SOME GLAMOUR TO QUIET THE FEAR
CONNOR OVES PRESENTS HIS AW26 COLLECTION ON THE CLOSING DAY OF LONDON FASHION WEEK. CLAIRE MCKINSTRY WAS THERE AND RECALLS THE NIGHT IN HER OWN WORDS.
Written by By Claire McKinstry
Edited by Gabriel Mealor-Pritchard
In the slightly outdated and deceptively intimate Claridge’s ballroom, London-based American designer Conner Ives brings together a host of names—from Lila Moss to iconic milliner Stephen Jones—to witness the debut of his politically charged AW26 collection on Monday afternoon.
The location represents a land far removed from a room with sheets bleakly draped over the windows—the type of sobering afterparty environment that Ives fears, according to his show notes. Pop music fills the space, and champagne glasses glisten under the chandeliers. Ives was clearly catering to the “incessant craving to go out,” an escapist urge that inspired the collection, encouraging attendees to “party before the peril.”
A graduate of Central Saint Martins and the 2025 winner of the prestigious British Fashion Council/Designer Fashion Fund, Ives skyrocketed to prominence at his AW25 show one year ago, where he wore his “Protect the Dolls” T-shirt. The shirt has since raised over $600k for a trans rights charity and has been worn by everyone from Haider Ackermann to Addison Rae. While he acknowledges the product’s importance and impact, he has since attempted to expand the label’s recognition beyond that viral moment.
Many designers of late seem to fear striking a political chord; the Instagram account Diet Prada recently wrote an NYFW review calling out New York-based designers for their toned-down—if any at all—response to global politics. Meanwhile, Ives is unequivocal in his stance.
The designer references the Weimar Republic in his show notes, an era in Germany when the Nazis were on the rise but had not yet taken power. It was the country’s first attempt at democracy but also a period of economic mayhem; nevertheless, arts and culture thrived. Ives is unambiguous when he draws parallels between this period of history and the US’s current state, writing that history is “repeating itself” and stating, “Fuck ICE.”
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Yet despite these present dangers—and those on the horizon—he continues to shape culture and create meticulously crafted clothing. Back in the ballroom, models waltz sensually down the runway in silks, velvets, furs, and feathers, often making eye contact with the audience and performing as much as presenting.
Tish Weinstock sets the mood as the show’s opener, wearing a T-shirt stating “I work nights”; the show closes with Dominique Jackson in a silky white evening look, the fabric billowing as she walks, complete with a fur-trimmed hood.
Creamy yellow silk robes and dresses line the runway, embroidered with motifs of animals and flowers; similarly, embroidered bags and boots complement other looks. Silhouettes range from structured evening jackets to high-waisted tapered jeans, blending traditional with contemporary.
Ives continues to push through the fear and bring people together in joyous moments, emphasising a basic human inclination toward beautiful things. As he states, there’s nothing wrong with a little “glamour to subdue the dread.”
