PARIS FASHION WEEK SPRING/SUMMER 2027: DAY 5

ISSEY MIYAKE
review by MAGDALENA ROE

all images courtesy of ISSEY MIYAKE

It began with a body in motion. A lone acrobatic dancer emerged, twisting, folding and extending with an almost swan-like grace. Every delicate yet intense movement sent the fabric moving with her, immediately revealing the idea at the heart of Issey Miyake’s Summer 2027 collection: the space between garment and body.

The Japanese concept of Ma, the space in between, provided the starting point. More dancers entered carrying a vast expanse of fabric, lifting it into the air before allowing it to fall and wrap around the body. A giant balloon appeared, piano played in the background and, for a moment, the entire space seemed to breathe alongside the performers. It was a play on the senses, but also a demonstration of how fabric changes once a body gives it life.

On the runway, pleating naturally remained part of the vocabulary, but volume took over. Oversized dresses and rounded, balloon-like forms expanded away from the body, contrasted by tight bustier shapes that pulled everything back in. Wrapped headpieces continued the play with proportion, while navy and intense blue moved into lilac, yellow and beige. At times, the combination of piano, soft colour and enveloping shapes had something almost lullaby-like about it, only with a surreal twist.

The opening dancer returned for the finale, rising through the fabric once again. It brought everything back to where it began: body, air and cloth in constant conversation. At Issey Miyake, a garment is never really complete – until it moves. And somewhere between fabric, body and movement, design became art.

LANVIN
review by TIANA DE HASETH

all images courtesy of LANVIN

Peter Copping is designing clothes for powerful and confident women while maintaining the signature elegance for Lanvin’s Spring 2027 collection. The lineup varies from refined workwear to nighttime elegance. Tailored pieces, embroidered gowns, robe-like coats, lace dresses, and two-piece sets creates the fluidity of the modern woman — one who can define masculinity and femininity without needing to separate them.

With simple cuts, clean tailoring, and minimal accessories, the luxury house embodies the powerful woman using long silhouettes and draped fabrics to blend masculine structure with feminine softness.

Lace, wool, and sheer fabrics create contrasts, while a palette of black, navy, red, white, and ivory gives the collection its pure elegance. Details like sequins and floral prints on fabrics, thin belts over the waist, large framed sunglasses and leather bags are completing the styling.

Copping shows a deep understanding of the modern women, exploring masculinity without restricting them from their pure femininity. His designs prove that power does not need to come at the expense of softness, and elegance.

OTTOLINGER
review by MAGDALENA ROE

all images courtesy of OTTOLINGER

You know an Ottolinger girl when you see one. For Spring/Summer 2027, Christa Bösch and Cosima Gadient returned to the codes that have made their universe so instantly recognisable, only this time with the confidence to let them speak for themselves. Mesh prints clung to the body, sheer skirts revealed more than they concealed and ultra-light sweat fabrics were twisted and manipulated into silhouettes that felt deliberately undone. Sexy, raw and unapologetically Ottolinger.

The body remained at the centre of it all. Transparency exposed flashes of skin, layers slipped across one another and familiar garments appeared stretched, wrapped or pulled out of place. There was a lightness to the collection that felt right for summer, but never anything too delicate about it. Even at its most revealing, there was an edge, the kind of controlled imperfection that Bösch and Gadient have turned into their own language.

And then there were Offset, Coi Leray and Heidi Klum walking the show. Not exactly the trio you expect to share a runway, which was precisely the point. More than celebrity cameos, their appearances played into the attitude of the collection: confidence, and a certain refusal to behave.

After ten years, Ottolinger knows exactly what it is. SS27 wasn't about abandoning the signatures that got the brand here, but owning them: mesh, skin, distortion and sex appeal, all pushed through that unmistakable Berlin lens. Sometimes evolution doesn't require starting over. Sometimes it means knowing your codes well enough to break them all over again.

GIVENCHY
review by NIA TOPALOVA

all images courtesy of GIVENCHY

Givenchy’s Spring-Summer 2027 ready-to-wear was Sarah Burton’s search for clarity, in longing for a return of a sense of precision, purpose and simplicity of dressing. It is substantial to note that Burton is one of the few women designers leading a major Parisian house; Backstage, she pays attention to how her models actually feel in the garments, explaining there isn’t one Givenchy woman, instead, there’s a multitude.

The first looks held their form in leather and silk jackets, gradually giving way to more fluid silhouettes such as cascading fringes, lace, and delicate embroidery. Among them were several deconstructed looks, where sleeves were detached and reimagined as collars.

Sharply-shouldered jackets sculpted into asymmetrical silhouettes, perfectly defining the waist, were balanced with sculptural dresses. Skirts were long on the sides while rising high at the front. Throughout the collection, softness was continually counterbalanced by a sense of structure, with garments and jewellery becoming one.

The palette was vivid and richly saturated, bringing further intensity to the collection and complimenting the floral motifs hidden within the garments. The collection showed Burton’s sensitivity and clarity of vision, demonstrating a considered approach to the House and its identity.

YOHJI YAMAMOTO
review by NIA TOPALOVA

all images courtesy of YOHJI YAMAMOTO

After facing the Parisian chaos for yet another fashion season, we were all patiently waiting for Yohji’s show, the one that will let us take a breath, finally. A while ago, the House started placing notes on the chairs urging guests to be present and experience the show with their eyes rather than the screen. This season too, Yamamoto offered an invitation to “let the moment, the movement, and the clothing speak to you, they are meant to be felt with your senses, not merely digitally recorded.”

Yamamoto does not give much of an explanation about his collection, except that it’s very much French. The collection was centered around distressed dresses in patchworks and layers of sheer fabrics adorned with white knotted rope. Gowns made of weightless knits, strips of shredded wool, trailing fringe and flashes of red. The body remained his starting point. In Yamamoto’s hands, the colour black changes through texture, volume, transparency, layers, and movement. The garments were fluid, moved independently, and had plenty of space to breathe, essential to his work.

Red, blue, lilac and brown made an appearance after several seasons dominated by black, with each silhouette interacting with the one before it, and the one after it. Somehow, our beloved Japanese designer manages to never repeat himself while remaining so faithful to his design language. After the finale, the 83-years old Yamamoto stepped onto the runway to receive his much deserved applause, completely melting our hearts once more.

VICTORIA BECKHAM
review by TIANA DE HASETH

all images courtesy of VICTORIA BECKHAM

Victoria Beckham explores the true sense of freedom through the dynamic movement of radical 1920s dance for her Spring Summer 2027 collection. Born out of rebellion against strict classical ballet positions and gestures, this new era created a new movement where dancers could move more freely and have a greater relationship with the body.

Once they rejected symmetry, a new relationship with choreography, paintings, and other artistic expressions was formed where they all collided together. It was through this liberated spirit that Victoria Beckham found the inspiration for a collection where garments can move around the body through long, loose silhouettes, asymmetrical lines, and cut-outs.

The details of hand-painted flowers, beaded wave gems, and kissing birds on the pieces evoked this relationship perfectly, proving that art and movement can be expressed through fashion.

The lineup was inspired by the 1920s colour pallet with black, beige, royal blue, mint green, baby pink, and olive.

The oversized suits and flowy dresses brought flexibility for the models on the runway, creating a collection where rejection turned into freedom, freedom turned into a movement and movement turned into a beautiful wardrobe for the Spring Summer 2027 collection.