-off catwalk pieces will be made available to the public, with garments upcycled from BHF shop stock and then gifted back to the charity. All proceeds will remain with the BHF to fund research and raise awareness of heart disease. Items will go live on the charity’s eBay store at 1pm on 18 February. Jo Wood, former wife of Rolling Stones’ Ronnie Wood, walked the catwalk (Yui Mok/PA) As the music began, the atmosphere in the room shifted immediately. A dreamy soundtrack layered with subtle nature elements set an ethereal, almost otherworldly tone, underscoring the collection’s environmental message. Technicolour dominated the runway, with tones clashing and softening in equal measure, while distressed textures and punctured or “holed” fabric treatments introduced the punk undertone Vin + Omi are famed for; exemplifying the message that sustainability doesn’t have to be muted. Reworked textiles from nettle, butterbur and wood clippings from Sandringham featured alongside recycled metal textiles made from RAF waste cans. Every piece on the runway was made from sustainable or waste materials (Yui Mok/PA) Ahead of the show, Dame Prue said that her first experience walking for the brand was far from a traditional fashion show. She said: “I had the idea that it would be a conventional kind of catwalk show. You know, we walk 25 yards down a catwalk, turn around, walk back there. But they said, we don’t have to do that.” The first time she walked the runway for the designers was in 2024, and she recalled: “I did find it quite difficult, because, those models [have] all got long, long legs, and they walk so fast. And I – an old lady – am puffing along in the background.” A model on the catwalk at the Vin+Omi show (Yui Mok/PA) Before stepping onto the runway this season, she admitted she did not know exactly what she would be wearing. “I have no idea,” she said. “I know it’s going to be made out of holly – which sounds very prickly. “I was surprised that you could turn willow bark into something like linen, and so I’m sure you could do the same with holly.” On the night, her structured orange suit contrasted sharply with the softness of the pastel-heavy collection, the pink ruffles and floral headpiece adding theatrical flourish as she made her way down the runway in trainers. Dame Prue Leith with the designers on the catwalk at the Vin+Omi show (Yui Mok/PA) While Dame Prue is happy to be dressed up in just about anything, when asked if there was anything she would refuse to wear, she simply said “a bikini”. “They know I like to look good, whatever it is, and I’m quite glamorous,” she added. “I don’t want to look ludicrous, although I think we come quite close.” After the finale, she returned to the runway with the designers to applause. The show ended with a surprise birthday celebration in her honour, with the audience singing Happy Birthday as she prepares to turn 86 on 18 February. “It’s funny, an 86-year-old woman walking down the catwalk – of course it’s funny,” she laughed.”“I just hope I look nice. I don’t like to look a fright.”

The Genevan luxury watch maker is leading a sustained recovery in the used watch market, disrupting Rolex’s dominance.