Cheshire Fashion Week: The End of an Era or the Beginning of Something Bigger?

Three weeks have passed since thousands of eyes gathered inside Manchester Cathedral for a show that brought fashion back towards a more classical, almost ceremonial kind of beauty — one rooted in tradition, but never entirely confined by it.

Observing the environment and witnessing what it takes to prepare a show of this scale is a constant chase. Everyone is everywhere: rushing towards make-up, making a quick run to the nearest supermarket, dealing with last-minute model changes, rehearsals and endless trips to the toilets — all while slaloming around the tourists and visitors still roaming through the Cathedral until shortly before the show begins.

Experiencing this year’s show as a woman felt particularly inspiring. Once again, I witnessed first-hand the drive of Cheshire Fashion Week director Claire Namukolo, whose determination resulted in another successful edition while she simultaneously navigates a career transition towards law and continues to carve out a new path for the brand.

Choosing Manchester Cathedral as the setting ahead of 2027 felt, in itself, like a statement: leaving behind what could easily have become a comfort zone and moving forward, unafraid to conquer Manchester.

Another woman challenging the comfort of stagnation was Anxhela Cerriku.

Opening up to me about the birth of her brand, Original Ireland, Cerriku spoke about a journey that began with a career change in 2018, driven by a strong desire to take control and make a difference within the fashion industry.

Her designs are conceived to embrace the body, enhancing curves and movement while caressing the skin — almost slithering across it with a liquid quality.

For Cerriku, sensation is fundamental. So is exclusivity: every piece is handmade or hand-painted. Ease matters just as much. Silk is among the principal materials she works with because the relationship between fabric, skin and body remains central to her approach.

The result is a wardrobe built around traditional elegance, comfort and vibrancy without sacrificing sensuality.

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The show itself unfolded almost like a prolonged, solemn ceremony. Imposing music echoed throughout the Cathedral as models moved down the runway in metres of lace, silk, pearls and velvet.

Its rhythm was interrupted by two grandiose breaks.

The Dina Robinson dance team took over the space with a performance centred around anger and reclamation, shifting the atmosphere before giving way to the unmistakable Liam Brandon Murray and his women — figures embodying body horror, fierceness and seduction through striking cuts, melting silhouettes and choreography that transformed the catwalk itself into part of the performance.

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Whether this edition was intended as the grand finale of one season before Cheshire Fashion Week enters another, or whether Manchester Cathedral represented a bridge between an old era of Cheshire Fashion Week and the new horizon Claire Namukolo is envisioning — one carrying even more empowering messages for the women in the crowd — is something we will discover next summer.

Photography: Images courtesy of Cheshire Fashion Week’s official Instagram account. Individual photographer credits remain as attributed on the original posts.

Claire Namukolo portrait: WeAreTheCity.