Located next to a royal blue catwalk in the Tate Modern, Anna Wintour and notable British actors, including Ncuti Gatwa and Nicholas Hoult, sat along the front row as a slow but suspenseful song began to play, reminiscent of music from a medieval-based TV show, perhaps to reference to Burberry’s knight in shining armour logo.
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Like his 2024 winter collection, Creative Director Daniel Lee continued to be inspired by the 1970s, and additionally to a similar colour palette of chocolate brown, beige, black and sage green. Burberry used a lot of 70s long silhouettes with flared midi skirts paired with brown leather knee-high boots and turtleneck jumper. Lee stuck to his concept for the brand as functional and long-lasting as this collection seems to be influenced by the past but not too trend based.
On the other hand, the knee-high boots over skinny jeans trend emerged in the catwalk, matched with a cropped high neck leather jacket, just in time for its comeback online.
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As seen every year, Burberry displayed an array of trench coats, a reference to their iconic 1910s invention, but this time with a fun twist. Towards the end of the show, supermodel Naomi Campbell showcased a patterned purple-brown trench coat with a voluminous skirt made of layers of fringe, another nod to the 70s revival.
However, there were some surprising moments of the show as one model walked out with wired headphones whilst in a grey tweed trench coat with a rope-like fur collar. Whilst model Lila Moss appeared in a skirt and cardigan set made of a heavy, blanket-like material with an orange pattern reminiscent of a grandma’s curtain. This look seems to resonate with 1920s fashion, but they appear disjointed from the rest of the collection and the brand’s overall aesthetic.
Overall, I believe that in this collection the brand played into its strengths as a heritage brand by retaining classic silhouettes and colours, although there were rare occasions where this was neglected, and it stuck out like a sore thumb.
