Inside Liza Keane’s Dystopian London Fashion Week Debut: Diary of a Runway

“Are you wearing anything super expensive?” asked a member of Liza Keane’s team as we took our place on the front row. Only half-joking, she warned that our seats were “directly in the splash zone” at Keane’s debut catwalk, taking place in the dimly lit bowels of 180 The Strand.

The atmosphere in the subterranean space immediately established a sense of impending disruption. Just in front of the front-row seats, at the centre of the runway, stood a striking industrial installation by radical design studio playbody. Six pillars of concrete breezeblocks held up a large panel constructed from heavy metal scaffolding poles. A black, tarpaulin-lined trough lay on the floor directly below it, while a distinct border of dark soil lined the entire perimeter of the set. As the room plunged into darkness and an ominous, brooding score by DJ Hezen began to reverberate through the concrete chamber, six bodies painted entirely in silver and stripped down to their briefs climbed the breezeblocks. Together, they hoisted the massive metal panel onto their shoulders. From overhead, a hidden hose began spurting water directly onto the panel, sending liquid cascading through its gauze-like surface in a heavy downpour that immediately recalled Alexander McQueen’s legendary SS98 Golden Shower finale.

As the models made their way through the raw, industrial structure, they splashed purposefully through the accumulating water, tracking mud across the cold concrete floor. They emerged dressed in heavy waxed leather, trailing dark, sweeping cloaks, gauzy white dresses, and shredded fabrics that looked weathered by the elements. Some models had bows and arrows slung tightly across their bodies; one carried a blonde-haired baby bound securely to their chest. The opening look featured a pair of distressed angel wings, with long lengths of fabric trailing behind in the muddy water, setting a haunting tone for the collection.

Since graduating from Central Saint Martins in 2022, Keane has steadily built a dark, decaying world through her garments, expertly transmuting internal psychological states into physical, wearable forms. Titled Rain On My Parade, her SS27 London Fashion Week debut served as the latest, most ambitious iteration of that immersive universe.

The narrative underpinning Rain On My Parade takes place in the grim aftermath of an undisclosed disaster. According to Keane’s show notes, ash is still falling from the skies, leaving survivors “emptied – of hope, of beauty, of desire.” In this bleak landscape, human skin has hardened into a hide-like texture, while leather has become “keratinised into the body rather than worn against it,” perforated and gashed like the traumatized skin beneath it. The aesthetic evokes the atmosphere of a dystopian survival zone, like a science-fiction district brought to gritty reality.

While the finished runway presentation successfully imagined the aftermath of a total catastrophe, getting there required making sure a real disaster didn’t derail the collection entirely. In the week leading up to her high-stakes runway debut, Dazed followed Keane closely through final garment alterations, tense last-minute decisions, and exhausting all-nighters as the collection finally came together piece by piece.

MONDAY, SEPTEMBER 14

ADHD IN OVERDRIVE

It was a remarkably stressful day filled with back-to-back meetings, leaving little time to properly pattern-cut a pair of trousers. At the same time, the show music played in the background for review while work continued simultaneously. The chaotic environment allowed a natural neurodivergent workflow to roam free as the demands of the job required focus to shift rapidly from one critical task to another.

TUESDAY, SEPTEMBER 15

A SPECIAL DELIVERY

The day began on a bicycle, taking essential calls from photography and production teams. A quick stop at the production studio on the way allowed for a fitting, followed by bleaching some pants, finishing a trouser pattern, and creating a toile—a deeply satisfying moment in the creative process. A major highlight was the arrival of the much-awaited baby prop, bringing genuine happiness to finally place it on the clothing rail. The remainder of the evening was dedicated to cutting racing leather.

WEDNESDAY, SEPTEMBER 16

AN EARLY NIGHT (2AM)

The day kicked off with fabric dyeing alongside an intern named Gabriel. By midday, a light test required stepping out with the dog, Uma, while riding the bicycle amidst a flurry of running around. The evening brought the intricate task of fitting one of the most challenging pairs of pants onto a partner, who eventually grew bored of the prolonged process. Leaving the studio around 2am actually felt like a relative luxury—a surprisingly early night compared to the grueling hours typical of the final stretch.

THURSDAY, SEPTEMBER 17

THE CHAOS BEFORE THE STORM

This proved to be one of the most hectic days leading up to the main event. As the team finally cleared out for the evening, a mix of exhaustion and quiet relief settled over the studio. However, the work was far from over; a pair of pants, a dress, and a bag still needed to be cut before the following morning, offering a stark reminder of the looming deadlines.

FRIDAY, SEPTEMBER 18

DEADLINE DAY

Serving as the final designated day to complete all sample garments, the timeline proved intensely demanding, pushing the studio team to their absolute limits as the physical constraints of the collection came to a head.

SATURDAY, SEPTEMBER 19

CASTING SPELLS

The official casting process began in earnest. Yuri, the casting director, operated with magical efficiency, while the studio team maintained remarkable cohesion in ensuring that essential fittings continued without interruption, leaving everyone involved feeling deeply grateful for the collective effort.

SUNDAY, SEPTEMBER 20

NO SLEEP, ANOTHER ALTERATION

The final push had arrived. Significant casting work remained unfinished, and amidst the pressure, garments were still being finalized. The studio welcomed a visit from Uma the dog to offer moral support, though whenever models practiced their walks, she naturally felt compelled to join in on the runway.

Ultimately, sleep was completely bypassed. Assistant Gabriel and the designer stayed up through the night, with the final hours dedicated to completing last-minute clothing alterations while Gabriel worked meticulously on the feathers. To stay awake through the fatigue, they even practiced mock interviews in preparation for an upcoming BBC radio appearance.

MONDAY, SEPTEMBER 21

FIVE STARS FOR LIZA (AND FOR THE UBER DRIVER)

By Monday at around nine in the morning, sheer exhaustion made it difficult to stay upright at the sewing machine. Sister Lilia and assistant Liv arrived around 10 to help load up equipment and garments, but the sewing continued right up to the wire.

When the summoned Uber arrived, the driver took one look at the massive volume of luggage and equipment and initially refused to take the group. Realizing how desperately late they already were, an explanation of the destination’s crucial importance convinced the driver to relent and assist them.

The team arrived at the venue an hour behind schedule. Sister Lilia handled the influx of last-minute crises over the phone with remarkable composure, allowing a brief moment of quiet stillness before plunging straight back into the whirlwind of the show.

The remainder of the day passed in an instant. The exhaustion gave way to deep happiness and profound gratitude, leaving no doubt that, despite the overwhelming stress and sleepless nights, the grueling journey was entirely worthwhile.