A Swing Around the Streets, and Screens, of London Fashion Week

LONDON — Not everyone opted to return to the physical runway this season. Instead, some of London’s stalwarts preferred to show their collections to private clients, buyers and press during one-on-one appointments, small presentations — or even on the digital screen.

Christopher Kane and Stephen Jones both took the digital film route, with Kane showing off a sophisticated collection with lots of draping, silk tulle and duchesse satin. His outing had an Old World feel — that is, until the clothes started coming off, and the flesh was revealed.

Kane, who can’t seem to put down his science books, said he was inspired by “sexual selection within the animal world, where males change their postures, colors and behavior to compete and attract females.”

Standout looks included a black tulle coat with a big furry collar and a 1920s air, sheer skirts and tops slicked with stripes of red and blue (Kane began painting and drawing during lockdown, and hasn’t stopped).

A short yellow dress with draping and a little cape was fit for an ancient Greek goddess, while a lineup of “wipe clean” patent jersey dresses and skirts, some with cutouts and chain details, had a sinister flair.

Jones’ film played more like a music video with a 3D rendering of the designer’s torso spinning around, alternating with images of his hats, which were inspired by tracks from Rihanna, Amy Winehouse and the Rolling Stones.

His conceptual styles featured an ensemble of glitter balls, a coffee cup with little beads like sugar granules at the bottom and a black net turban style and glasses mimicking Winehouse’s look.

Another London institution, Vivienne Westwood, showed her collection with campaign-style images — and a diverse cast of models with different body shapes. She drew from references as diverse as the Year of the Tiger; the evil eye, and Pieter Bruegel’s 16th-century painting, “The Fight Between Carnival and Lent.”

Animal prints spilled onto blouses, fuzzy coats and a slinky red dress with a draped collar, while jackets and trenchcoats had broad, sharp shoulders that could slice their way through any room.

By contrast, Inacio Ribeiro chose to show his collection live against a colorful backdrop. Ribeiro’s presentation-cum-party marked the first time that he showed live since 2014.

His wife and former design partner, Suzanne Clements, now a professional artist, painted images of his fall knitwear collection and thumb-tacked the works to the peeling, but still elegant, walls of the townhouse in Cavendish Square where they hosted the event.

Tables were strewn with tiny color cards like flower petals, while the delicate flower arrangements were done by the Norwegian floral artist Ragnhild Furuseth.

In another room, Ribeiro hired an instructor to teach guests the traditional Brazilian dance Forro. While the dancers flew around the room, the designer showed off his creations.

“I see these as classics, and I like to think people will treasure them forever. I’ve revived some key shapes, and wanted to create a sense of harmony, and asymmetry” with the patterns, said Ribeiro, as he wound his way around mannequins dressed in color-blocked Baja tunic tops; a marine blue cricket sweater with a deep V-neck, and a crewneck with thick diagonal stripes of varying widths.

Nearby, on Harley Street, Edeline Lee showed off her latest collection where she rethought some of her early styles from her student days at Central Saint Martins. There were long stretchy skirts and dresses done in her signature “bubble” jacquard; recycled cashmere coats, and an elegant black crepe dress with a V-neck and pleats.

It’s a big moment for Lee, who has landed at Harrods with a pop-up space near designers including Stella McCartney, Victoria Beckham, Chloé and Roksanda.

Duro Olowu also showed by private appointment, in a lavish suite at the Dorchester Hotel. His collection, awash in color and pattern, ranged from dramatic, paneled capes done in deep purple, blue and lilac to shift dresses with bows at the neck, and contrasting prints on the body and sleeves.

One of the many stars in this collection was a chic gossamer dress made from three layers of black silk chiffon. It came with a matching cape. “You can hang it in the shower” to get the wrinkles out, said Olowu with a laugh. “It’s super-easy.”

Jane Lewis didn’t stage a show or presentation, but she doesn’t really need to. The designer of the label formerly known as Goat, now called Jane, has a vibrant online, retail and wholesale business, and has never been one for spectacle.

Her fall collection was packed, once again, with classics and clothing she describes as “doing all the work — so you don’t have to think.” There were statement pieces, including sharp, tailored coats and a loose, nubby one with oversized pockets; wide-legged tartan trousers, and fluid, elegant jumpsuits.

For day, there were long dresses with an agapanthus print and an Art Deco flair, and a host of little A-line, pencil and tunic dresses that are the mainstays of her collections and, quite possibly, the hardest working of all.