JW Anderson had the exploration of volume and movement on his mind. Opening with a satin dress with metallic puff sleeves that sparkled inits simplicity. Anderson followed with structured coats in custom fabrics developed in house that exploded with volume. Cape-back silk dresses glided along the runway amid sculptural knitted dresses with capelets attached. Fil-coupé dresses with undulating threads appeared as cocoon forms in turquoise, goldand silver. Juxtaposing the volume were the liquid satin dresses woven with metal, some printed others crushed, compacted and twisted.

Richard Malone collaborated with the Woolmark Company and the partnership enabled him to refine the innovative textiles his label is known for. He is committed to sustainability, and used naturally dyed, hand-woven wool twill weave and upcycled, hand-embroidered felt. Malone’s vastly complicated patterns translated into surprising wearable garments. Fit-and-flare suiting played with abstract layers formed at offset angles, adding strapping, belting and full harnesses to refigure his signature tailoring. New were leather, sharp trousers and coats from repurposed offcuts.

The AW20 collection was dubbed “Working-class couture” by the fiercely proud south London designer who creates fashion fantasy theatre with his shows. It’s a subversive salute to Savile Row. Pearly kings and queens, in signature Richard Quinn stocking masks, opened the show, one wearing a coat emblazoned with “God save the Quinn” on the back.A smattering of menswear was presented for the growing contingent of envelope-pushing male red-carpet walkers including crystal-covered flares and a rose-decorated bodice. Form an orderly queue please, Billy Porter and Ezra Miller.

A photograph of a young Molly holding her dad’s hand in 1992 was a starting point for the AW20 collection. The image in question taken by a Japanese street-style photographer features baby Molly wearing a jolly jumper and a ruffled denim skirt (her dad is in a very fetching double-denim look with baker boy cap). Goddard debuted menswear this season, pink and brown checked suiting styled with fair isle knitwear (which would look equally as good on her female fan base). Goddard also updated her ubiquitous tulle dresses by layering them over fair isle cardigans.

Victoria Beckham staged a “gentle rebellion” at Banqueting House in Whitehall. Rebelling against the midi hemline that has refused to change for six seasons. Beckham lifted hers to the knee , bridging the gap with over-the-knee boots . Other highlights included a buttercup yellow sweater worn over a stripe shirt and bell-sleeve dresses with shirring detail . Special mentioned to belts on skirts and LBDs – a pair of elegantly clasped silver hands in place of a buckle. A confident and pacy collection that delivered on covetability.

Freedom and youth culture are behind the designs of designer Paulo Almeida and Marta Marques. Inspired by the 90s and the 70s, the standout pieces were a grungy primrose hoodie dress, acid-wash denim in neon brights, asymmetric ruffle slip dresses and balloon-sleeved tops made from ocean plastic spun into yarn. The artist Paul Anderson Morrow’s rainbow print appeared brushed across an opera coat, dress and flares worn with a 70s skin-tight knit. Bold touches came in brightly coloured goat fur oversized coats and platform boots.

You know at a Rejina Pyo show you will see plenty that will blend seamlessly into your own wardrobe. Pyo designs clothes that women actually wear, such as her fantastic coats or midi skirts. Inspired by the photographer Harry Gruyaert and his ability to convey feeling through colour and texture, Pyo used a backdrop of browns, beige and cream, pepped up by slick black leather and a shot of ice blue and gold. Pyo has a keen eye for accessories and the footwear in this collection was particularly strong.

The 1970s film adaptation of Daphne du Maurier’s haunting horror Don’t Look Now was the starting point for the collection. A trip to Venice and the biennale followed, adding art into the inspiration mix. Naturally, the fateful red mac featured, plus golden sequin base layers under ditsy florals on pale pink backgrounds and a military cut and splice section.Moves towards more sustainable practices include georgettes made from recycled post-consumer plastic waste, organic cotton and acrylic buttons being replaced with biodegradable corozo nut buttons.

Opening with a series of triangular patchwork dresses, skirts and coats, Kane explained after the show, the collection was based on a triangle the strongest most infallible symbol in nature. The points of the triangle represent man, woman and nature. The lace bralet dresses were inspired by saucy knickers (there is always some sex in a Christopher Kane collection). The collection was peppered with tailoring, a double-breasted trouser suit, coats and dresses worn with adetachable jewelled bib. The finale dazzled in a sea of red and silver chain mail.

“Memories,” Riccardo Tisci’s latest collection, revisited his past and his time as a student studying at Central Saint Martins in London. The collection combines signature Burberry pieces, trench coats, tailoring and duffle coats with Tisci’s twist on the silhouettes and prints. The Burberry house check was explored in every form; trench coats appeared with corseted and patchwork plaid inserts, alongside oversized car coats. Prince of Wales plaid appeared as narrow legged suiting. Animal print added a fluid touch in a billowing leopard-print dress and blouse.

Shrimps’ AW20 collection celebrates the British wardrobe and the Queen. Last year, the royal household fell into step with much of the fashion industry by going fur free. Shrimps reimagined her wardrobe with its signature faux fur coats. Like Her Majesty, the Shrimps woman is not afraid of vivid colour, hot pink being her shade of choice for AW20, coming in silk dresses and an embellished alice band. There were checked skirts for a Balmoral visit, a royal garden print came on a faux fur coat to match the catwalk carpet and a finale of gowns fitting for a state banquet stood out.