The British Fashion Awards were held on December 1st at the Royal Albert Hall. These are the first awards to take place under Laura Weir’s direction. Weir was appointed as the head of the British Fashion Awards earlier this year, and she has been responsible for the NEWGEN BFC programme as well as, more recently, the organization of the most important awards in fashion. Beyond recognizing contemporary and established fashion icons, the awards also serve as the primary fundraiser for the BFC Foundation, which supports students and emerging creatives as they enter the world of fashion.
It was a pivotal year for the British Fashion Awards, as these were the first held since Laura Weir was appointed CEO of the BFC. Hosted by Colman Domingo at the Royal Albert Hall, this year’s awards offered a clear glimpse into the current state of fashion and what lies ahead.
THE FACES LEADING THE INDUSTRY
Sarah Burton has found herself again, following in the footsteps of her mentor, Alexander McQueen. Currently working at Givenchy, Burton was recently awarded the British Fashion Award for Best Womenwear Designer for her work at the house, where she was appointed in 2024. Her designs are not only elegant but also a unique blend of couture, crafted in a way that few of her peers achieve, right on the model, much like designers such as Balenciaga, Schiaparelli, and other haute couture masters. She stays true to the natural form of the body and how women truly look.
After all these years, Burton’s work continues to embody creativity and craftsmanship. Her design philosophy is a mélange of romance, drama, and meticulous attention to detail. Her signature style harmoniously blends modernity and tradition, resulting in garments that transcend temporal boundaries. Nature and history serve as her wellsprings of inspiration. She remains one of the women who continue to define and shape luxury in fashion, and this award is a testament to her enduring influence on the industry. In my opinion, Burton represents what designers like Phoebe Philo represented in their time—proof that more women should be designing in the industry. In categories such as Womenswear Designer of the Year, a designer should be chosen because they understand what women need, not only how clothing can be used to show off (though that still matters).
Grace Wales Bonner won British Menswear Designer of the Year for the second year in a row, which shows that her influence is here to stay. Recently appointed as Hermès’ Menswear Designer, Wales Bonner was born in London to a Jamaican father. She is not only the first Black woman to lead menswear at Hermès, but she has also been reshaping the category since her debut, combining contemporary sportswear with the African and diaspora aesthetics that define her heritage.
JW Anderson, meanwhile, has won the award for the third consecutive year. Personally, I’m not a huge fan of this—especially considering his recent work for Dior and Dior Pre-Fall. There is no doubt that he is an exceptional designer whose work is rooted in craftsmanship, but one has to ask whether this is really what fashion needs right now. Is there innovation in a designer winning three years in a row for collections that are barely wearable, or designed primarily to appeal to the “new money” market—particularly in the U.S., as seen with Dior’s recent Cruise show in Los Angeles?
Even though Anderson experiments with movement, silhouette, and colour, his designs aren’t bold or groundbreaking. This reveals a lot about the current state of fashion: appealing to a very specific market while playing safe enough to sell units, with male silhouettes and colour palettes serving more as conversation starters than true innovation. Anderson is not a bad designer—far from it. He has proven himself a strong storyteller with a deep commitment to luxury and craftsmanship. Yet since arriving at Dior, he has chosen safety over risk, polish over provocation.
WHO’S THE MODEL OF THE YEAR?
Now, Anok Yai has finally won Model of the Year—and she deserves it. She is one of the strongest models working today. Between her and Alex Consani, many young people have begun watching high-fashion shows again and caring about fashion in a way that feels fresh. The supermodels are back. Considering all the conversations happening around racism in the industry, toward both models and designers. It’s powerful to see Anok Yai emerge as one of the most representative and influential faces in fashion today, carving out space for a new generation to follow.
WHAT’S NEXT?
The British Fashion Awards are undeniably necessary, but the industry and the media should work together to elevate them into a more widely recognized cultural event—not in the overly theatrical, celebrity-driven way the Met Gala operates, but in a way that genuinely inspires young people who are beginning to shift their attention toward luxury, craftsmanship, and creative careers. These awards should not only celebrate established names but also highlight emerging talent, offering visibility and real opportunities to the new generation of designers, models, and creatives who hope to enter the industry.
To move forward, the BFAs could expand their categories, incorporate new forms of creativity, and spotlight voices that have historically been overlooked. Fashion desperately needs to move away from its patterns of exclusion and segregation and return to its essence: innovation, artistic expression, and cultural dialogue. By embracing diversity, supporting boundary-pushers, and fostering an environment where new ideas are celebrated rather than sidelined, the British Fashion Awards could once again become a symbol of what fashion truly represents—a constantly evolving space where imagination shapes the future.
