As a starting point, designer duo Laura and Deanna Fanning looked into the work of Italian architect and designer Nanda Vigo for their Kiko Kostadinov Spring/Summer 2027 womenswear collection. Part of Zero, a Düsseldorf-based group of creatives who practised kinetic art using light and motion in the 1950s and ‘60s, Vigo was historically underrepresented compared with her male peers.
Defining the SS27 Kiko Kostadinov woman “not as a static figure within space,” but rather its main driving force, Laura and Deanna Fanning were inspired by Vigo’s ‘Cronotopo’ works from the ‘60s to create clothing that served as a constantly changeable architecture, capable of shifting according to where it was inserted, proximity and/or movement. The body was a key vessel, carrying garments that were made to interact with light and move with both freedom and structure.
The show opened with a banger, a midi-length, rectangular, bright red sheer wool coat with sharp shoulders and a slightly cinched waist, giving the appearance of a dress. Paired with it were the ‘Chronotope’ pumps, named after Vigo’s body of work and highlighted by a prismatic effect. Besides footwear, which also included sandals, there were ‘Chronotope’ tops and dresses, the latter seen in white and blue shades, made from cotton yarn and translucent nylon for added sheerness. Simultaneously opaque and transparent, the pieces altered their finishing as per the wearer’s bodily motion.
A sense of lightness, previously explored during Fall/Winter 2026 at the label, returned this time via ultralight slip dresses and camisole tops made of sheer organza, as well as flowing headpieces often attached to the garments. Geometric, triangular forms and motifs were seen from start to finish, appearing in everything from shorts silhouettes to pleated skirts, button-downs to sharp-shouldered tops.
Tailored jackets in iridescent wool and satin black were paired with wrap trousers, while sheer materiality and fabric construction were championed further via the use of linens, crepes, and techniques such as pleating and intarsia, especially seen on knitted jumpers, matching sets and dart-shouldered tops.
As for the palette, among neutral white, beige, black and grey, there were fundamental pops of cobalt and teal blue, olive, metallic jade, and pastel green, deep red, bright pink, neon yellow, and orange tones, as well as a touch of mushroom-coloured browns. Colour, as well as garments, was used to convey dimension.
“For Vigo, light was a means of transmitting something into the future,” read the collection’s notes. You can say the same about Laura and Deanna Fanning’s work at Kiko Kostadinov: it’s adaptable, changeable, and future-ready.
Words by Ketlyn Araujo
