Harris Reed Fall Winter 2026 Unveils Surrealist Bridal Spectacle at Claridge's

Harris Reed stages a surreal bridal procession in a made-over Claridge’s ballroom as part of London Fashion Week FW26, presenting a 19-look collection that includes the debut of a concentrated “Fluid Bridal” range. The procession sends brides swathed in magenta, cerulean, and seafoam veils down the aisles, and Lindsey Wixson opens the presentation in a gargantuan fuchsia bow skirt.

The Fluid Bridal launch is a concise quartet of silhouettes that Reed positions as wearable ceremony and character work. Among the four are the Camille, a direct riff on the sheer, slinky bespoke wedding dress Reed made for Camille Charrière, and the Debutante, described as “complete with the house’s now codified bubbled fishtail,” reinforcing Reed’s taste for exaggerated proportion and sculptural drama. One look reinterprets Reed’s own wedding attire through a chantilly lace cowl-neck shirt scattered with crystals paired with flared trousers.

Reed frames the season as a study in theatricality with an eye toward pragmatism. “Some people define ‘maximalism’ as being ‘too much’ or without intention. I use it as a tool to character build,” he says, and later adds, “This season is as theatrical as we always are, but I hope there’s some more wearability. We want to really affirm the world, the lifestyle. We’re finding ways to stay based in London while growing the business on my terms.” He is clear about maintaining the brand’s flamboyance: “But we’re never going to be a ‘jeans and T-shirt girl’” brand.

The collection balances spectacle and new tailoring. Vogue notes Reed showed “new tailored silhouettes,” moving away from his earlier Savile Row-style sets and ’70s shapes toward elegant panniers on the hips and open backs. Corsets arrive with face-ensconcing necklines and halo-like loops, while caged waists expose slivers of skin set against gold quilts, burnt cobalt blue velvets, and pink jacquards. Textures range from devoréd and moiréd fabrics to tiger and animalistic prints; a jacquard bustier edged with Klein-blue feathers is unexpectedly paired with bootcut trousers to underscore Reed’s idea of styling as character-building.

Presentation and production echo Reed’s theatrical past while signalling brand expansion. Kendam described the scene as “A procession of brides - not demure, not traditional, but theatrical apparitions gliding through Claridge’s transformed ballroom in veils of magenta, cerulean, and seafoam.” Vogue observes that “the sartorial sculptures that clients have lovingly repurposed as lamps for their homes remained,” and reports the season as the designer’s biggest offering to date.

The show also sits within Reed’s growing commercial ambitions: Vogue cites an imminently launching interiors line as part of his brand building plan, and Elle notes Reed’s concurrent role as creative director at Nina Ricci. There is a discrepancy in archival counts—Vogue lists a 19-look collection while Kendam’s lookbook interface displays a “+15” gallery marker—so a final look tally and full creative credits remain to be confirmed from Harris Reed’s show notes or press materials.