LONDON, United Kingdom —  For London's next wave of young designers — already susceptible to cash flow problems from bearing the costs of production upfront before retailers pay for their orders — it's a challenging time. "It's fucking terrifying, you have to learn as you grow," said Phoebe English, founder of her 6-year-old eponymous brand, backstage at her recent Autumn/Winter 2016 presentation. "I feel steady, but the canvass that I am painting on is moving a lot. And I am trying to ensure that I remain super sensitive as to where that canvas might be going."

For her presentation, held at the Institute of Contemporary Arts, English transformed the subterranean space into a waiting room, where despondent models collected tickets from a deli-counter dispenser before sitting on benches, and processing to a photo area when their number was called. Given budget constraints, the concept was well realised, giving editors cause to pause a moment longer.

However, atmospheric lighting meant the “laboured construction” techniques English places at the centre of her brand were largely indiscernible. The exception were impressive woven monochrome intarsias, which had been inspired by white noise on television, while an oxblood leather apron dress, worn over a white shirt with what looked like an updated take on Edwardian cuff buttons, was another clear standout.

Entering her tenth season, English has entirely self funded her label. Backstage, she was duly proud of having taken on a third member of staff to help with in-house production, which still accounts for a significant proportion of manufacturing. “It is daunting. I am a designer, not a businesswoman. My aspirations for now are to pay my employees, pay the rent. You have to learn as you grow.” Two seasons ago, she launched a menswear collection with a series of simple cotton pieces (including shirts, T-shirts and trousers) that found immediate traction. “It’s much more commercial, in terms of production and the scale of stockists,” said the designer.