How many ways can you tie a knot? If you’re Rory William Docherty, one—but for spring, rework it, shrink it, blow it up, flip it, or transmute it with new materiality. For his third consecutive show at London Fashion Week, the New Zealand–based designer honed in and went deep on his specific creative practice by taking one signature design element—the tie lifted from his best-selling painter’s shirt with flopping edges—then let himself be subsumed by the act of making and remaking. “I just started playing a bit, which is how I like to begin, almost forgetting about fashion,” he said.

The collection was built around the idea of layers, a concept Docherty naturally gravitates toward. An artist as well as a designer, he often sketches or paints images to be printed onto fabric, but this time he worked in reverse. He created a three-dimensional form by knotting strips of newspaper into a rope-like cord and hanging it from the wooden chair that formed part of the show’s set.

He then painstakingly recreated those irregular knots by hand on large sheets of paper. The contrast between something created spontaneously and the discipline required to reproduce it became a defining tension in the collection. The resulting drawings appeared on fluid silk trousers, sheer skirts, asymmetrical scarf tops and sweeping floor-length coats, setting the mood for a softer, more introspective collection.

The knot motif gradually evolved from prints into physical ties. They were linked together to form an oversized openwork skirt, left loose around the neck of a linen cocoon dress, or woven into colorful patterns on a playful minidress. For a cropped jacket, Docherty used gilded metal mesh, hand-sewing individual ties across the arms and torso to create the impression of delicate, precious butterflies taking flight.

Twisted skirts, shirtdresses and loosely tied ends reinforced the collection’s sense of spontaneity. That relaxed quality was echoed by the gentle sound of bells welcoming guests and warm beige linen threaded with Lurex, evoking sunlight sparkling across sand. Everyday staples such as chinos, oversized trenches and separates were refreshed in Japanese cotton ticking, giving the collection an effortless, intuitive character.

The recurring knot motif also reflected Docherty’s deeper questions about connection, chosen family and the values that bind people together. Craftsmanship became an important part of that story. The Lyttelton Hat Co. in New Zealand created hand-cut and knotted raffia hats, sashes and collars in sculptural architectural shapes, while jewelry designer Jordan Draffin transformed the knot motif into pieces cast in 18-karat gold, silver and bronze.

Together, these elements captured Docherty’s belief in the human quality of making. Across the collection, spontaneous gestures were carefully transformed into clothing and objects, creating a thoughtful balance between imperfection, craftsmanship and connection.