How do you turn London Fashion Week on its head? Well, perhaps you organise an off-schedule show, somewhere in the darkest reaches of London’s docklands, and invite a couple hundred people. But should we expect any less from the brilliant and blasé Mowalola Ogunlesi? Any outsider would have looked at the crowd arriving at London City Airport’s DLR stop and presumed they’d been spiked. But if there was anywhere to be and be seen at London Fashion Week’s SS24, it was the Mowalola show.

Taking place in the cavernous Beams space in London’s industrial docklands, the former warehouse was bathed in a blinding red light emanating from a huge M at one end of the runway. Pumping industrial music soundtracked the arrivals in what felt like the 90s rave aesthetic pushed to its limit. The show itself, titled Crash, was inspired by the David Cronenberg film of the same name. If you haven’t seen it, well, it’s about people who are sexually aroused by car crashes. Fun for the whole family.

To a soundtrack of Nicki Minaj and Alien Ant Farm, the models came out cut and bruised. Irina Shayk in a halter-neck metallic gown, the Everlast logo altered to read Mowalola in a tongue-in-cheek comment on logo culture that ran throughout the whole show. Dirty denim and grey tracksuits were transformed into runway-ready pieces, grubby old baseball caps showing Mowalola’s now-iconic logo appeared on models who you’d never guess were wearing thousands worth of high fashion. But this is exactly how Mowa likes it.

Flags were a recurring motif throughout, be it the Union Jack, the European Union’s circle of stars, or the red dot of Imperialist Japan and Saudi Arabia’s sword-motif. One look, which involved two models sewn into a double-tee that said “4 Slim People”, saw the flags of the UK and Japan printed onto mini-skirts. It’s hard not to describe Mowalola SS24 as a blockbuster, this is Mowa’s world, we’re simply just living in it.