An optimistic Daniel Lee staged his Fall Burberry show at Tate Britain’s Duveen Gallery, transforming the space into a castle with towering columns and heavy drapes illustrated with a painting of the English countryside. The collection was presented amidst an air of speculation about Lee’s potential departure, which first started circulating in November following the exit of Jonathan Akeroyd, the CEO who appointed him after Lee’s success in revitalising Bottega Veneta’s brand image, and the subsequent arrival of CEO Josh Schulman. Schulman’s conflicting remarks about Burberry straying from its luxury post have only fuelled doubt around the house’s direction.

Despite the swirling uncertainty, Lee appeared calm backstage, explaining that the collection was inspired by the English countryside of his native Yorkshire, namely, long walks in the forest, and the textures of the leafy, rainy, dewy landscape. Prepared to approach the peaty terrain, models navigated the cobalt blue runway in black, brown and burgundy riding boots, with practical Burberry-checked umbrellas, scarves and weekend bags in tow. In terms of clothes, models were bundled up in rich materials: shiny leather, wool maxi dresses and coats with matching oversized scarves, quilted coats and skirts, and peacoats with fur lining all the way to the collar. Lee experimented with umber browns, moss greens, and rich burgundies, reinforcing the collection’s seasonal appeal. Oatmeal and brown wool jackets finished with army lapels were styled with cropped sweaters cinched at the waist and wrists and classic checked button-up shirts peeking out at the bottom.

Lee expressed his appreciation for British creatives across disciplines, a sentiment reflected both in the front row, with artists like Skepta, Nicolas Hoult and Jodie Turner-Smith in attendance, and on the runway, with models Karen Elson, Lila Moss, Naomi Campbell and Kirsty Humes, who closed the show in an oversized black leather trench over a sparkly black robe de soirée. British actors also made an appearance, including Jason Isaacs in a classic grey trench with a red checked collar, Elizabeth McGovern in a long black leather trench with a ruffled black shirt, and Richard E. Grant in a long olive wool coat adorned with a blue thistle on his left lapel and burgundy leather gloves. 

The presence of Saltburn star Richard E. Grant was no coincidence. Lee openly admitted that the film had inspired him and said that he had channeled its bohemian nonchalance and old-world grandeur. The film’s lavish style was incorporated through damask velvet fabrics across pants and blazers, reminiscent of castle wallpaper. There was also a floral tapestry print iteration of the house trench finely fringed at the waist to create playful movement; silk pyjama sets worn with black leather loafers; cropped leather trenches embossed with flowers; and quilted golden velvet slippers, embroidered with the house crest and turned into kitten heels. Burberry’s rich heritage met England’s wild sensibility. 

Elsewhere, classic house codes were visible in tartan skirts, equestrian-inspired footwear and riding pants, and the Burberry knight in armour—who featured in a recent campaign sporting the new B Clip messenger bag—who sat front row amusing the crowd. While Lee’s future at Burberry remains uncertain, this collection demonstrated a sharp understanding of contemporary luxury, deeply British yet undeniably current and commercially appealing. We can only hope to see him continue building on Burberry’s legacy, steering his knight toward a bright future.