The fall/winter 2026 season is over in London, and the Vogue team is busy going through four days’ worth of hair and beauty ideas. Here are five trends that Vogue saw on the London Fashion Week runways that you should definitely try.
Eyes that are misty
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Jeff Spicer/Getty Images for Conner Ives AW26
Eyeshadow is back in style! Tolu Coker opened London Fashion Week with a swipe that sent models down the runway with smoky-grey powdered lids. Makeup artist Bea Sweet worked with the designer to make a look that was similar to the colours that are often seen in city landscapes and surroundings. The makeup artist told us backstage, “Tolu wanted something very ’90s, but I wanted to get away from a heavy lipliner.” “This season, we focused on cold tones. As soon as I saw the grey fabric swatch, I knew it was the colour we needed to work with,” she says. Sweet thought the misty grey colour was very London.
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The MAC Pro Team at Conner Ives gave people even more misty eyes as part of a striking beauty look based on femme fatales in films. Dominic Skinner, head of makeup artistry at MAC UK and Ireland, said, “There was this really beautiful soft-wash, garage door-style eyeshadow, undercut with different shades of green, grey, and pink, which drew it all together.”
Anfisa Chernykh’s face, head, person, photography, portrait, adult, wedding, clothing, dress, and fashion may be in the picture.
Charlotte Tilbury gave us Harris Reed AW26.
The picture may show Ju Xiaowen Clothing Coat Jacket Adult Person Overcoat Face and Head Burberry AW26. It was taken by Acielle / StyleDuMonde.
The Charlotte Tilbury team made a subtle but sparkling misty eye for Harris Reed’s bridal show. Lead makeup artist Sofia Tilbury said backstage, “We wanted something more ethereal and radiant, so we focused on glowing skin, dimensional shimmer, and natural, just-kissed lips.” “A modern take on soft glam that still felt strong in Harris’s world.”
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Burberry showed off a messy black smoky eye to end London Fashion Week. This was in keeping with the grungy London makeup theme. Lauren Parsons, a makeup artist, put a completely nude lip on the eye to let the black eyeshadow stand out.
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Cranberry blush
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Simone Rocha AW26, taken by Acielle/Style Du Monde. This picture may show Sigrid Agren, Edie Campbell, clothing, a dress, formal wear, fashion, a gown, an evening dress, an adult, and a person.
Photographed by Acielle/Style Du Monde for Erdem AW26
The cranberry colour was the only romantic blush colour on the fall/winter 2026 runways. Thomas de Kluyver, a makeup artist, told Vogue that his team used lipstick to make the red, flushed look. “We wanted to give the Simone Rocha girl a more punky and moody look. The skin is a little more sensitive than usual, and we also have this red blush on our cheeks where we actually took the Stromboli lipstick from Byredo and dragged it down.
A light layer of cranberry blush was also a part of Erdem. Fara Homidi, a makeup artist, said that the “wearable” look was inspired by the collection’s pink satins and red ribbons. “I used the Essential Face Compact to give them a natural matte finish and the Essential Eye Compact in Trio No. 20, which has rich mink brown tones and soft blacks, to bring out the shape of their eyes.
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Sam McKnight gave Annie an AW26
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Anna Cafolla wrote: Annie Doble also focused on Blush when she put on her Annie’s show at Spencer House. Becky Moore, a makeup artist, told Vogue backstage, “We worked with the models’ natural skin and only used one pump of foundation, so we didn’t need to use concealer at all.” To get that deep berry flush, two Nars blushers (Hunger and Wild Bunch) were mixed together.
Twisted hairstyles
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Richard Quinn AW26, with thanks to Sam McKnight
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Conner Ives AW26 with thanks to Bumble&Bumble
This season, chic twists in all kinds of styles were all the rage. Sam McKnight, a famous hairstylist, made two beautiful hairstyles for the Richard Quinn show. One was a classic chignon, and the other had more volume and was raised. McKnight said backstage, “Each look has an aerodynamic feel to it.” “I wanted to make sculptural, ergonomic shapes more modern.” It was basically Back to the Future, but with shiny, form-fitting clothes and statuesque twists and finishes.
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Labrum AW26 Anadolu/Getty Images
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By Anna Cafolla, hairstylist Claire Grech made the French twists at Conner Ives. She said they were “put together, with a snatched side-parting and lots of product and shine.” For the best hold and volume, the Bumble&Bumble Thickening High Drama Styling Hair Foam was very important.
At Labrum, they twisted small pieces of hair together to make a new version of traditional threaded braids from West and Central Africa. “I saw how Foday [Dumbuya, Labrum founder and creative director] always talks about classic African braiding techniques,” said hairstylist Nick Irwin. “We twisted more hair around it instead of threading it to make separate sections and add some drama to the look.”
Bold eyebrows
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Photographed by Acielle/Style Du Monde for Simone Rocha AW26
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Simone Rocha had Thomas de Kluyver give her edgy pierced eyebrows. “We’re putting little fake piercings in a line over the top of some models’ eyebrows. He goes on to say, “Then we have another great [skinny] eyebrow (almost like a ’30s brow) that starts in the middle and then makes a sharp 90-degree turn downwards.” At Richard Quinn, on the other hand, models’ brows were being bleached in real time before they walked down the runway.
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Sam McKnight sent Emilia Wickstead AW26.
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Emilia Wickstead had the most wearable look, where makeup artist Amy Conway brushed up the brows to make the very little makeup look better.
Huge accessories
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Annie’s Brett Russell AW26
Michael BenAri’s face, head, person, photography, portrait, clothing, dress, adult costume, and performer Chet Lo AW26 Estrop/Getty Images
People, people, and people photobombing adult wedding clothing, coats, faces, heads, and portraits are all in the picture.
Larry King sent this picture of Bora Aksu AW26.
Models at Annie’s had their hair down and wore big flower clips in it. McKnight said that the brief was all about accepting the natural texture and movement of hair “with joy, freedom, and femininity.” People are already asking me how they can get the same look at home. Chet Lo’s hair, on the other hand, had feathers on top of feathers. Anna Cofone, the hairstylist, said backstage, “The look is a reflection of Southeast Asian identity.” “The feathery details are inspired by famous headdresses from the Peking Opera, where ostrich feathers are used to add to the performance.”
Models wore beaded hats and veils on their heads at Bora Aksu. Larry King, the hairstylist, says, “Bora’s moodboard really set the tone.” “There were a lot of lace, veils, and wedding references, especially black veils and white dresses. It felt romantic but also a little creepy.”
