In the age of artificial intelligence, London Designers Week celebrates the hands that make fashion

This season, it seemed that many of the designers participating in London Fashion Week Spring/Summer 2027 wanted to remind one fact: these fashions were made by humans. This idea emerged clearly in the presentation of British designer Steve O. Smith, which was not a show in the traditional sense, but rather a seminar presented by Smith himself to about 20 fashion editors and journalists, in one of the intimate halls within the Royal Academy of Arts.

The designer discussed each look in detail, not only in terms of its story, but also in terms of the precise techniques that went into its execution, in a space of time that is not usually provided by fashion shows, where looks pass in front of the audience within a few seconds. He talked about the embroideries installed on the tulle, the beaded details, the inner pieces that give the skirt its volume, and even the ties made from shirts.

At the conclusion of the session, Smith spoke enthusiastically about his very small team from behind the lectern, saying that talking about them made him "a little emotional." He explained that one seamstress named Joanna was responsible for implementing everything that the audience saw, along with an artist specializing in bead embroidery called Saskia, and Thomas, his design assistant, who he described as “absolutely wonderful.”

Backstage at French designer Pauline Dugancourt's fourth show in London, the designer, who is participating in the prestigious residency program organized by the Paul Smith Foundation to support fashion talent, spoke at length about the approximately 700 hand-woven crocheted flowers that decorated one of her dresses. She said that it took between 10 and 15 minutes to make each flower from the threads, while a large percentage of them were made by women in Peru.

She noted that her customers are particularly interested in knowing how long it took to make the piece, and what goes behind its execution. At the presentation of Labrum, founded by Sierra Leone-British designer Foday Dumbuya, guests met the hands that helped create the collection before seeing the clothes on the catwalk.

At the entrance to the exhibition space, two people sat at two tables working on pieces for the audience; One strings beads by hand onto a piece of fabric, while the other sews a piece of denim with a sewing machine. They said that what they are doing is part of an artistic performance, but in reality they are members of the design team.

The collection included raffia trousers handwoven in India, as well as shirts, shorts and skirts decorated with hand embroideries reminiscent of scenes from Sierra Leone. “People don’t realize how the pieces are made and where they come from,” Doumbouya said after the show.

“So we wanted to bring this process to the forefront and celebrate it.” How long will human labor remain an essential part of the clothing industry?

Today, it seems to be taken for granted that someone, using a needle or sewing machine, made the item we wear, but whether they were paid a fair wage or worked in safe conditions is less clear. As artificial intelligence and robots gradually enter the stages of fashion design and manufacturing, another question arises: How long will human labor remain an essential part of the clothing industry?

Artificial intelligence technologies have gradually infiltrated the design process in recent years, while companies specializing in robotics are currently developing technologies that undertake tasks more related to actual implementation, such as pattern cutting, sewing, and quality inspection, in countries including South Korea. When asked about the impact of artificial intelligence on the fashion industry, Doumbouya replied: “100%.”

The moment we eliminate this human interaction, we are finished.” As for Talia Lobaton, founder and designer of the British brand “Libero”, she went beyond just talking about her work style.

She brought journalists, editors, buyers and even some of her clients directly into the process, when she used the collection's presentation session to shoot images for her new campaign. Backstage is usually the most chaotic aspect of fashion shows, a place that designers prefer to keep out of sight.

But Lobaton decided to reveal this process, amidst the movement of stylists and photographers who were moving around her, pasting notes on a large board for models to determine the looks that were photographed. She talked about the importance of having everyone in the same room, being able to discuss in the group, getting to know and talk together, showing them how to work and how to make images, and involving them in the process.

This focus on the human side behind Fashion Week, from the design teams, photographers, stylists to the seamstresses, seemed like an essential part of the definition of luxury at these shows. Perhaps this was a deliberate stance in the face of technology, or perhaps traditional ways of working are beginning to take on new meaning in a world governed by artificial intelligence technologies.

After all, human hands were present at every stage of these performances.