Words JULIETTE ELEUTERIO

It’s been over two decades since John Richmond’s name reverberated through the halls, or rather scattered venues, of London Fashion Week. But now, the legendary designer – whose subculture-informed aesthetic defined an era – is back, bringing his signature blend of rebellion and refinement to the English capital once again. A fixture of ‘90s and ‘00s fashion culture, Richmond’s influence spans catwalks and concert stages alike, with icons from Madonna to Mick Jagger having donned his designs. And what better way to mark this new chapter than by taking over one of the city’s most legendary landmarks, the Tate Modern, to unveil his AW25 collection?

Richmond’s return is more than just a homecoming; it’s a statement. In an era where nostalgia seems to infect every aspect of our lives, his designs remind us why the original era of rock ‘n’ roll fashion still holds weight. But this is no mere throwback. His latest collection channels the raw energy of his archives while embracing a modern perspective – a tug of war between the then and the now, if you will. Think razor-sharp silhouettes, punk-inspired embellishments, and a fresh take on his attitude-driven aesthetic.

Amid the frenzy of London Fashion Week, the designer invited audiences for a night at the museum, unveiling his latest collection through striking projections, an unmistakable effort towards modernising the brand and its forms of communication. Drenched in Richmond’s signature blend of classicism and subversion, the brutalist venue underscored the house’s deep ties to arts and culture while standing firmly at the epicentre of it all. A lookbook, shot by longtime collaborator Jamie Morgan, further amplified the collection’s spirit — it’s effortlessly cool, yet deeply considered.

Sitting down with Man About Town, Richmond reflects on returning to the Fashion Week schedule, the industry’s evolution in a post-internet age, and why authenticity still matters.

Congratulations on your recent presentation! How do you feel now that it’s over? What was the reception like?

The response, both before and after, has been fantastic. I didn’t know what to expect, but it has been nothing but positive. The reception to the presentation was particularly rewarding, as all the comments focused on the collection itself. I was confident that showing at such an impressive venue as the Tate, with the projections and the party, would create a great feel-good factor. Presenting the collection as stills really worked, and it was something people specifically commented on.

Before this London Fashion Week, it had been over two decades since you last put on a show. How long had you been plotting this comeback for?

I haven’t been plotting but it’s always been in the back of my mind. Contrary to popular opinion, I live in London, not Italy. So, showcasing my work in the environment that inspires me felt like the natural thing to do.

Why did you feel now was the right time?

The fashion environment has changed, and it is constantly changing in our internet-centric world. When I left London at the end of the 90s, it was because I wanted to become a more international designer. It was hard at the time to do this from London. Since I had Italian partners and production had moved to Italy, it was the natural thing to do. Now, thanks to social media, you can present your work anytime, anyplace, anywhere. While Paris, Milan, New York, and London still hold significance in the fashion calendar, the landscape isn’t as rigid as it used to be. In some ways it is quite liberating.  

As you mentioned, you were inspired by “typical John Richmond inspirations,” which is rooted in subcultures from mods to punks, specifically in the 80s. How have you found that those subcultural phenomena have evolved in the 2020s? Do you see them as very much still alive?

Social media has created an environment where subcultures don’t have the same importance or gravitas as those from the 50s to the 90s. However, young people are increasingly drawn to them because of their authenticity and the emotional depth they carry – something that feels less prevalent in today’s society. There’s an insatiable appetite for vintage clothing and information about those eras. You only have to look at the success of recent exhibitions like 80s Raw, The Face, and Leigh Bowery to see that.