Ramadan at London Fashion Week: Designer Kazna Asker Makes History with Iftar Show

London Fashion Week witnessed a historic moment on Monday evening as designer Kazna Asker seamlessly integrated the observance of Ramadan into her autumn/winter 2026 presentation. For the first time, the British Fashion Council officially acknowledged and incorporated the Islamic month of fasting and spiritual reflection into its schedule, marking a significant step towards greater inclusivity within the industry.

Asker, a 29-year-old British-Yemeni designer, deliberately paused her “Hour of the Sunset” showcase at sunset to share iftar – the traditional breaking of the fast – with models, staff, and guests who were also observing Ramadan. The presentation wasn’t simply *around* the themes of Ramadan. it was *built* around its rhythm, acknowledging the “energy-shifting” moment that sunset represents for Muslims worldwide.

“As soon as I found out that fashion week would fall [during Ramadan], I had to incorporate it,” Asker explained, speaking from her London studio. The decision to center her collection on Ramadan was a deliberate one, reflecting both her personal faith and a desire to represent a community often unseen within the high-fashion world.

The NewGen space, a platform dedicated to showcasing emerging British talent, was transformed into a majlis – an Arab living room – with guests seated on floor cushions reminiscent of Asker’s grandmother’s lounge in Yemen, where meals are traditionally shared communally on the floor. This arrangement, Asker noted, was the “best way to break fast together,” fostering a sense of shared experience and community.

The pause in the presentation wasn’t merely a logistical adjustment; it was a carefully curated experience. As the instrumental Arab soundtrack softened and the lights dimmed, dates and water were distributed in woven baskets. Sudanese-Australian writer Yassmin Abdel-Magied recited a poem by Mary Oliver, followed by a supplication to mark the breaking of the fast. Models then stepped down from the runway to join in the iftar meal.

The iftar menu itself was a celebration of cultural heritage, featuring Iraqi dishes from Juma Kitchen and Palestinian dates, sourced from Zaytoun. Asker emphasized the importance of sharing food, a central tenet of Ramadan and a cornerstone of her upbringing. “It’s going to be wholesome celebrating together,” she said prior to the presentation.

The impact of Asker’s decision resonated with attendees. Guest Naailah Khalifa expressed her appreciation, stating, “It’s nice to be in spaces like this one and not feel ‘othered’… It makes me feel hopeful to know that work like hers is happening, and that we, Muslims and people of colour, are not lost in the background.”

Beyond the iftar, Asker’s collection itself was a powerful statement. Models showcased garments that blended tailored pieces with futuristic silhouettes and traditional Yemeni dress. Gold coin headpieces and face coverings framed the models, while henna-inspired body art by the collective HuqThat traced sun motifs across skin. The collection also challenged traditional gender codes, with a female model wearing a jambiya – a Yemeni dagger belt historically reserved for men – integrated into a structured power suit. “We decided to put the jambiya on a woman, to showcase the power of Muslim women,” Asker explained.

This commitment to representation isn’t new for Asker. As a student at Central Saint Martins, she was the first to feature hijabi models on its runway for the 2022 MA showcase, a move born from her own experiences growing up in Sheffield without seeing modest fashion represented in a “cool way.”

The presentation marked the culmination of Asker’s work with the British Fashion Council’s NewGen initiative. “It’s the end of the day, and the end of this chapter in my life,” she reflected. “I did everything I’ve wanted to do, and don’t have any regrets.”

Laura Weir, CEO of the British Fashion Council, underscored the significance of Asker’s presentation, stating, “LFW isn’t a single-format showcase. It’s a cultural platform designed to support how designers choose to express and show today.”

Asker’s research extended beyond Yemen, encompassing cultural dress from Egypt, Oman, Qatar, Zimbabwe, and India, observing how Yemeni communities reinterpret tradition across borders. Fabrics were sourced from a Yemeni market in Egypt, and contributions came directly from her grandmother, father, and uncle. “Almost everywhere I went, there was a Yemeni community,” she noted. “You see how the country they’re in inspires and interprets their culture.”

“My community and I already know the spirit of Ramadan,” Asker said. “So it’s a blessing to invite people who don’t know what it’s about. I hope they’re immersed in what we feel.” She acknowledged the potential for being labeled a “political designer,” but asserted that a belief in community inherently involves a political stance. Her guiding principle, she stated, is to “Build sideways, not upwards.”

An orange tree stood at the center of the room, referencing the Persian folklore tale “The Man Who Planted Trees,” a story about long-term investment in future generations. Asker saw this as an allegory for her time on the NewGen programme, hoping to leave a lasting impact on the next generation of designers.