October 6, 2026

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MIU MIU SS27

October 6, 2026

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Plenty of fashion designers look to the future when creating, while others prefer to stare right into the past in search of inspiration. Miuccia Prada can do both, and both very well, but every now and then there is an opportunity for portraying the present, whatever that means in 2026, in her body of work. Mrs Prada’s Spring/Summer 2027 Miu Miu collection, “Here and Now,” is an exercise in just that.

And what represents our contemporaneity better than mixing, remixing, referencing, and self-referencing the way we wear clothes? In the form of 75 looks showcased on a royal purple catwalk set at the Parisian Palais D’Iéna, Mrs Prada proposed a closer encounter with our current, daily garments, so they could be recontextualised and elevated or improved; “an ambition to do better,” as explained in the show notes.

SS27 was eye candy for any Miu Miu aficionado, this writer included. Not just for its typically star-studded cast, which this year had Emma Corrin, Noah Jupe, Jamie Bell, and even Olivia Colman walk the show, but also for the range of key label codes that could be spotted, always used in a current way.

Zooming out, the collection was a blend of the classics – athleisure and sportswear, knits and vintage-looking items, leather and denim – with the regal: crystal embellishments, embroidered eveningwear, blouses, tailored suiting. Opposites that attract and evolve under Miuccia Prada’s Midas touch, creating something new.

Up close, elements such as the shoelaces, introduced initially during Spring/Summer 2024, are revisited and now spotted as denim detailing, skirts, dresses, and shoe fastenings, crossed and tied for a practical yet decorative and changeable effect.

In a collaboration with American denim brand Wrangler, heritage denim was reworked and upcycled, acknowledging circularity. Regarding both teaming up and shoelaces, SS27 also debuted the RC150 racing sneaker, marking Miu Miu’s fifth footwear partnership with New Balance.

Straight from the archives and redesigned for our day, age, and craving for a good brand revival were the geometric prints seen everywhere from blazer jackets, wrapped and cropped tops to swim trunks and criss-crossed halter dresses, referencing past collections such as Fall/Winter 2004, 2012, and 2015. Suede pieces were waxed and meant to crease, crack, and age over time, similar to the leather displayed during Spring/Summer 2026, intentionally crafted to seem lived in.

Bug-eye, oversized sunglasses gently nodded to Spring/Summer 2008, while chunky, crystal embellishments, another Miu Miu signature, this time appeared embroidered on the straps of silk tops and incorporated into more sporty silhouettes, also decorating babydoll mini dresses and pleated skirts.

On the theme of skirts, they’ve been all over Mrs Prada’s mind recently, as you might have heard. After this season’s Prada show in Milan, five different combos of pleated, knee-length plaid skirts opened SS27 at Miu Miu, with various other versions of the garment featured along the way. Expect to see them more often in everyday life; no one understands the concepts of here and now better than Miuccia Prada.

Words by Ketlyn Araujo

Martin Onufrowicz

October 6, 2026

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LACOSTE SS27

Martin Onufrowicz

October 6, 2026

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The Philippe-Chatrier court, one of the most recognisable tennis venues around the globe, was Lacoste’s creative director Pelagia Kolotouros’ chosen setting to showcase her Spring/Summer 2027 collection for the heritage French label. The space, marked by its orangey, terre battue – or clay court – flooring, is located inside the Roland-Garros Stadium, where one of the biggest tennis tournaments, the French Open, takes place yearly.

This season, Kolotouros turned clay into a central design element, reflected not only in the collection’s colour choices, but also in the material's more raw usage. It appeared, for example, settled on structured hems and applied to create a stained effect on white coats and trousers.

Tennis history is intertwined with the history of preppy culture, as one could not exist without the other. In between lies Lacoste. Inspired by two subversive and, at the time, rebellious acts, Kolotouros then aimed to insert a touch of playful liberation into the SS27 lineup.

First, she looked at an episode involving Suzanne Lenglen, a tennis player who, in 1919, during her Wimbledon debut, wore a short-sleeved, calf-length pleated dress, without a corset or petticoat underneath. At the time, after winning the tournament, Lenglen’s style choice was called “indecent” by the press. And there was, of course, René Lacoste, the tennis player known as “the crocodile” and later the founder of Lacoste, who famously cut the sleeves of his non-regulation shirt to achieve a speedy, lighter performance while playing. That’s how the polo shirt came about in the 1920s.

“Dress code: no white required,” was how Kolotouros named the collection, proving that classic sportswear can loosen up, ditch convention, and even appear sexy. Loose tailoring, washed and lightweight materials, and oversized printed T-shirts layered over long-sleeved tops all allowed for movement.

Embracing sweat as a signifier of honourable effort, a few black, white, and clay-stained garments mimicked a wet look, glued to the body with a crumpled and conscious effect. Polo shirts with messy collars and upside-down crocodile logos were paired with knitted ties; outerwear was practical, breathable, weather-proof, featuring nylon tracksuits and technological overcoats.

Besides the clay tones that matched the show space, pieces in cobalt blue, acid yellow, and burnt orange stood out from start to finish, merging with silver accents, olive, and earthy green shades. Pure white, mineral grey, and charcoal completed the mood board. Welcoming even more texture to the collection, Kolotouros showcased maxi yellow sequins, applied to skirts, tanks, and dresses, as well as pleats on graphic knee-length dresses.

Voluminous zip coats, relaxed A-line skirts, monochromatic shirt-and-shorts sets and skin-tight menswear tops styled with low-rise tailored trousers opened up the possibilities even more. Kolotouros is not calling for an anti-preppiness movement. Instead, it looks like a more up-to-date, freedom-led version of an ultimate classic.

Words by Ketlyn Araujo

Martin Onufrowicz

October 4, 2026

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YOHJI YAMAMOTO SS27

Martin Onufrowicz

October 4, 2026

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Returning to the opulent halls of the Hôtel de Ville, Yohji Yamamoto presented the SS27 collection that felt like a masterclass in elegant, intentional survival. In a world that seems more perilous by the day, Yamamoto remains a designer who grounds us, reminding us that the beauty of our existence lies simply in the quiet necessity of being present.

This season, the clothes carried an architecturally apocalyptic edge, yet moved with a wistful romance. The asymmetry of the cuts carried a striking architectural precision, leaning heavily into a profound concept of protection, yet this armour was far from heavy. In a contemporary landscape where many male designers continue to create overly complex garments suited more for the pages of an editorial than real life, there is an immense sense of relief in Yamamoto’s runway. He continues to craft clothing that is weightless, wearable, and inherently feminine.

This balance was beautifully achieved through an exploration of 20th-century modernism. The selection of wire-framed dresses that opened the show revealed a stark, geometric discipline, evoking the clean lines of a Corbusian structure. Meanwhile, abstract prints with painterly motifs felt akin to the works of Joan Miró and Wassily Kandinsky. This modernism was softened by a breathtaking fragility: delicately webbed, gossamer-fine knit dresses served as a metaphor for safety, paired with transparent, netted footwear that felt pragmatic for a future acclimatised to hotter summers.

There is an undeniable, poignant vulnerability emerging in Yamamoto’s work as he gets older. The traces of time have become more apparent on the runway, translating into clothes that feel more fragile, porous, and tender than ever before. It was as if the collection was acknowledging an ending. The world on the outside was fracturing, but inside the venue, Yamamoto was showing us the most beautiful way to honour transience. He proved that even in an unravelling world, we can still find a deep appreciation for its grace.

The profound effortlessness of his work lies in this precise ability to cut through the industry's collective noise, staying fiercely true to the philosophical and aesthetic sensibilities that have informed his practice for five decades. As the final notes of the soundtrack faded, Yamamoto emerged for his signature wave. On his way out, he turned back for a fleeting reprise: a

spontaneous, final gesture that felt like a quiet validation of both his lifelong methodology and this breathtaking result.

Words by Maximilian Kilworth

Martin Onufrowicz

October 4, 2026

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RICK OWENS SS27

Martin Onufrowicz

October 4, 2026

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As someone who considers themselves to be a practising witch, I prefer to observe the first of the month with rituals revolving around resetting and cleansing: clearing the energy of bad hookups away with incense, washing my hands with cinnamon, and for this 1st in particular, watching Rick Owens’ Spring/Summer 2027 Womenswear show. It’s a coincidence only the Prince of Darkness can conjure up.

Owens’ own witches, as expected, are of more unearthly fare. Emerging from the designer’s beloved Palais de Tokyo, the models graced a runway ramped above the water, flanked by jetting streams and enshrined amidst white fog. Transformed into beings of extraterrestrial delight, they donned magnified, doubled-up lashes; blown-out eyeshadow; Owens’ favoured Scleral black lenses, and sharply capped mullets – all stuff of Biblical terror.

Titled “STONE”, this season’s show gives its name a three-fold meaning. The first is stoicism, an ideology which arrived in the stately gowns ushering in the collection. Cast in a palette of pale neutrals, these channelled resilience and self-discipline through structured shoulders and dignified darting, both elements that materialised later again in black. The deliciously bejewelled, cage-like heels which appeared throughout the show probably go against what the Stoics preached about passion, which they considered an unnatural state that should be avoided. They also believed, however, that happiness came from inner peace, a state I know I could achieve if I possessed such footwear.

The second meaning refers to the stone rolled away from Jesus’ tomb, a sign of resurrection through release. Owens’ interpretation began with a sweeping, billowy dress – a departure from the more rigid pieces that came before. Other diaphanous, sheer creations populated the runway, punctuated by either precise pleating or chin-hugging collars. Structure still remained, yet the silhouettes were more loosely cut. Pointed, angular collars – a regular feature throughout this collection – became wider and more airborne, emulating wings. Undulating swathes of fabric melded into bodices. Snake-like boas trailed behind, unfettered by the heaviness of the past.

And then there’s the pentagram, which manifested in the tulle-bound exoskeletons towards the end of the show. It’s a symbol Owens has long used in his work, and only one of the countless reasons he regularly attracts accusations of being a Satanist. It’s also the most potent way of conveying the third meaning behind the show, which surrounds the act of casting stones. To Owens, pentagrams serve as a protest against intolerance and condemnation. For those who refuse to see beyond their own beliefs, they act as a litmus test, a visual reminder of their own judgement. For those who have been condemned, pentagrams represent a marker of protection, as summoned in the armour-like construction of those final ensembles.

In his show notes, Owens proclaimed that “Stars are magic symbols and I use mine to encourage an open heart.” It’s true that being involved in magic – or any spiritual practice for that matter – can have its consequences. One could be taken as a worshipper of the devil. Or become so embittered that the soul hardens beyond release.

As an acolyte of Rick Owens, though, I’d like to take my chances.

Words by Vicki Liang

Martin Onufrowicz

October 3, 2026

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ISSEY MIYAKE SS27

Martin Onufrowicz

October 3, 2026

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For Spring/Summer 2027, Issey Miyake introduced a collection inspired by the Japanese aesthetic concept of ma, referring to the gap or interval between things. For this offering, the concept is translated into the space between garments and the body.

This season, clothes are made for more than just covering or adorning. They create a dialogue between the garment and the body, one where graceful movement becomes the language and construction the medium of expression.

Each piece seems to have a life of its own. Garments breathe, move, transform and shapeshift according to the wearer’s movements. Through this approach to creation, fabric becomes more than just an object; it becomes a dynamic element capable of transforming and giving the body a new sense of freedom.

Highly experimental, the pieces showcase a mastery of construction techniques that is signature to the brand. Sculptural, voluminous silhouettes and asymmetrical shapes create an ethereal feeling as they move gracefully down the runway. Floating volumes, draping, layering and deconstruction give the collection its avant-garde and poetic sensibility.

The signature Miyake pleating is present throughout the garments, making them swirl, bounce and transform with each movement. Exaggerated collars, ruffles and cascading volumes enhance the sculptural approach of the pieces. Moulded bodices introduce a futuristic approach to the collection. This contrast between sculptural forms and fluid silhouettes adds a sense of richness.

Colours and textures contribute to the opulent visual language. Vibrant hues, including royal purple, bright blues and yellow, alongside lavender and pink accents, stand out against the black runway, creating a dynamic interplay. Metallic finishes also interact with movement, adding an energetic dimension. The interaction between construction, colour, shape, texture and movement results in a creative and experimental conception of modern fashion, where technology and artistry merge to create garments that feel like works of art in motion rather than simply clothing.

Words by Carolina Benjumea

Martin Onufrowicz

October 3, 2026

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GIVENCHY SS27

Martin Onufrowicz

October 3, 2026

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They often say it’s easy to tell when a designer loves women; you just have to look at their creations. The popularised statement, turned social media trend in the past few years, has an element of truth, yet it's nuanced. More importantly, the question is: how many designers are truthfully interested in hearing what women want when it comes to fashion?

At Givenchy, Sarah Burton is one of them. Since her first collection for the house, Burton has been open about the meaning of her creative practice. Her ultimate goal is to fulfil the dressing needs of contemporary women, without discarding their differences, similarities, and pluralities.

All of the above became crystal clear during Spring/Summer 2027, Burton’s fourth womenswear collection for the Parisian label. Taking into consideration how chaotic the world we live in is – even more so if you are a woman – she proposed a lineup of garments with a sense of balance and clarity. “A wardrobe to bring precision and simplicity to dressing as we speed through the multiple perspectives and perpetual motion of all our lives,” read the collection notes.

Here, the subject is in control, represented by an army of models meticulously cast, their clothes on the catwalk echoing their personal energy. A black-and-yellow leather dress, with metal side zips that serve as slits and climb onto the arms, almost becoming straps, opened the show. Colour-coordinating, heeled mules and a matching handbag, both with zip detailing, completed the look.

The motif was seen multiple times, which seemed to embody this sense of agency and power when choosing to dress or undress, protect or reveal. Micro black-and-white zipped hot pants were paired with unzipped, slouchier black leather boots plus a crisp white button-down, while a classic biker jacket and a black leather tank vest were also covered in zip fastenings.

Tailoring is notably one of Burton’s greatest skills, and this time her garments appeared either precise, with clean, sleek proportions, geometric and asymmetrical touches, or much more experimental. Black and pinstripe navy trouser suits, for example, had their jacket quarters placed subtly on top of each other in a fold, a technique also used in sleeveless vest iterations. Like an embrace, look 38 had its sleeves detached and placed diagonally, crossed over the torso. Ultra-oversized trousers contrasted with the more streamlined, timeless suiting styles, and deconstructed trenches came with sharp, short capes.

There was plenty of room for glamour and opulence, especially through the silk, printed separates, fringed and glistening floral-and-landscape-embroidered evening gowns. The use of primary colours, maximalist, playful pom-pom heels, peplum waists and hems, and a pair of white and blue column, floor-length dresses with sculptural, 3D gold hardware added an extra layer of drama.

On a similar note, the accessories, from stacked metallic bangles to leather and fringed gloves, mask-style sunglasses and pendant earrings and necklaces, topped off the styling. Sarah Burton understands women. In this case, it’s really not difficult to tell.

Words by Ketlyn Araujo

Martin Onufrowicz

October 3, 2026

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ACNE STUDIOS SS27

Martin Onufrowicz

October 3, 2026

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Have you ever imagined Marie Antoinette at a rodeo? Sure, it’s a far-fetched pairing, but that’s the beauty of fashion: bringing seemingly disparate influences together to create something entirely new.

Madame Antoinette has found herself once again back in the spotlight with the opening of an exhibition at the Petit Trianon celebrating the 20th anniversary of Sofia Coppola’s seminal, macaron-tinted film Marie Antoinette. It seems only fitting, then, that the queen should make her way into Acne Studios’ Spring/Summer 2027 wardrobe — though with a decidedly more rugged edge.

As the brand continues its three-decade-long reign over denim experimentation, creative director Jonny Johansson takes the exaggerated silhouettes of the French court and collides them with rebellious codes. Titled Denim Hystoria, the collection brings together traditional courtly dress, cowboy references and the unmistakable attitude of the American West.

Dramatic skirts are paired with tight tank tops that gleam like skin-tight patent leather, alongside equally snug jeans and pointed cowboy boots. Elsewhere, they are layered over leather moto-inspired capri pants, while sweaters riff on the polished proportions of a twin set. White and blue motifs recalling Chinese porcelain decorate white-denim Canadian tuxedos, giving the collection an unexpected decorative flourish.

The accessories, however, are where the fantasy really takes hold. Princess-like portraits appear on XXL pins and arm cuffs, while belts are finished with buckles resembling miniature frames lifted straight from Versailles. And the shoes? Well, the silky mules are surely what Marie Antoinette’s wettest of dreams were made of.

Words by Martin Onufrowicz

Martin Onufrowicz

October 3, 2026

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MAISON MARGIELA SS27

Martin Onufrowicz

October 3, 2026

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For Spring/Summer 2027, Maison Margiela’s Glenn Martens and the atelier he leads built the collection around the friction between two seemingly opposing qualities – hardness and softness.

The tension became palpable from the very moment of entering the show space in the 18th arrondissement, where Belgian floral artist Mark Colle built a landscape altered by time – bouquets were slowly rotting in their plastic packaging, singular stems were coming out of stacked paper boxes, and piles of flowers were gathering in corners of the room.

Their vivid forms return across the collection as floral prints, preserved in a state of permanent bloom. Short dresses matched their vibrant patterns with the lining of the coats worn on top (or were they a single conjoined piece altogether?), and draped gowns substituted obvious glamour with a melancholic quality thanks to their faded palette.

Hardened darts turn soft crewneck dresses into sculptural forms; reinforced skirts are softened with strips of humble cotton; and corsetry is pushed open to send swathes of fabric cascading from chest to ankle. Trench coats are reworked with jutting panels, tailoring folds in on itself with its lapels or hidden buttons, and dresses that should fall freely are reinforced and pulled into place. The result is a wardrobe oscillating between construction and collapse. Perhaps the most explicit exploration of that dichotomy comes in the form of a white sleeveless floor-length gown, on which an armour of flattened silverware is moulded to the body.

The accessories equally refuse to play by the rules. Briefcases, weekend bags and vanity cases are stripped of their usual rigidity and rendered in soft leather, while suede bags are waxed and designed to age. It is a staple Margiela play: take something we think we know, pull it apart and put it back together slightly awkwardly. This season, set to the soundtrack of Hole’s angry anthem Violet, the Maison simply makes the contrast more literal — giving hardness a softer side, and softness a little more bite.

Words by Martin Onufrowicz

Martin Onufrowicz

October 3, 2026

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BALENCIAGA SS27

Martin Onufrowicz

October 3, 2026

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Pierpaolo Piccioli named his Balenciaga Summer 2027 collection “Les Coraux de la Liberté”, in English, something along the lines of “the corals of freedom.” The title matches a 2025 art piece by French artist Aude Franjou, freely made of hundreds of metres of linen thread, dyed and woven, which sat in the middle of the maison’s show space. “I wanted an art object to accompany this collection, something capable of synthesising the core of what I had in mind,” wrote Piccioli on Substack.

What Piccioli had in mind lies in the fact that couture has always been at Balenciaga’s roots. More than a method or structure, for the designer, couture is a mindset, an ecosystem. Alive and influential, like coral reefs in the ocean. Summer 27, therefore, was all about applying highly crafty, handmade skills, and the couture-level knowledge developed at his debut Haute Couture Balenciaga collection, “55th”, to a menswear and womenswear RTW lineup.

Several all-white and off-white looks started the show, gradually incorporating Piccioli’s beloved electric colours alongside a substantial number of black pieces, with beige and brown hues added to the foundation. On the theme of pastels, there were pops of pale and bubble-gum pink, together with lilacs, light blues, and mint green shades. Vibrancy was guaranteed via bright orange, royal blue, plum, yellow and chartreuse, as well as a fuchsia shade resembling Piccioli’s legendary ‘Pink PP’, developed during his tenure at Valentino.

From this idea of turning typical everyday clothes into couture-worthy creations, such as a white tee, a cotton button-down, or a pair of denim trousers, were born versions of those garments built and cut meticulously. Following Cristóbal Balenciaga’s sculptural design ethos, they were meant to sit away from the body, even if subtly.

There were crisp button-downs, either narrow on the waist with an organic peplum hem or doubled with popped collars and structured cuffs. Utilitarian balloon trousers carried cargo pockets, while various textured dresses and asymmetrical skirts featured sequins, fringes, feathers, or coral-like tactile materiality. Navigating between sportswear and tailoring, fluidity and sturdiness, Piccioli further delivered with high-necked jackets and loose-fitting trousers, long, sheer eveningwear and leather outerwear.

In a modern-day version of a regal feature, ultra-voluminous, puffed sleeves graced one of the men’s shirts, as well as an olive jacket worn over a grey suit with double belts, the model’s turquoise jumper peeking underneath. Looking ahead and subverting his predecessors, Piccioli debuted bias-cut jeans at Balenciaga for the first time, with the technique also applied to shirts, menswear suiting, and evening gowns.

Words by Ketlyn Araujo

Martin Onufrowicz

October 3, 2026

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SAINT LAURENT SS27

Martin Onufrowicz

October 3, 2026

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For the past ten years, every season, Anthony Vaccarello has spoken to a certain person. Someone who knows exactly what they are looking for: a devotion to the work of Yves Saint Laurent and a commemoration of a glamour that is increasingly rare. Throughout the decade, the designer has distilled Monsieur Saint Laurent’s historic legacy into a vision that is anything but old-fashioned. Even with deep reverence, Vaccarello knows that his role is not to simply regurgitate, but to adapt, to translate. Through the continuation of the legacy, his time at the maison has given the world an understanding of the creative director’s principles. His adaptation of sacred text is just as pious.

His usual modus operandi was present from the beginning. The show opened beneath the sound of billowing, funereal music, the atmosphere charged with a sense of ceremony. Chandeliers hung low overhead, creating an artificial ceiling below an open sky.

The Vaccarello silhouette: high necks, broad shoulders, tightly drawn waists. Drama, unmistakably. Pussy-bow scarves trailed behind the models like split trains, their colours emblematic of Saint Laurent under Vaccarello — burnt oranges, deep greens, shades that felt pulled directly from the house's visual vocabulary and pushed into something darker. Vaccarello likes to drive the point home. He’s spoken at length about his tendency to hone in on a handful of silhouettes and experiment on them with materiality and palette. This season, the formula was inverted.

Gold became the show's great obsession. Heavy earrings framed open necklines, while new surfaces became canvases for the colour: embroidered palettes, embellishment, metallic textures. Texture itself became a kind of wonderland, each surface catching the light differently, allowing gold to become something more than a hue. It shimmered, reflected, cracked and softened.

Fur appeared at the collars and cuffs, adding another dimension of excess. There was an array of silhouettes, but they were held together by the same chromatic language: a collection unified not by uniformity, but by colour, material and mood. And then, gradually, the gold gave way to black. The volume remained, but the light disappeared.

Black dresses arrived enormous and grief-stricken, their proportions almost funereal. What had begun as a celebration of glamour became something closer to mourning. Texture, again, became the emotional language. It was a wonderland, a dream, a eulogy — perhaps even a parting gift. After a decade of translating reverence into something entirely his own, the feeling that lingers is one of gratitude: for the care with which, season after season, Vaccarello upheld Saint Laurent, so naturally and so completely that, for a moment, we forgot it could ever belong to anyone else.

Words by Pedro Vasconcelos

Martin Onufrowicz

October 2, 2026

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CARVEN SS27

Martin Onufrowicz

October 2, 2026

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At Carven SS27, a clean and modern look takes shape through experimentation with silhouettes, where movement and ease are at the centre. Architectural shapes ground the collection, balancing structure and fluidity.

The offering is rooted in a modern concept of femininity, one where comfort and ease are the main character, while refined tailoring brings elegance. The restraint in the cuts and volumes showcases a collection rich in meticulous precision.

Playing with proportion, lightness and transparencies, mini lengths feel youthful and playful. They walk alongside sculptural long garments that offer a more serious and mature perspective on style. Draped organza dresses introduce volume while creating an ethereal, almost whimsical effect against the otherwise structured looks.

Colour is essential in recreating this clean, soft, harmonious, and feminine allure. Soft pastels, from light blue and pale pink to butter yellow, sit alongside neutrals such as camel, white, navy, and black. One look in emerald green stands out, bringing a striking contrast to the collection's otherwise restrained palette.

Accessories remain minimalist, with XXL bags becoming statements against the pared-back garments. Pen-inspired accessories are placed in the hair, attached to jackets, and integrated directly into the looks, reinforcing Carven's playful yet discreet approach to accessorising.

Instead of seeing femininity as restrictive, the collection allows it to exist through movement and ease, showing that it can be expressed in a myriad of ways. Structured tailoring, sculptural volumes, playful proportions, and delicate fabrics come together to create a wardrobe for a woman who is not afraid to express her femininity and embrace it through her everyday style.

Words by Carolina Benjumea

Martin Onufrowicz

October 2, 2026

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BALMAIN SS27

Martin Onufrowicz

October 2, 2026

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Once the home of Karl Lagerfeld, the Parisian Hôtel de Maisons was Antonin Tron’s chosen venue to showcase his Spring/Summer 2027 collection for Balmain, the French designer’s sophomore show as the house’s creative director. In 1955, before stardom, Lagerfeld began his fashion career as Pierre Balmain’s assistant.

A trio of backstage photos from 1954, taken at one of Pierre Balmain’s shows, were posted on the label’s Instagram page shortly before SS27, serving as a hint for this season’s vision. Tron said the pictures were on his mood board the whole time he crafted the new lineup.

“These images are from Paris of the 1950s, but they could be today. Their sense of fragility and strength feels amazingly modern. The way they catch this crazy rush of women dressed and getting dressed… there’s realness in the glamour, and that’s something I love,” Tron wrote on the images, both in the post’s caption and collection notes, respectively.

Lingerie-style pieces, a recurrent – and current – trend across fashion weeks in the major capitals, were one of Tron’s proposals, inspired by the aforementioned photographs. Corsetry, bras worn as tops, and satin-made micro mini suspender skirts with hanging garters stood out. Pierre Balmain’s couture history and his fascination with opulent animal prints were, too, incorporated in the collection, along with ruching, draping, beading, and embroidery techniques.

Tailoring came into play with a nod to Christophe Decarnin, Olivier Rousteing’s predecessor and Balmain’s creative director from 20005 to 2011. Sharp-shouldered blazers and loose jackets made of eel skin were created using the Balmain classic 1970s pilot jacket as a silhouette reference, previously brought back by Tron in his debut show for the brand. Snake-printed coats and trousers, polished satin pantsuits and oversized jackets aimed to embody the mood of a ‘70s rockstar.

Blended with that were free-spirited, bodycon outlines in ultra-mini dresses, as well as psychedelic scenes of Los Angeles, which were turned into silk floral prints, as if they came out of a Californian fever dream. 1960-dated photos of Michel Foucault in California, while on an LSD trip, were also on the mood board. Tron’s choice of colour recalled the West Coast mineral desert and Hollywood sunrises and sunsets, with black, grey, and ivory paired with pastel green and blush pink, lavender and deep purple, pale yellow and bright gold, burnt orange and bronze.

Back to animal print, the SS27 assortment of wildlife patterns reflected the multitudes of the Balmain woman. A reptile, a feline, an amphibian, or all of them mixed; she’s got the range to choose from.

Words by Ketlyn Araujo

Martin Onufrowicz

September 30, 2026

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DIOR SS27

Martin Onufrowicz

September 30, 2026

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A study of lightness. That’s how Jonathan Anderson summarised his Spring/Summer 2027 womenswear collection for Dior. Clothing that flows with ease but, when looked at up close, hides an infinite array of intricacies.

“Tailleur is imagined as flou, and air is treated almost as if it were a material – an inherent part of lace, silk mousseline or organza,” the collection notes described. It’s the ultimate Anderson way of designing, even though the result this time appeared much slimmer, silhouette-wise, than his previous shows for the maison to date.

Once again, nature holds protagonism. Both through the set design, marked by camphor trees specially sourced and installed for the show, held at the Bassin Octagonal of the Parisian Jardin des Tuileries, and the organic, circle- and flower-inspired forms and structures of dresses, skirts, and hemlines.

Solo, cascading petal-shaped earrings graced a few looks, as did trailing draped scarves placed over the shoulders to emphasise movement, a direct consequence of breezy, summery softness. Still in the theme of flowers, they similarly surfaced via morphed printed pleats, mostly seen on midi-length dresses and skirts, as well as on patterned flower sandals and heels, crafted with petal shapes in mind.

Metallic, five-pocket trousers borrowed from the Men's SS27 collection were featured in golden, silver, and jade green, paired with a flowy, pale blue transparent top, an ultralight cream suit jacket, and a striped, matching button-down completed with a toffee-coloured blazer, respectively.

Iridescent hues and cropped pieces made a comeback from FW26/27, while miniskirts, fitted jackets, and voluminous waists were crucial signifiers of Anderson’s intentional, consistent creative language at the label. Almost a year and seven different Dior by Jonathan Anderson womenswear collections later, matching the clothing with the designer who made them is practically a given.

Layers of lightweight materiality recreated the asymmetry of nature, another major driving force for SS27. Zigzagging long-sleeved, striped blouses styled with fluid, loose skirts exemplified the vision. “Perfect symmetry is elusive,” an excerpt from a pre-show Dior Instagram post stated. Playing with proportions and the archives, a textured coat dress resembled the Bar Jacket, as if elongated and fringed, and circular cutting was done under a more fluid lens.

For contrast, ultrafeminine pieces, such as 3D petal-embellished minis, often teamed with utilitarian suede and rubber-soled slip-ons. Amidst the sea of pastels and nature-driven proposals, a few all-black looks also created a sense of juxtaposition, perhaps a subtle way of paying homage to Mathilde Favier, Dior's international director of public relations, who tragically passed away in a car accident in August.

Playful handbags, another Anderson favourite, returned to the catwalk, amplified by the black, white, silver and gold swan-shaped evening clutch revealed online beforehand to tease what was to come. A silver-finished minaudière, crafted to mimic the Chinese wénwán walnut, nodded to this season’s show invite: a pair of hand-rolling walnuts. Following the tradition, one must hold a pair of wénwán walnuts in the same hand, constantly rotating them around to achieve smoothness over time. The invitation noted that similar pairs of the nuts are famously difficult to find, making them highly valued. Everything is thoroughly connected at Anderson’s Dior; you can’t escape it. It’s in the air.

Words by Ketlyn Araujo

Martin Onufrowicz

September 30, 2026

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HODAKOVA SS27

Martin Onufrowicz

September 30, 2026

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For Spring/Summer 2027, Swedish designer Ellen Hodakova Larsson handed guests a show note folded tightly into a paper sailor hat. Unfolding it revealed a stream of consciousness, a manifesto touching on shame, desire, animals, husbands, climate anxiety, and the quiet violence of being alive. “I didn’t do anything,” one line read as an apology or perhaps a confession of collective paralysis.

Larsson has become somewhat of the poster child for conscious design, elevating discarded materials into sharp luxury. This season, the designer focused her lens onto our collective numbness. Painted wide-open eyes on models’ closed eyelids created an immediate uncanny valley eeriness. We are moving together in a hypnotic, slow-motion crawl, and the models looked unnervingly present and yet completely unseeing.

The garment progression mirrored that psychological weight. Opening looks teased a deceptive softness with deliberate pops of blush pink before swiftly yielding to rough blacks, pristine whites, and weather-beaten earth tones. As the show progressed, its message grew more visible. Translucent, wet-looking drapery clung to bodies as if the models had just emerged from the depths of the sea. Heavy rigging rope was hand-knitted into grand sculptural silhouettes, and industrial fishnetting transformed into sheer, body-skimming dresses. Dark armour bodices featured intricate scale textures made from upcycled material. Far from standard nautical attire, garments looked as though they were brought in by the tide, leaving a sea-swept trail behind.

As the models drifted by, a tension began to build. With fake eyes painted over their real ones, the audience was left caught in a bizarre stare-down. It captured our collective state of perpetual oversight, the unsettling realisation that keeping your eyes wide open is often just a mask for total internal detachment. We are looking, sure, but are we actually seeing?

Larsson’s material philosophy centres on memory and time, giving old garments a second life. For SS27, she takes a sharp existential turn, asking what we choose to do with what we inherit. The planet, the clothing, and the lingering aftermath. This evolution represents a crucial development for Hodakova, one that should become standard in an industry built on overconsumption. Here, a direct reaction to world events isn’t shallow marketing. Instead, it’s an urgent plea to reshape the understanding we have of modern luxury.

Words by Nomi Edman

Martin Onufrowicz

September 29, 2026

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GIORGIO ARMANI SS27

Martin Onufrowicz

September 29, 2026

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Moving forward, the Armani Group does not seem scared of the future. Such proof is Dario Vitale, appointed earlier this month as creative director of Emporio Armani and Giorgio Armani Accessories, the first to ever do so outside the Armani family. The premise, yet, is more about evolving than completely transforming. Rather, in good Italian, it’s “Evoluzione”, as Silvana Armani purposefully chose to name her Giorgio Armani Spring/Summer 2027 womenswear collection, the designer’s sophomore ready-to-wear lineup for the label.

She continued her journey to master the sweet spot between honouring heritage and legacy while still looking ahead, something she'd done since day one in the role. Last Sunday, a few Giorgio Armani traditions endured, among them the habit of opening the catwalk with slightly more casual pieces and ending the show with striking formal and eveningwear. All-time brand favourites, shimmering fabrics, sparkling embroidery, and sleek, sharp tailoring, too, served as stalwarts.

Butterfly motifs abound signalled the new era, while two distinctive looks paid direct homage to the late Mr Armani. A black, double-breasted suit paired with white gloves and a coordinating white rosette drew inspiration from a childhood photo of Giorgio Armani wearing his First Holy Communion attire, and a sequined, black-and-white bomber jacket featured an archival close-up portrait of Mr Armani posing in a tuxedo.

Against her uncle’s wishes, for the first time, Silvana Armani introduced cotton at the premium label via roomy trousers and knee-length shorts, often worn with strong-shouldered fitter jackets. Seen as “too humble” by Mr Armani, the material is one of his niece's absolute favourites. On a similar note, not a single hat was in sight, further going against Giorgio Armani’s famous penchant for headwear.

Colour-wise, navy and the classic Armani midnight blue were put on hold this time. Instead, Silvana Armani opted for a much more neutral palette, led by rich shades of black, white, and ivory. Graphic prints and patterns, silver and gold accents, were just as crucial; the latter glistening from start to finish and used as a strategy to sort of blur the lines between garments for day and night. The shimmer of it all also matched the XL disco ball hanging above the all-white, dance floor-inspired show space.

Given her previous Fall/Winter and Couture lineups, another of Silvana Armani’s main mottos is designing for the woman who praises elegance and comfort in equal measure. At SS27, its essence is similarly channelled through continuous fluidity, where garments sit freely on the body, and flat footwear makes total sense when paired with a formal dress. Even the more on-the-nose, objectively sexy codes such as slits, chainmail tops, and pronounced necklines carry a soft, organic sense of lightness. In good, Italian, andiamo.

Words by Ketlyn Araujo

Martin Onufrowicz

September 29, 2026

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BOTTEGA VENETA SS27

Martin Onufrowicz

September 29, 2026

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Bottega Veneta’s Spring/Summer 2027 show venue was composed of perfectly aligned cardboard boxes. Made to withstand the duration of the show, these resin-coated cubes were made by artist Illya Goldman Gubin. Even within a rigorous grid, the seats were not uniform – some identical in shape, others severely crumpled. The Ukraine-born, Berlin-based artist utilised these apparently fragile seats as explorations of vulnerability, hugging each of them with varying degrees of emotion. Immediately, online, speculations arose that the severity of the embrace on each seat revealed how Louise Trotter, creative director of the brand, felt about each of her guests. To think the British designer would use her time in such a way was to not witness the collection that walked amongst the Twitter frenzy-inducing seating. For her third season at the brand, Trotter shows an ever-growing prowess in manoeuvring historical codes.

Bottega Veneta is a house with strict symbols; its heritage is solid in the image of its rigorous intrecciato. Even so, Trotter finds a way to add movement. Extrapolating the idiosyncratic craft of the brand, the physicality of material manipulation is felt in raffia bags whose fringe almost skirts the floor, in hard knots on a navy coat’s front panel.

The idea of movement is intrinsic to the brand’s vision under Trotter’s guidance. Billowing pants and fringed scarves around the waist flow both against and with each other, while printed fringed swishes diagonally. Bodies move in tandem with garments, their proportions altered by the clothes that surround them. Incredibly, I hesitate to call it silhouette work. The word paints such a clear picture, one that is stiff, that resists against the body's organic movement. What Trotter does is different. Her use of volumes, the perfectly calculated weight of the silk on pants that pleat as they walk. creates a silhouette that changes its shape as the model walks. The perfectly calculated volumes are highlighted when in contrast with rigid silhouettes – a tight tailored jacket is paired with translucent white trousers.

Inspired by Milan, the city the British designer is now based in, the collection captures the organic borders in between seasons. What delineates their passing? Is it a date in the calendar? Is it the first night out where the jacket remains on the hand rather than over the shoulders? How can manmade borders delineate organic limits?

Words by Pedro Vasconcelos

Martin Onufrowicz

September 27, 2026

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EMPORIO ARMANI SS27

Martin Onufrowicz

September 27, 2026

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The Emporio Armani SS27 show was the last one for Leo Dell’Orco and Silvana Armani. From now on, it will be Dario Vitale who will imprint his vision on the brand. In their final rendition of Emporio Armani, the designer duo offered a vision that feels timeless yet distinctly contemporary, rooted in the brand’s mission to remain desirable while staying faithful to its own conception of style.

Loose and breathable fabrics, such as linen and organza, are seen throughout the collection. The silhouettes remain classic, but the play with proportions and textured fabrics gives them a very modern feel.

Accessories are scarce throughout the collection. This simplicity is refreshing, allowing the eye to focus on the fabrics, the construction and the details. The colour palette is restrained, with black, white, navy, indigo and grey leading the collection, while the styling remains largely monochromatic.

The collection plays with the concept of time, specifically the traces it leaves on objects. To explore this idea, salt crystals were used to transform fabrics, giving them a raw finish that disrupts the otherwise classic and soft look. Distressed fabrics further evoke the marks and imperfections left by time, introducing a sense of erosion and fragility into the offering.The collection also plays with layering and the characteristic simplicity of Armani through elegant silhouettes. Layering becomes a creative medium to express individuality through clothing, while elegance is conveyed through suits, some of them crafted in organza for a more relaxed approach.

Evening looks are distinguished by beading on sheer fabrics, creating a femininity that never becomes overtly sensual, but rather reflects the restrained elegance characteristic of the brand.

Words by Carolina Benjumea

Martin Onufrowicz

September 27, 2026

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TOD'S SS27

Martin Onufrowicz

September 27, 2026

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For Spring/Summer ‘27, Tod’s presented “Italian Attitude,” a collection rooted in a contemporary interpretation of Italian style through lightweight leathers, new proportions and the return of the Candy Bag. The collection is rooted in effortless elegance, while introducing a more playful attitude.

Pashmy techniques are one of Tod’s most recognisable expressions of craftsmanship, while leather becomes a medium for experimentation throughout. Perforations, movement and the way the material catches the light create an interesting interplay of visual textures, making otherwise polished designs feel more dynamic.

Colour blocking is key to the collection’s strong Italian-coded aesthetic, with touches of 1970s inspiration. Mustard yellow, orange and red appear alongside neutrals such as navy, white and brown, creating contrasts that give the looks energy.

Bare skin introduces a sense of sensuality through cropped tops and bandeau bras, contrasting with structured shapes and the technical appearance of the leather. The combination creates a look that is bold and contemporary while remaining grounded in Tod’s understated approach to elegance.

Capris and bermuda shorts contribute to a laid-back aesthetic, while trenches appear in perforated leather, Nappa and Windsilk, giving the outerwear a precise and structured character. Outerwear is a central part of the collection, with trench coats, safari-inspired jackets, belted pieces, shirt jackets and structured coats becoming the statement pieces of the silhouettes.

Skirts with movement play an important role, introducing a sense of deconstruction and fluidity. As the garments move, the leather takes on a different quality, shifting between structure and softness. Perforations, texture, movement and light transform classic silhouettes into creative pieces.

Words by Carolina Benjumea

Martin Onufrowicz

September 26, 2026

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GUCCI SS27

Martin Onufrowicz

September 26, 2026

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An hour before the Gucci show began in Milan, the brand’s official Instagram posted a letter written by its creative director, Demna. “The Store Show will be the first collection in which I present my complete personal vision for the brand (...).” With the announcement, Spring/Summer 2027 marks the third first collection the creative director has done for the brand. First, the glimpse of his vision came in Pre-Fall 2026 in “La Famiglia”, a collection of characters that cinematically epitomised the different iterations of the house. Then, in Fall/Winter 2026/27, his official first show, where, surrounded by imposing statues, his self-deprecating, decadent idea for Gucci fully emerged.

Immediately after the post went live, three of my group chats blew up. “What could this mean?” “I’m excited; I wonder what the new Gucci will look like?” “Does this mean up until now he’s been trolling us?” It’s hard to know what a designer like Demna is. The Georgian creative director has made a career off subverting the fashion industry’s tropes. His year at Gucci has been a continuation of it, analysing the brand’s relationship to the perception of luxury as a whole. For it, the Gucci client has been his most defined muse. Whereas most designers communicate an idea, a look almost independently of their customer’s, Demna works backwards, allowing his audience to fuel his wearable world. It makes sense then to host Spring/Summer 2027 inside a set made to resemble a Gucci store.

In that nearly perfect simulacrum, the line between store and museum was hard to place. Vases stacked atop impossibly small tables, glass cases filled with purchasable artefacts. To complete the fantasy, the soundtrack sounded like standard music, the type that would play in a store in a movie – agreeable, non-descript. As the smooth bass and drums started playing, the first look came out. A sharply tailored jacket, nipped in at the waist, lays over a shirt with a popped collar. Iterations with the same look follow, gradually filled with Gucci symbols. In shirts, horse bits appeared on collars, while belts grew, eventually taking on the entire waistline.

Demna’s idiosyncratic streetwear creeps in slowly. Alongside tailored coats, sweatsuits become more prominent. One particular iteration, in black leather, runs gold Gucci logos down its arms. A triple horse bit belt is worn low, avoiding the risk of being covered by cropped jackets. Silhouette remains the designer’s strong suit. In oversized shirts, shoulders stand separate from the model’s body. In a velvet coat, shoulders curve slightly inward.

Suddenly, the music's repetitiveness is interrupted. As the beat changed, so did the gender of the models. For the womenswear portion of the show, casting is outstanding. Older models invoke images of a familiar glamour, their lavish heavy coats adorned with perfectly shiny gold buttons. Younger models in tweed suits wear their hair down, while ones in tight dresses have it up. Some with titanic crocodile bags, others with sunglasses somehow even bigger. Animal patterns and textures punctuated the collection. Long leopard print coats walked alongside voluminous fur ones – a particularly striking one was worn by Rosie Huntington-Whiteley.

Slowly, the beat started morphing, the lights lowered. Models began appearing with heavier make-up, their eyes covered in black. In tailored capes, shoulders are razor-sharp. Anok Yai walked in a glittering lace minidress topped with a sculptural fur bolero. At Gucci, sensuality is as much of a house code as the horse bit. Just like the latter, the first is a medium for Demna – his ability to manoeuvre the brand’s legacy is undeniable.

Words by Pedro Vasconcelos

Martin Onufrowicz

September 24, 2026

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FENDI SS27

Martin Onufrowicz

September 24, 2026

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The opening line of a famous poem by American artist E.E. Cummings states: “I like my body when it is with your body.” Welcoming guests to the Fendi Spring/Summer 2027 show, Maria Grazia Chiuri’s third act since taking the creative helm at the Roman house, the phrase served as an invitation to self-reflection and its impact on dressing.

More literally, the label’s mirror-filled Milanese show space created an infinite, modern-day ode to ‘Cubo di specchi,’ a 1967-1975 performance and art piece by Italian conceptual artist Luciano Fabro. For Chiuri, it seems like staring at ourselves - and each other - is more than fundamental. It’s freeing; current.

Added to the vision was a 1974 televised music and dance performance of "Prisencolinensinainciusol,” by singer-songwriter Adriano Celentano and legendary performer Raffaella Carrà. The gibberish song, released in the ‘70s to mimic American English, was Chiuri’s chosen soundtrack for the season, while Carrà’s subversive, independent nature and celebrated body of work served as a major mood reference.

Woven into set design, concept, and music choices were, of course, the clothes, a continuous signifier of Chiuri’s recent aims of exploring how our bodies interpret desire. Compared to her previous Fendi shows, silhouettes remained straight-lined and clean, with lightweight undergarments and sheer, lingerie-themed pieces championed and adorned with embroidery, lace, and mosaic-like knitted elements.

As for the palette, black, white, and their muted variations continued to be a favourite, yet a subtle touch of vibrancy was now introduced through the use of blush pink and peach tones, light lime greens and sky blues.

Juxtaposed were fur stoles and mélange fur coats, previously seen on the F/W 2026 couture collection. Materiality and texture represented clashing notions of strength and fragility, contrasting between heavier outerwear and soft underwear, where silk shared the space with velvet, and shiny coatings merged with matte finishes.

Graphic and animal prints, burnt orange, olive and brown, equally contributed to the context. Leather chokers and fishnet stockings, rope belts and crystal-embellished headscarves, studded heels and deep V-neck cuts, the latter especially highlighted on the men’s looks, made SS27 part sexy, part glitter rock.

New iterations of the Fendi Baguette were placed on the catwalk to increase its all-time desirability factor, including ‘70s-inspired embroidered styles and the debut of a mini, phone-friendly version.

Following this idea of an interchangeable wardrobe, something Chiuri previously mentioned since starting to design for Fendi, the lineup aimed for a metamorphic effect, where masculine, feminine, and everything in between meet each other, with no boundaries. Infinite possibilities, just like in a mirrored room.