By Abigail Thomas 

As, the London Fashion Week rolled in, Burberry was definitely the one to watch this particular Fashion Week, with the introduction of the new, renowned Chief Creative, Riccardo Tisci. Obviously much anticipation followed such a bold creative change for the brand, as Tisci was formerly creative director of Givenchy, known for innovating the image that the brand attains today.

This collection couldnÔÇÖt contrast more with Christopher BaileyÔÇÖs closing collection, which almost completely disowned Burberry heritage pieces, opting for an explosion of colour. Although it conforms to BurberryÔÇÖs more classic, sophisticated image it did honestly feel quite underwhelming. I found that some of the limited menswear pieces that were showcased actually outshone the more subtle womenswear collection.

The menswear reminded me a lot of Golf Wang. An array of bowling shirts in muted tones adorned with block images and prints were thrown over leopard print long sleeves and thermals. Peach suits with worn with white graphic tees, PVC anoraks and fawn prints truly blew the more drab womenswear pieces out of the water.

Next, Alexa Chung made her debut to the runway with her quarterly Autumn/Winter collection. Sticking rather firmly to her brand image, she exhibited a concoction of muted earth tones, with a large variation of textures and patterns; from vinyl to denim, satin to sequin. The colour palette is definitely what I found myself in awe of; earthy browns, beiges, creams, rust orange and even pastels work as a sartorial no brainer for the Autumnal season, however simple they may seem. Many looks payed homage to her afflictions like Annie Hall and Jane Birkin.

Although it may seem bias due to my undying love for the icon herself, ChungÔÇÖs collection is actually one of my favourites to grace the runway. Although London Fashion week is renowned for its exhibition of the extravagant and avant-garde, I do predict that the house will actually become one that encapsulates British style, due its sartorial sensibility.

Ashley Williams has mastered intertwining the eccentric into wearable, streetwear pieces and this year, and as always, sheÔÇÖs played on punk. Heavily embellished with graphic tees and her notorious rhinestone hair clips, some politically charged, some screaming ÔÇÿPaganÔÇÖ. WilliamsÔÇÖ comedically driven collections are often labelled as tongue in cheek, and if youÔÇÖre not offended by tiger print fleeces in fuchsia then you definitely will be by the connotations of these slogans. Williams really does embody what London Fashion Week is all about.

Another look that springs to mind would be the black silk slip dress. It embraces the nineties feel with a square neck and kitsch cutout of a dolphin on the upper chest. Paired with a light blue sash that hugs the waist, perplex shades and a platinum bob, I would go as far to say this look actually trumps the more extravagant in the collection.

The Parisian fashion house MM6 Maison Margiela is possibly a pioneer of the marriage between reconstructed aesthetic and the effortlessly feminine. This ready to wear collection boasted an interesting concoction of ruffling, fishnets and pleating amongst its own classic contemporary cuts and shapes; frayed, cropped denim saw no departure.

One of my most favourite looks from the collection was a metallic leather blazer; charmingly ill fitting and cinched with a ribbon, bare skin underneath. This was accompanied by wide legged baby blue trousers that sit facilely on crisp, white platform trainers and an oversized tote. Purple, fitted satin waist coats were married with leather trousers, galore with zips, chunky silver rings and vagabond-esque boots. Each piece is almost completely wearable, from mint, satin embellished suits, to prairie tops and denim.

As always, London Fashion Week encapsulates the eccentric, the wearable, the classic. From Christopher Kane to Victoria Beckham, every genre of style was conveyed impeccably.