Simple, cool and laid back garments are what Oliver Spencer sent down the runway at his Spring/Summer 2020 show. None of those adjectives are meant to be slights against Spencer, instead they're compliments with respect to the artful these clothes convey ease and nonchalance with plaids, stripes and roomy silhouettes.

Britain cannot seem to escape the mess its gotten itself into with Brexit and Martine Rose has had enough with this very pointed take on Parliament and the farce of bureaucracy. All one has to do is look at the "Promising Britain" tees seen throughout the collection to get a sense of Rose's frustrations with the political mess. And so with that said, it's no wonder there was a strong hint of 80s punk and rebellion in these clothes, worn by haphazardly wigged models.

A-Cold-Wall's industrial Spring/Summer 2020 collection feels new and fresh with its hybrid looks of new and old, like a utilitarian vest with pockets that also looks like it's attached to the wearer like a fused accessory on the cyborg-like models with their off-kilter molded faces. It was a statement, for sure, as if to say, the new generation will be different, we will rebuild ourselves, better, stronger and more enlightened.

Craig Green, the darling of London Fashion Week, takes on human anatomy with this SS20 collection that was body conscious but also had a deeper meaning. The leather pieces in the beginning looked at protection and shielding one's self from the outside world and this was juxtaposed with more fluid, transparent and sometimes naked prints on outerwear. The striking patterned caftans were just plain great - they looked comfortable but also had an interesting and unique look to them that made them covetable.

Charles Jeffrey is one of London's most promising designers - his approach is thoughtful but also fun and relevant. For SS20, he literally waxed poetic for his Loverboy collection that juxtaposed poetry with wickedness, confusion and anger. Though, somehow, the collection still has an air of lightness and fun which are his niches. Though, one had to look harder for those two attributes this season.

Iceberg's maximalist aesthetic is fueled by childhood memories of Saturday morning cartoons including references to Looney Toons and Mickey Mouse. Aside from the all-too-familiar throwback licensing deals we've seen on the runway since Bobby Abley championed them years ago, the more promising things in this season were the well cut joggers and the footwear - both of which will likely see some additional foot traffic for their sophisticated and cool (respectively, speaking) attributes.

The color palette at E. Tautz was a shock to the system - at least relatively speaking. E. Tautz is one of the oldest menswear labels...ever and while menswear might move at a glacial pace, the evolution of heritage labels such a E. Tautz make glacial-pace seem like sprints. So with this SS20 collection and another decade under its belt, the explosion of color from orange to red to sky blue to the slight patterns were a sight for sore eyes.

London is upon us and Hussein Chalayan's latest men's collection was clean and crisp with light colors and simple-yet-effective patterns. A bit off were the miniature boom boxes and some of the pant accessories (ski poles, anyone?).

Margarett Howell looked early 20th century blue collar dressing for inspiration for her FW19 collection and polished it to a shine. Aside from the loosely cut silhouettes and the modest-looking layers, there were oodles of expensive and luxe fabrics used, with finishes that elevated the humble inspiration.

Stella McCartney takes on psychedelia through an environmentally conscious lens for her FW19 collection, helped by an inspiration that's close to her heart: The Beatles' Yellow Submarine album. References include appliqued coats in plaid, an oversized and rubberized yellow trench and a groovy vibe that stitched the collection together. While McCartney, who has bought back her namesake label from Kering, is very environmentally conscious with her choice of fabrics, finishes and technique, technology still has a long way to go before making things such as faux-fur coats, like those seen here, more eco-friendly since the process to create these almost-like-fur fabrics are not the best for the environment. But she, and others like her, are making great strides in making eco-friendly fashion fashionable so kudos!

Grace Wales Bonner is one of London's most promising designers. Her perspective of menswear - and a smattering of womenswear - offers a uniqueness upon which she has slowly but surely carved a niche for herself by combining incredibly well-made clothes and imbuing them with a welcoming, worn in vibe - like reuniting with an old friend. Whether it was a tweed jacket or slouchy A-line coat or a luscious bomber, there was something special about each piece that made you want and cherish it even before putting it on.

Activist and the Dame of fashion, Vivienne Westwood, took the opportunity to talk about sustainability, global warming and other environmental issues at her FW19 collection. She noted that style is a big part of being fashionable and if one has style, one can be fashionable without the need for excessive - and often obsessive - consumption of clothing, which is somewhat ironic when you proffer nearly 80 looks - though maybe she's being ironic.

For Riccardo Tisci's sophomore effort for London Fashion Week's biggest name, and probably the most recognizable English label in the world, Burberry, came in two iterations. First came the streetwear inspired designs that Tisci was known for at his previous position. Yet, there was a softness to the edgier stuff - no rottweiler print here. Instead, the Italian-born designer looked to the English underground movement for inspiration - not a new inspiration, of course - but his is from a more genuine place as he studied in London during the grunge and punk phases of yester-decade. There were puffers, high-end takes on DIY punk designs - nothing too new in relation to the inspiration. Though it was the latter half of the collection that truly excelled. There were incredibly well tailored and refined clothes, mixed up with puffer vests, subtle subversive details, and a couple of incredible coats - even if it was all a bit too beige but this is Burberry and Burberry is beige.

It seems that Lou Dalton has, for the foreseeable future, permanently opted for a presentation. For Fall/Winter 2019, the English designer brought color and pattern to the forefront of her normally quiet clothes.

The idea of "lean in" has taken a bit of a hit since the author of that book has come under scrutiny after Facebook's (warranted) bad press. However, Pringle of Scotland did just that: they leaned into what they're known and celebrated for, their knits. For FW19, they took their heritage of well-made and sumptuous cashmeres and argyle patterns and leaned into them and created a collection that offered everything from super-soft cashmere sweatpants to argyle-accented bottoms to quilted knits.

Joseph's latest collection aimed to create a balance between warring trends of the athletic and the tailoring trends. The results showed that the battle for harmony between the two is hard fought and not easily won. There were some gems like an oversized pale-grey coat but most of the collection was middle of the line at best.

After a few hiccup collections, Deveaux returns with a stunning and structural collection for FW19. The kimono-style coats were luxurious and sharp while the loosely-cut trousers were elegant.

Belstaff's heritage of super-cool military and fighter-jet inspired jackets has been a goldmine for the English label but for FW19, the offerings were surprisingly dull. While it was gutsy to veer far from the go-to pieces for the label, it seemed to be a misfire.

A retro theme ran through the Band of Outsiders's latest offering with boxy silhouettes, double breasted jackets and a hint of sci-fi via screenprinted imagery of the moon landing.

Moschino has been for the timid and Jeremy Scott only solidifies that notion with each new season. For Fall/Winter 2019, Scott offered up a super-kitschy take on classic Italian - specifically Roman - films. In an era of gender bending fashions coming into clearer focus, Scott offers up a very exaggerated iteration with top models in tutus or donning ostentatious crowns. The collection had a joie-de-vivre with its lightness and embrace of irrelevance but following the disappointing sales of Moschino's collaboration with H&M, it makes one wonder, how long will (or more appropriately, can) all this last?