Fashion News: Mulberry prepares London Fashion Week return as financial recovery gathers pace

Mulberry is set to make a high-profile return to the London Fashion Week runway this month, marking a significant moment for the British luxury fashion house as it combines a new creative direction with signs of a strengthening financial performance.

Mulberry - Shot by Federico Radaelli

The return to the runway is central to CEO Andrea Baldo’s “Back to the Mulberry Spirit” strategy, which aims to rebuild the ready-to-wear business alongside the brand’s established accessories offering.

The company will return to the London Fashion Week schedule on September 20, following a six-year absence. The show will present the first women's ready-to-wear collection designed by newly appointed Creative Director Christopher Kane, signalling a new chapter for the Somerset-based brand.

Kane's appointment is expected to bring a fresh creative perspective to Mulberry as the company seeks to reinforce its position as a leading British luxury label. His debut will be closely watched as the fashion industry assesses how his design language will translate across Mulberry's established leather-goods heritage and its wider ready-to-wear offer.

The runway return comes against a backdrop of improving financial results. Mulberry reported group revenue of £125.5 million for its latest financial year, representing a 4% increase. Pre-tax losses were reduced substantially to £8.9 million, compared with £32.2 million in the previous year.

The company also reported an improvement in gross margin to 72%, helped by a reduction in promotional discounting. The figures suggest that the business has been making progress towards improving the quality and profitability of its sales, rather than relying heavily on markdowns to drive demand.

That momentum appears to have continued into the opening quarter of the new financial year. Group revenue rose by 23% year on year, with wholesale and franchise revenue recording a particularly strong 56% increase.

The growth in wholesale and franchise business provides an encouraging indication of demand for the brand beyond its directly operated retail network and could give Mulberry greater scope to expand its international presence without relying solely on investment in company-owned stores.

At the same time, Mulberry is continuing to refine its physical retail footprint in the UK. The company has signed a lease for a new 979 sq ft boutique at Liverpool ONE, with the store scheduled to open in November 2026.

The new boutique will add to Mulberry's existing UK retail presence as the company focuses on what it describes as a more refined brick-and-mortar strategy. The Liverpool location also places the brand within one of the UK's major premium shopping destinations, extending its reach beyond London.

Further changes at board level are also planned. From September 9, Mulberry will appoint Sara Dickinson and Kenny Wilson as non-executive directors. Wilson, the former chief executive of Dr. Martens, brings extensive experience of international brand development and the publicly listed consumer sector, while Dickinson adds further industry expertise to the board.

Taken together, the changes point to a period of significant transition for Mulberry. The arrival of Kane, the return to the London Fashion Week runway, improving margins, a sharp reduction in losses and accelerating first-quarter revenue growth suggest that the company is attempting to establish a stronger platform for its next phase of development.

For the British luxury sector, Kane's September 20 debut is likely to be one of the key moments of the London Fashion Week schedule, providing an early indication of how Mulberry intends to balance its distinctive British heritage with a renewed fashion proposition.

Interior Design Event: Focus/26 puts autumn interiors and international design in the spotlight at Chelsea Harbour, London

As London prepares for another major season of design activity, Focus/26 on Design will bring the international interiors industry together at Design Centre, Chelsea Harbour from 14 to 18 September, putting the spotlight on new autumn collections, emerging creative directions and the latest thinking across the sector.

The timing is significant. Focus/26 opens as London Design Festival - running from 12 to 20 September - gets under way, making Chelsea Harbour a key destination for designers, architects, specifiers and design enthusiasts looking to assess the new season's direction. The five-day event is centred on the Design Centre's network of showrooms, with additional brands and events creating what organisers describe as a creative hub for the industry.

At the heart of Focus/26 is product discovery. The event provides an opportunity to see autumn launches from leading international brands. This gives the event particular relevance for interior designers and specifiers seeking distinctive fabrics, wallcoverings, furniture, lighting and decorative products for forthcoming projects.

The Design Centre currently brings together more than 135 showrooms, while Focus/26 will add more than 30 temporary House Guests along the Design Avenue. The combination of permanent showrooms and temporary installations is designed to broaden the sourcing offer and bring additional designers and specialist brands into the mix for the duration of the event.

Among this year's House Guests are Artfully Sorted, Christy, Iliv, Martin Huxford, Shailand England, The Vale London, Studio Ham and Zoffany X Michael S. Smith.  

(Click here to find out more about the House Guests.)

A focus on knowledge as well as product

The increasingly important role of events such as Focus is not simply about showcasing products. For the professional design community, they have become places to exchange ideas, build relationships and gain insight into the commercial and creative forces shaping the industry.

Designer Stephanie Barba Mendoza will talk to House & Garden's editor Talib Choudhry on her passion for history, art and the play of pattern and colour translated into memorable projects worldwide.

Focus/26 will therefore combine showroom launches with a substantial programme of talks, masterclasses and industry discussions. Its flagship Conversations in Design series will bring leading names from the design world together, while Grow Your Business sessions will address professional development and the practical challenges facing designers. 

There will be 100+ free Free Access All Areas events within individual showrooms, alongside tours, Designer Toolkit sessions and the new Learning Lounge.  Daily Design Discovery Tours will provide another way of navigating the event, directing visitors towards products and launches attracting particular attention.

(Click here for information on the full programme.)

This combination of product, expertise and networking reflects the changing role of design trade events. Rather than functioning solely as traditional buying platforms, leading interiors events are increasingly expected to provide cultural and educational content alongside commercial opportunities.

The international character of Focus/26 is another important element. With brands from different design traditions represented alongside established British names and smaller specialist ateliers, the event offers a snapshot of the increasingly global interiors marketplace.

The event provides a valuable opportunity to encounter new materials, techniques and aesthetics without having to travel overseas.

 Focus/26 brings together international product launches, specialist makers, established showrooms, emerging brands and industry debate, and offers a useful indication of where interior design is heading as the autumn/winter season gets under way.

UK Fashion News: British Fashion Council takes Fashion Britain beyond London with nationwide September programme

The British Fashion Council (BFC) is taking its fashion agenda beyond London this September with the launch of Fashion Britain, a nationwide initiative designed to broaden participation in the UK fashion industry and strengthen regional creative economies. 

The move comes against the backdrop of a wider political push to rebalance economic and cultural activity beyond the capital, following the Prime Minister's announcement earlier this summer of plans to establish a new government base in Manchester, dubbed “No10 North”. In this context, the BFC's decision to take fashion into cities and creative communities across the UK reflects a growing recognition that the country's creative and economic potential extends well beyond London.

UK long-standing retailer Marks & Spencer will unveil its debut London Fashion Week (LFW) collection to a global audience in September 2026, as it celebrates 100 years in the fashion industry. Image: Marks and Spencer Inc.

The Fashion Britain programme will bring more than 1,000 cultural events and experiences to cities across the UK, including London, Liverpool, Manchester, Newcastle, Bristol, as well as Edinburgh and Dundee in Scotland. The initiative forms part of the BFC's new BFC 2030: Access, Creativity and Growth strategy and is intended to decentralise fashion by creating greater opportunities for designers, creatives, businesses, educators and audiences outside London.

Rather than positioning London and the capital's established fashion infrastructure as the sole centre of British fashion, Fashion Britain seeks to connect the country's different creative communities and highlight the contribution of regional talent to the industry's cultural and commercial landscape.

The September programme will combine public designer conversations, exhibitions, cultural collaborations, retail activations, live performances and other fashion-related experiences. More than 100 BFC designer members are involved alongside cultural institutions, retailers and other partners, underlining the Council's intention to make fashion a more accessible and geographically representative industry.

A central element will be the National Designer Panel Series, developed in partnership with ELLE UK. The series will bring designers and industry figures into direct conversation with audiences in different cities, providing insights into creative careers, regional identity and the development of fashion businesses.

Among the announced panels are a conversation between Nicholas Daley and Charles Jeffrey at V&A Dundee, an appearance by Aitor Throup at Manchester Art Gallery, and a London panel featuring Saul Nash, Clio Peppiatt and Luke Derrick at the National Gallery. In Liverpool, designers Patrick McDowell and Talia Byre will discuss their connections to the region and their creative journeys at the Walker Art Gallery.

The initiative represents a significant shift in the BFC's role. Announcing Fashion Britain in July, BFC Chief Executive Laura Weir said that participation in British fashion had for too long been concentrated in too few places. She described the initiative as a move towards recognising British creativity as a national asset and creating opportunities "wherever it exists" across the country.

Building the industry's regional infrastructure

For the fashion industry, the significance of Fashion Britain extends beyond a month of public events. The BFC says the longer-term objective is to strengthen local creative economies, develop the next generation of talent and establish pathways through which designers and creatives can build sustainable careers in their own cities.

This approach also reflects a broader effort by the Council to combine talent development with commercial resilience. Its recent programme of financial and business support has included the BFC/Vogue Designer Fashion Fund, which awarded London-based designer Bianca Saunders £150,000 in June, alongside bespoke business mentoring and professional services. Saunders' label, launched after her graduation from the Royal College of Art in 2017, is recognised for its reinterpretation of menswear through a diasporic perspective rooted in her British-Caribbean heritage.

In June, the BFC also announced the 2026 recipients of its Fashion Trust programme: Clio Peppiatt, Conner Ives, Nicholas Daley, Paolo Carzana, Patrick McDowell and Tolu Coker. The grant-giving programme is designed to support designers at pivotal stages of business growth through financial investment and tailored industry guidance. Since its launch, Fashion Trust has supported 59 designer businesses with more than £3 million in funding.

The Council is simultaneously pursuing a stronger international commercial platform for British designers. In May it announced a four-year commitment to expand LONDON show ROOMS in Paris, with the programme designed to give British designers greater access to international buyers, press and markets during the Paris fashion calendar. Confirmed dates extend through 2026 and 2027, covering both menswear and womenswear periods.

Taken together, these initiatives point to a two-track strategy: widening the domestic foundations of British fashion while strengthening its international commercial reach.

Fashion Britain therefore arrives at an important moment for the UK industry. As London Fashion Week prepares to take place from 17–21 September 2026, the BFC is simultaneously seeking to broaden the definition of where British fashion happens and who gets to participate in it.

For regional designers and creative businesses, the test will be whether the September programme can translate visibility and cultural engagement into longer-term opportunities — including education, networks, investment, retail access and sustainable business growth. If it succeeds, Fashion Britain could become more than a nationwide celebration around London Fashion Week: it could represent a structural shift in how the UK's fashion ecosystem is developed and connected.

For Fashion Britain full programme, click HERE.

Design Graduates: TEX+ winners secure Première Vision Paris showcase as charity celebrates UK's emerging textile talent

Three of the UK's promising emerging textile designers will exhibit at Première Vision Paris this Autumn, from 1 - 3 September, after being awarded the TEX+ International Exhibition Prize during the TEX+ Showcase at Chelsea College of Arts in London on 15 July 2026.

Left to right:  Lili Mizuno, Twig Searle and Christie Shannon
Credits: Tex+

The international exhibition awards were presented to Twig Searle,  of Falmouth University, Christie Shannon from Glasgow School of Art and Lili Mizuno of London College of Fashion, UAL.  They are all 2026 graduates.

The trio will exhibit at the influential Paris textile trade fair alongside previous International Exhibition Prize recipients Ruth Kent and Nikki Kewley (2024 cohort) and Freya Booth (2025 cohort), providing them with an opportunity to present their work to an international audience of fashion and textile buyers.

The announcement formed part of the annual TEX+ Prize Awards, which recognise exceptional creativity, technical excellence, innovation and craftsmanship among the UK's graduating textile designers. As well as celebrating emerging talent, the awards provide financial support, professional development opportunities and valuable industry connections designed to help graduates establish careers within the textile and fashion sectors.

Building on the 50-year legacy of Texprint, the TEX+ charity brings together education and industry through exhibitions, mentoring, networking and career development initiatives. Former participants have gone on to work with leading brands including Chanel, Nike and Liberty.

Jeremy Somers, Chair of TEX+, said: "The TEX+ prizes recognise the outstanding creativity, innovation and technical excellence emerging from the UK's textile graduates today. We're incredibly grateful to our sponsors and supporters, whose generosity enables us to celebrate exceptional talent while providing meaningful opportunities that help graduates take the next step in their careers."

2026 TEX+ Prize winners (for details of the winners, click HERE)

Among the principal awards, Maia McLaren received the Pentland Prize, worth £1,000 together with a work placement.

The two Liberty Fabrics Studio Prizes, each worth £500, were presented to Grace Holden and Xavier Theobald.

Lisa Rogerson won the Worshipful Company of Weavers Prize (£1,000), while Roisin Foster received both the Juliet Vogel Colour Prize (£1,000) and the Pattern Cloud Support Award, which includes one year's complimentary access to The Pattern Cloud Plan.

Molly White and her printed textile designs.
Photo: Lucia Carpio

The Bay & Brown Support Award, comprising a Beginners Complete Surface Textiles Print Online Course, an Online Floral Print Course and a portfolio session with Tracey Brown, was presented to Molly White.

Printed textile designs by Harriet Letts.
Photo: Lucia Carpio

Harriet Letts received the Sahara Prize, including £500, a one-month placement at Sahara and a potential design purchase opportunity.

The Inge Cordsen Craftsmanship Prize (£1,000) went to Zoe Noble, while Lili Mizuno also received the TEX+ Industry Prize for Technical Excellence (£1,000).

The TEX+ Sustainability & Ethical Practice Prize (£1,000) was awarded to Ruby Bolt.

The Helga Goldman Legacy Prize, recognising Innovation and Creativity and accompanied by a £1,000 award, went to Belén Fernández, while Twig Searle also collected the John Miles Legacy Prize (£1,000).

Additional industry awards included the Kvadrat Prize, a trip to the company's Wooltex mill in Huddersfield, presented to Lola Bate, and the London Embroidery Studio Prize, a six-month studio residency, awarded to Kate Crilly.

Supporting graduates into industry

Tex+ 2026 Finalists
Credits: Tex+

This year's awards come as many textile graduates continue to face significant barriers when entering the creative industries.

Research commissioned by TEX+ found that 56% of textile graduates are not currently working in a full-time textile role, while 36% are balancing multiple jobs. More than half (51%) have relied on financial support since graduating.

The findings highlight the continuing importance of initiatives such as TEX+, which connect emerging designers with employers, mentors and industry professionals through practical career development opportunities that help bridge the gap between education and employment.

Through its network of designers, educators, industry partners and alumni, TEX+ continues to strengthen pathways into the textile industry, ensuring that the next generation of creative talent gains the experience, confidence and professional connections needed to build successful careers.

Trade Fair Report: Scoop strengthens its international credentials with landmark Italian Trade Agency partnership

As UK retailers continue to look beyond volume sourcing in favour of originality, craftsmanship and premium quality, Italy remains one of Britain's most influential fashion trading partners. Worth an estimated £3–4 billion annually*, UK imports of Italian clothing, footwear, textiles and leather goods continue to perform strongly, driven by sustained demand for luxury womenswear, premium footwear, leather accessories, sustainable textiles and high-quality fabrics.  Against this backdrop, Scoop International's latest collaboration with the Italian Trade Agency (ITA) reflects both the continuing appeal of 'Made in Italy' and the growing appetite among British buyers for distinctive international brands.

From Italy, clockwise from top left: Ripani, Serienumerica, Sayyou
Credits: Scoop International

The partnership marked one of the standout features of Scoop International's Spring/Summer 2027 edition, held at Olympia National, London, from 19–21 July 2026, and completed the show's major trade calendar following its whimsical Autumn/Winter 2026 edition earlier in the year.

Jewellery from Angela Caputi Giuggiù of Italy at SCOOP International
Photo: Lucia Carpio

Making its Scoop debut, the Italian Trade Agency presented an exclusive collective of 32 contemporary Italian designers and brands spanning womenswear, knitwear, accessories and lifestyle collections. With the majority of the exhibitors not yet represented in the UK, the showcase provided buyers with a rare opportunity to discover a new generation of Italian labels seeking distribution within one of Europe's most influential fashion markets.

Scoop International July 2026 edition featured a vintage circus theme for the Spring/Summer 2027 showcase.
Featured were fun-house mirrors, mannequins on rope swings, and a red-and-white striped Big Top Café.  Entertainment was provided by live piano music and an onsite tarot card reader.
Photo: Lucia Carpio

The initiative also demonstrated Scoop's growing role as a gateway for emerging and family-owned Italian manufacturers looking to expand internationally. Many of these businesses produce collections distinguished by exceptional design, craftsmanship and manufacturing expertise, yet often lack the commercial infrastructure and distribution networks needed to establish themselves overseas.

The collaboration represents a natural evolution for Scoop according to Scoop founder and Creative Director Karen Radley. Throughout the show's history she has successfully introduced carefully curated Italian collections to the UK market, and the partnership with the Italian Trade Agency enables Scoop to showcase the depth and diversity of contemporary Italian creativity on a significantly larger scale. It also lays the foundations for an even stronger Italian presence at the show's Autumn/Winter 2027 edition, which returns to London's Olympia National from 7–9 February 2027.

From France, clockwise from left: Vanessa Bruno, Aurège and Zag Studio.
Credits: Scoop International

While the Italian contingent attracted considerable attention, it formed part of an increasingly international exhibitor line-up. French brands including Vanessa Bruno, Aurège, Zag Studio, Ma Petite Capsule, Travaux En Cours, Minuit Douze and Julie Sion exhibited alongside Spanish labels Dr Bloom, Sophie + Lucie and Rita Row, Scandinavian names Masai and A-View, together with British designers and brands from Australia and the United States.   New exhibitors this season included JC Sophie, Resume, MRP Star, Alessandra Salvatore and Kore Collections.

Jewellery made in Paris by Julie Sion.
Photo by Lucia Carpio

The show's international appeal was reflected in the calibre of buyers attending. Retailers including Liberty London, Fenwick, Cream, The Dressing Room, Galeries Lafayette, El Corte Inglés and Printemps were among those searching for fresh collections and new brand discoveries.

 Anna Berkeley hosted daily Style Spotlight presentations at Scoop.
Photo: Lucia Carpio

Alongside the buying opportunities, Scoop's content programme added further value for visitors. Stylist and former fashion buyer Anna Berkeley hosted daily Style Spotlight presentations together with her Behind the Curtain sessions, guiding buyers through key Spring/Summer 2027 trends and helping retailers translate seasonal direction into commercial buying strategies.

With its expanding international exhibitor base, influential retail audience and successful debut partnership with the Italian Trade Agency, Scoop has further strengthened its position as one of the UK's leading contemporary fashion trade events. The collaboration not only showcased the enduring strength of Italian creativity but also highlighted the growing importance of international partnerships in connecting emerging brands with new markets. Those relationships are expected to continue developing when Scoop returns to Olympia National for its Autumn/Winter 2027 edition from 7–9 February 2027.

*HMRC commodity data

Home and Lifestyle Design Showcase: Wow!house 2026 at Design Centre Chelsea Harbour, London - from June 2 - July 2

WOW!house 2026, now in its fifth year, is deemed the ultimate design barometer.  The month-long exhibition runs from 2 June to 2 July 2026 at Design Centre, Chelsea Harbour, featuring 22 full-scale rooms and outdoor installations created by 22 internationally renowned interior designers and architects in collaboration with leading sponsoring design brands and suppliers.

Schumacher Dining Room by Max Rollitt
Photo by Lucia Carpio

Widely regarded as one of the most influential destinations in the luxury interiors sector, the  immersive showhouse is erected within the Design Centre's Design Avenue, offering visitors the opportunity to experience highly detailed interiors as they walk through the connecting rooms as if in a real home.

The Art of Arrival - Entrance Hall by Francis Sultana
Photo by Lucia Carpio

Among the highlights is the Entrance Garden by landscape designers Hay Hwang and Simon Kitchin of The Gardenists. Inspired by the façade’s arched colonnades, the garden incorporates columnar evergreens, clipped bay laurel trees and white digitalis blooms arranged around English limestone and hand-crafted stone detailing supplied by Artorius Faber. A lead lion-mask fountain by Garden Art Plus provides a classical focal point to the space.

Artorius Faber Entrance Garden by The Gardenists
Photo by James McDonald

Another debut installation comes from Studio Enass, whose Garden Folly Room draws on designer Enass Mahmoud’s North African and Arab heritage. Conceived as a secluded island retreat, the room combines gemstone hues, layered textures and ornate decorative details including bronze mirrored ceilings, patterned textiles and handcrafted lighting.

Phillip Jeffries Morning Room by Sara Cosgrove
Photo by James McDonald

A recurring theme throughout WOW!house 2026 is the idea of slowing down and creating spaces of retreat from modern life.  In the Morning Room sponsored by Phillip Jeffries, interior designer Sara Cosgrove has created what she describes as “a quiet, uplifting analogue sanctuary”. ‘Aura’ mural with softly glazed surfaces designed to capture and reflect light.

Shepel' Library by Roisin Lafferty
Photo by James McDonald

Similarly, the Shepel’ Library by Dublin-based designer Róisín Lafferty embraces art deco influences through the use of burl timber, parchment and ebony finishes. The room has been designed as a contemplative environment where “the tempo softens” and discovery takes precedence over distraction.

Misia for Casamance Group Bedroom Suite by Henri Fitzwilliam-Lay
Photo by Lucia Carpio

Art deco references continue in the Bedroom Suite by Henri Fitzwilliam-Lay, created in partnership with Misia, part of the Casamance Group. Jazz Age-inspired fabrics, period furniture and hand-carved detailing combine to evoke the glamour of 1930s interiors.

Samuel Heath Primary Bathroom by Rigby & Rigby
Photo by James McDonald

In contrast, the Primary Bathroom by Rigby & Rigby adopts a minimalist Japandi aesthetic, blending Scandinavian simplicity with Japanese-inspired wellness traditions. A circular wooden ofuro bath forms the centrepiece, while integrated technology is used to create a calming sensory experience.

Elsewhere, De Rosee Sa’s Ca’ Pietra Bathroom transports visitors to a Mediterranean hotel of the 1970s, while Samantha Bartlett’s Martin Moore Kitchen celebrates tactile natural materials including fumed oak, bronze and Verde Natura quartzite.

Martin Moore Kitchen with Samantha Bartlett
Photo by James McDonald

“This is a room rooted in the poetry of nature,” says Bartlett. Martin Moore’s Legacy kitchen is the key focus, in a quietly glamorous combination of grained fumed oak teamed with bronze handles paired with Verde Natura quartzite.

Lalique Home Bar by Elicyon
Photo by Lucia Carpio

Luxury craftsmanship also takes centre stage in the Lalique Home Bar by Elicyon, where designer

Lalique Home Bar by Elicyon
Photo by James McDonald

Charu Gandhi has incorporated crystal panels inspired by René Lalique’s celebrated 1928 designs for the Orient Express.  

The iconic French house's art deco heritage is referenced in the many arches and curves.  The ceiling is a showcase for the magnificent "Swallows" chandelier while the walls and bar are inset with a bold, asymmetrical composition of crystal panels inspired by stories of goddesses and mythology.

Benjamin Moore Minhwa Salon by Young Huh
Photo by James McDonald

Benjamin Moore Minhwa Salon by Young Huh
Photo by James McDonald

International influences continue in the Benjamin Moore Minhwa Salon by New York-based designer Young Huh, who references Korean folk art alongside the opulent miniature paintings of Vienna’s Schönbrunn Palace.  The Salon is bursting with colours and patterns.  The lacquered walls are inset with 55 boxes painted in joyful high gloss colours often found in fold art, according to the designer.

Technology-driven design features prominently in the Nucleus Immersive Room by Russell Sage Studio. Equipped with a HYRISS immersive sound system by L-Acoustics, Sony display technology and integrated Crestron controls, the installation combines light, sound, scent and texture to create what designer Russell Sage calls “The Momentarium” — an environment intended to redefine shared sensory experiences.

Traditional craftsmanship is also celebrated throughout the exhibition. Max Rollitt’s Schumacher Dining Room juxtaposes 18th-century-inspired architecture with contemporary interpretations of dining culture, while Tiffany Duggan’s Speakeasy Salon combines theatrical interiors with multifunctional living.

Richard Miers’ Courtyard for Munder Skiles
Photo by James McDonald

Outdoor living spaces form another key component of the showhouse. Richard Miers’ Courtyard for Munder Skiles recreates a timeless stone courtyard shaded by London plant trees.

The main focus of the courtyard space is a showstopping "Whispering Water" feature.

Fettle Design’s Garden Terrace for Perennials and Sutherland
Photo by Lucia Carpio

Fettle Design’s Garden Terrace for Perennials and Sutherland evokes the atmosphere of a relaxed romantic Italian holiday setting with Mediterranean-inspired materials, furnishings and textiles, inspired by Perennials’ La Dolce Vita collection and incorporating Sutherland’s skillfully-crafted performance furniture.

Perennials and Sutherland Garden Terrace
Photo by Lucia Carpio

To explore all the Rooms in preparation for your visit to WOW!, click HERE.

In addition to the showhouse itself, more than 130 showrooms across the Design Centre will open to ticketed visitors during the event, showcasing luxury interiors, furnishings and design innovation from across the industry.

A series of more than 20 talks will take place across the month, curated to inspire and inform. For more information and tickets, click HERE.  There are also special guided tours throughout the month where visitors can gain extra insights into the creativity behind the WOW!rooms. 

Now in its fifth year, WOW!house has established itself as one of the UK’s leading cultural and design events, offering visitors immersive interiors intended to inspire, entertain and redefine how design is experienced.    

Event: London Festival of Architecture 2026: “Belonging”

In June 2026, the London Festival of Architecture 2026 will return with the theme “Belonging”, inviting Londoners, designers, communities and organisations to reflect on how cities can become more inclusive, connected and caring places. Through exhibitions, discussions, installations and community-led projects, the festival aims to explore how architecture and the built environment can help create a stronger sense of shared ownership, participation and hope across the city.

From the Thames to Eternity - an Installation of new inclusive seating made of reused granite stones outside St Paul's Cathedral.
Photo from London Festival of Architecture 2026 website.

The theme of "Belonging" responds to a world increasingly shaped by division, inequality and uncertainty. Rather than accepting pessimism or disengagement, LFA2026 positions itself as a platform for optimism and collective action — encouraging people to reimagine how cities can foster connection, safety and opportunity for everyone.

London is presented as a city constantly shaped by migration, collaboration and reinvention. Across its neighbourhoods, community spaces, grassroots initiatives and mutual aid networks demonstrate that belonging is not simply about being present in a place, but about actively creating relationships of solidarity, care and inclusion, even in difficult social and economic conditions.

The organisers explain that belonging goes beyond physical access to streets, parks and buildings. It also means feeling welcomed, represented and empowered within those spaces — able to move freely, participate confidently and access the resources needed to thrive. 

The festival also highlights the growing pressures facing communities worldwide, including rising living costs, climate change and political restrictions on civic participation.  LFA2026 asks how cities can protect and reinvent spaces that nurture collective identity and participation.

Central to this conversation is the role of the built environment industry. Decisions about what is built, preserved or demolished directly influence who feels included in the city. The festival draws attention to the disproportionate impact these decisions often have on young people, disabled people and communities from global majority backgrounds, raising important questions about representation, access and power in urban development.

The curators add that belonging cannot be imposed from above. Instead, it requires collaboration with communities, the removal of barriers and the creation of opportunities for people to shape their own environments. The festival promotes a vision of belonging that is open, shared and inclusive of difference, while recognising joy, creativity and care as powerful forms of resilience and resistance.

Ultimately, LFA2026 hopes to leave a lasting legacy beyond the month of June. By bringing together lived experience and professional expertise, the festival aims to inspire long-term change — from reclaiming neglected spaces and strengthening neighbourhood connections to encouraging collective responsibility for creating cities where everyone can feel they belong.

To learn more about the full LFA programme, click HERE.

Exhibition: A Century of Style: Queen Elizabeth II’s Exhibition in Buckingham Palace Extended by Six Months

A landmark exhibition celebrating Queen Elizabeth II’s enduring influence on British fashion, that opened at The King’s Gallery, Buckingham Palace in London in April 2026, will now be extended till 18 April 2027, due to popular demand.

Queen Elizabeth II: Her Life in Style has been presented as the most extensive display of the late monarch’s wardrobe ever staged, featuring around 200 items—half of them making their public debut. Tickets are on sale via the Royal Collection Trust website.  Due to ongoing high demand, visitors are encouraged to book tickets well in advance as no tickets are held back for on the day walk-ups.

Queen Elizabeth II on Princess Margaret’s Wedding Day, Cecil Beaton, 1960.
© Cecil Beaton / Victoria and Albert Museum, London.

Hat worn for the wedding of Princess Margaret, Claude St Cyr, 1960.© Royal Collection Enterprises Limited 2025 | Royal Collection Trust. Photographer: Paul Bulley

Three leading British designers—Erdem Moralioglu, Richard Quinn and Christopher Kane are featured, each contributing a piece inspired by the late Queen’s distinctive style. Their works, drawn from previous collections, are shown alongside related garments from the Queen’s archive. All three designers also provide reflections for the exhibition’s official publication, Queen Elizabeth II: Fashion and Style, which includes a tribute by Dame Anna Wintour and an essay by Professor Amy de la Haye of the London College of Fashion.

Exhibition curator Caroline de Guitaut said the retrospective demonstrates the “symbolism, tailoring and British craftsmanship” that defined the Queen’s wardrobe. 

The exhibition charts Queen Elizabeth II’s attire across all ten decades of her life, from couture evening gowns to the tailored countrywear that became synonymous with her off-duty style. Many of the garments—now part of the Royal Collection—are accompanied by original sketches, fabric samples and annotated design drawings, some bearing notes penned by the late Queen herself.

Ensemble worn for the wedding of Princess Margaret, Norman Hartnell, 1960

Highlights include an apple-green Norman Hartnell gown worn at a 1957 state banquet for US President Eisenhower, and the blue crinoline-skirted gown and bolero chosen for Princess Margaret’s wedding in 1960.  Items from her private wardrobe are also featured, such as a 1950s Harris tweed jacket and Balmoral tartan skirt, as well as the green coat designed by Angela Kelly and worn in her later years.

Transparent rain coat, worn over a patterned silk day dress and coat, both by Hardy Amies, 1970s.© Royal Collection Enterprises Limited 2025 | Royal Collection Trust. Photographer: Jon Stokes

One of the more unexpected pieces on display is a clear plastic raincoat created by Hardy Amies in the 1960s, considered a precursor to the Queen’s later transparent umbrellas edged in colour to match her outfits. Amies would go on to produce futuristic designs for Stanley Kubrick’s 2001: A Space Odyssey.

Evening gown by Norman Hartnell, 1957. Worn for a state banquet given for President Eisenhower at the British Embassy in Washington, D.C. Here displayed in the Green Drawing Room at Windsor Castle. Credit: © Royal Collection Enterprises Limited 2025 | Royal Collection Trust. Photographer: Paul Bulley

A previously unseen Hartnell sketch for a silver lamé dress designed for a 1972 State Visit to France is also shown, bearing the Queen’s handwritten note indicating that it was later re-worn for the opening of parliament in Canberra—evidence of her long-standing practice of repeating outfits.

The silver lamé beaded shift dress is shown in photo below.

Queen Elizabeth II: Her Life in Style is at The King’s Gallery, Buckingham Palace,  extended until 18 April 2027.

Royal Collection Trust will offer £1 tickets to visitors receiving Universal Credit and other named benefits, alongside concessions for young people aged 18 to 24, as part of its commitment to widening access to the Collection.

Congratulations: South Korean Artist Jongjin Park Wins 2026 Loewe Foundation Craft Prize

South Korean artist Jongjin Park has won the 2026 Loewe Foundation Craft Prize, with the announcement made on 12 May at National Gallery Singapore*.

Awarded annually by the Loewe Foundation, the prize recognises artists whose work demonstrates exceptional technical skill and creative vision, while shaping the contemporary craft landscape internationally.

Park’s latest body of work is currently on display during London Craft Week as part of Origin of Materials, an exhibition presented by Soluna Fine Craft for the International Pavilion of South Korea. The exhibition runs from 11 to 17 May at St George Street Gallery in Mayfair.

Click HERE for more details on Park's winning entry and the Loewe Foundation Craft Prize.

Alongside this year’s winner, Origin of Materials brings together four alumni of the Loewe Foundation Craft Prize in a curated presentation of collectible Korean craft. Among them is Dahye Jeong, whose practice centres on horsehair inspired by Korea’s historic millinery traditions for men. Using traditional Korean weaving techniques, Jeong transforms the material into intricate three-dimensional works.

The exhibition also features 2023 finalists Choi Keeryong, Kyouhong Lee and Woosun Cheon. Choi works with glass using inlaid colouring methods influenced by the Korean sanggam technique traditionally associated with celadon ceramics. Lee explores the physical limits of glassmaking through works informed by traditional Korean domestic objects, while Cheon creates vessel-like forms from metal wire, drawing inspiration from Korean ceramic jars.

The 2026 prize also highlights the continuing influence of London-linked artists within contemporary craft. This year’s finalists include Xanthe Somers and Jobe Burns, both of whom reflect different approaches emerging from UK-based practices.

Somers uses ceramics to investigate the emotional and political dimensions of domestic labour, incorporating postcolonial narratives and references to weaving and cloth-making traditions. Burns, meanwhile, works with industrial materials and production methods to examine the legacy of labour in the West Midlands, combining artisanal techniques with industrial processes.

Together, the finalists and exhibitors reflect the increasingly international outlook of contemporary craft, where traditional materials and methods continue to be reinterpreted through new ideas, technologies and cultural contexts.

*Singapore exhibition

The winning piece and works by all 30 finalists of the 2026 Loewe Foundation Craft Prize are now on view at the National Gallery Singapore until June 14.  Address:  1 St Andrew’s Road, Singapore 178957

London Festival: Clerkenwell Design Week 2026 to mark 15th anniversary with major new installations and expanded programme - 19 – 21 May 2026

Clerkenwell Design Week (CDW) will return to London’s EC1 district from 19 to 21 May 2026, celebrating its 15th anniversary with an expanded line-up of international exhibitors, new venues and a flagship series of large-scale installations.

Clerkenwell is a vibrant district located in the borough of Islington in London. It holds a rich history and is significant to the creative industries with its concentration of design showrooms, studios, and galleries. 

Organisers have announced the launch of Design Interventions, a curated programme of immersive structures created by both emerging and established designers and architects. Selected from an open call, the installations will be placed in Clerkenwell’s streets, parks and public spaces, encouraging interaction and dialogue around materials, architecture and the built environment.

Fountain of Technicolour Beads by One Bite Design

Among the highlights is Fountain of Technicolour Beads by Hong Kong-based studio One Bite Design. The terrazzo installation explores colour vision deficiency through an interactive spatial experience. Nearby, The Crinkle-Crankle Bench by StudioFolk will be installed beside St James’s Church, offering sculptural seating crafted from natural stone.

The festival will also showcase an expanded international presence, with design collections from six European countries — Spain, Italy, Norway, Germany, Austria and the UK — making the 2026 edition the most globally diverse in the event’s history.

A further key feature is the enlarged CDW Awards, presented in partnership with Design Milk. The awards will recognise not only new products and innovations but also individuals and teams driving change within the design sector. The ceremony will take place at Haberdashers’ Hall, a new venue for 2026, which will host The Luxury Edit, a showcase of high-end design brands and a talks programme titled Design Meets.

The Pulse of Becoming will animate the space outside The Luxury Edit.

Additional installations include The Pulse of Becoming, a living outdoor work created by recent graduates based in Portsmouth, UK. Incorporating chia seeds embedded within crescent forms, the piece will evolve over the course of the festival to reflect themes of growth, decay and renewal.

Historic venues will once again play a central role. The Museum of the Order of St John will host a contemporary Spanish design exhibition, while St Bartholomew the Great will become the “Church of Design”, featuring a talks programme curated by Katie Richardson and sponsored by Dulux. The church will also house a suspended installation, CONFLUENCE, inspired by origami.

Elsewhere, the House of Detention will present a lighting exhibition, with visitors welcomed by Loom Light, a 3D-printed sculpture influenced by Op Art.

Resonance by
Fung+Bedford 

The 2026 programme introduces several new venues, including Material Source Studio and Workplace on the Square, alongside returning locations such as Old Sessions House, The Charterhouse and The Goldsmiths’ Centre. Exhibitions will span furniture, lighting, textiles, surfaces and product design, with confirmed participants including leading international brands and studios.

A new digital app will replace printed guides, enabling visitors to plan personalised itineraries and navigate the festival more efficiently. Attendees will also have access to guided tours, workshops and offers from local hospitality partners.

Organisers expect tens of thousands of visitors from the UK and abroad to attend the three-day event.

One of the many Design Interventions selected for this year will be on Clerkenwell Green. 

The Museum of the Order of St John above St John’s Gate (originally built in 1504) - one of the great hidden historical treasures of London - is another new venue for the festival. The atmospheric space, steeped in history, will be the temporary home to INTERIORS FROM SPAIN for contemporary Spanish design produced by London-based design journal Disegno.

Material Source Studio, which showcases products and materials for architects, interior designers and

property professionals, and Workplace on the Square outside The Zetter hotel, a platform for design

brands catering to offices, are two new additions to CDW’s wide range of venues for 2026. Office design brands will also be exhibiting at Workplace at Goldsmiths’ at The Goldsmiths’ Centre which returns as a festival venue this year.

Clerkenwell Design Week 2026 takes place across EC1, London, from 19 – 21 May. For more information, please visit clerkenwelldesignweek.com – registration is now open.

St Bartholomew the Great, one of London's most ancient and atmospheric churches once again becomes the Church of Design, this year’s venue for the coveted Conversations at Clerkenwell programme curated by PR and Brand Consultant Katie Richardson, which will include discussions with leading and emerging designers on topical subjects.  Design studio Fung+Bedford will present Resonance, a luminous, large-scale installation suspended within the nave of St Bartholomew the Great.

Dulux, sponsor for Conversations at Clerkenwell, is launching a student-focused competition to design the backdrop of the talks stage using a palette of on-trend colours.

Roche Bobois, DEDON and MAGIS Spa are among the many leading international brands exhibiting at

the Church of Design, and CONFLUENCE, a monumental origami-inspired installation by Fung+Bedford, will be suspended from the ceiling of the 900-year-old Grade I listed medieval church.

The House of Detention returns as the host of Light, showcasing a selection of exciting local and global lighting brands. Visitors will be greeted at the entrance with Loom Light, a 3D-printed light sculpture drawing on the optical language of Op Art, designed by MIMStudios, AI Build and SEAM Design. 

“We’re thrilled to be back in Clerkenwell this May with our new Design Interventions initiative which acts as a creative platform for the incredible talent and imagination of the participating architects and designers,” says Marlon Cera-Marle, Design Division Director at Media 10, the organiser of the annual design festival. 

“These thought-provoking installations are set to bring a new interactive dimension to

the show. We’re looking forward to another successful year welcoming tens of thousands of people from the UK and abroad to EC1 to discover the latest that global design has to offer.”

Across all venues, CDW will feature hundreds of design brands, showcasing furniture, lighting, textiles,

surfaces, home accessories and product design. Confirmed exhibitors include String Furniture, Moroso,

Swedese, Dornbracht and Vincent Sheppard. Collections from Austria, Denmark and Italy will also

return.

Visitors should note that a new state-of-the-art app replaces the printed, paper guide and tickets in 2026. The CDW app will be helping them to tailor their visit and navigate the venues, exhibitors, participating showrooms and much more according to their specific interests.

Festival-goers can also enjoy exclusive discounts and offerings from local food and drink partners.

Architects and interior designers will have the opportunity to join guided specialist tours covering topics

ranging from sustainability to emerging design talent and more.

Images from Clerkenwell Design Week website.