Are we ready for another Brit Wave? At Burberry’s fall 2025 show held in London on Monday evening at the Tate Britain art museum, chief creative officer Daniel Lee sent out a fabulous exposition of the U.K.’s cultural dominance, the likes of which we haven’t seen since the house used to pitch its big white tent in Hyde Park in the 2010s. The front row was packed with later day It Brits from Brooklyn Peltz Beckham, Nicholas Hoult, and Nia Archives to Jodie Turner-Smith, Rosie Huntington-Whiteley, and Leomie Anderson, who were snapping selfies with an armor-clad Burberry Equestrian Knight mascot. And the star power was also mega on the runway, with The Crown’s Lesley Manville and Bridgerton’s Jessica Madsen plus multiple generations of Burberry models—Naomi Campbell, Erin O’Connor, Kirsty Hume, Karen Elson, Edie Campbell, and Jean Campbell—there to support Lila Moss for her Burberry debut.
And then, of course, there were the quintessentially British clothes, well suited for a city where Tube announcements helpfully remind visitors that surfaces may be slippery when wet. Lee sent out a procession riffing on what Burberry does best, bar none: inventive outerwear. There were seriously chic cropped and shearling-lined motos worn with slim wool pants tucked into waders and riding boots, cheerful geranium-print quilted jackets paired with matching knee-length skirts, and loads of great tailored coats in patchwork shearling or Burberry checks recolored in subtle tapestry brown and deer taupe. Capes—a key motif from spring—returned in knit and shearling fabrications, reconstructed with trench elements. And Burberry’s iconic trench coat was rightfully the star of the show, refashioned in oxblood and alder green embossed leather and showstopping deconstructed jacquard weaves trailing long fringe.
The Tate Britain, a repository of national treasures dating back to the 16th century, was a fitting backdrop for this celebration of British creativity, and marked a one-year partnership with the museum to support the vital work of its Painting Conservation Studio. And while no original artworks were on display, the models walked through a series of galleries draped floor to ceiling—and over the cozy front-row sofas—with digitally printed landscapes that looked like they could be John Constable or Thomas Gainsborough. Lee drew inspiration from the English countryside, both rustic walks in his native Yorkshire and the sort of grand manor houses familiar the world over from Merchant Ivory period films—and Bridgerton. “I was struck by the craftsmanship and those lavish fabrics and swatches of hand-painted wallpapers and of all the furnishing fabrics, handmade carpets, and sumptuous, somewhat faded tapestries,” he explained. The ready-to-wear vibe was very après country ramble, filled with chunky-knit shawl collars and boho velvet brocade dresses that evoked a true English eccentricity—as though the models had wrapped themselves in rococo wallpaper ripped from the venue before dinner.
