Spring Summer 2027 Womenswear
The Spring Summer 2027 Kiko Kostadinov Womenswear collection by Laura and Deanna Fanning began with the work of multi-disciplinary artist Nanda Vigo (1936–2020). An under-recognized figure within ZERO, the artist group founded by Heinz Mack, Otto Piene, and Günther Uecker, Vigo’s work treated light not simply as illumination, but as a material in itself.
The designers first encountered Vigo through a 2022 retrospective in Bordeaux and became drawn to her Cronotopo works of the 1960s, constructions in glass, steel, aluminium, and light in which space becomes unstable, perceptual, and continuously in motion. The idea of “cronos-topos,” time-space, became a starting point for thinking about clothing as an architecture that is constantly changing through movement and proximity, exploring how a body alters the space around it.
The collection translates these ideas through yarn and textile interpretations rendered through prismatic forms. “Chronotope” dresses are spun from cotton yarn to give the garment shape and ease, interrupted by translucent nylon through which light can pass. Executed in tonal whites and blues, they shift between opacity and transparency as the wearer moves. The garment becomes less a fixed form than a surface through which the body and space interact.
This play between structure and freedom runs throughout the collection. Triangular shapes are formed in tunics through darts alone, removing seams and allowing printed moiré fabrics to hold a sense of surface tension. Featherweight organza is draped into slip dresses and free-flowing headpieces, responding to the environment. Rectangular coats gather at the back to create generous shoulders and a swing that makes them feel gown-like in motion. Wool crepe and airy linen introduce further degrees of transparency, revealing depth through movement.
Vigo’s own uncompromising style informs a multi-layered perspective, where monotone and colour, opacity and transparency, softness and structure coexist. Made in Japan tailoring acknowledges the architecture of a working woman through sharp shoulders and darted waists, while familiar archetypes of knitwear—cardigans, twin sets, and polo dresses—are reimagined through contrasting intarsias, pleating, lace hole construction, and alternating repeats.
The clothes are not intended to transform the woman into another character, but to reveal different dimensions within her. Identity emerges through accumulation: how she dresses, gestures, occupies space, and carries herself. Pleats introduce rhythm and repetition, with bursts of colour creating moments of brightness within restrained surfaces.
Woven leather pumps, twin-colour stitched loafers grounded by a custom Kiko Kostadinov sole, and geometric Chronotopo sandals extend this language into movement. Completing the proposition: translucent, radiant makeup by beauty brand OMMAGE carries a luminosity reminiscent of the designers’ Australian upbringing.
The show space continues the dialogue with Vigo through Due Più chairs from 1971, produced by Acerbis, Andromeda (1974/2022), and Light-Light (2000), produced for Glas Italia. These works do not function simply as references or historical objects, but as active participants in the space: objects through which light, material, body, and time can be experienced together.
For Vigo, light was a means of transmitting something into the future. Here, that transmission becomes clothing: a shifting architecture carried by the body. The Spring Summer 2027 Kiko Kostadinov woman is not a static figure within space, but rather the driving force within it.
Credits
Collection Design and Direction: Laura and Deanna Fanning
Production: Experiential/H
Casting: Henry Thomas
Movement Direction: Ryan Chappell
Hair: Tomihiro Kono
Make-up: Masaé Ito using OMMAGE
Musical Direction: Bill Kouligas / PAN
Text: Steff Yotka
Communications: lbtissame Bellehouane
Looks List
ONE
A sheer wool duster coat in bright red is cut from a rectangular block and gathered at back to form bolded shoulders and a nipped waist. The illusion of a dress is enough. Only adding the Chronotope pumps.
TWO
The Chronotope dress in a gingham palette, marrying the sporty cotton knit with translucent nylon webs, enclosing the body in its own sculpture of knit and light. The dimensionality continues into Chronotope shoes.
THREE
Iridescent wool cropped wool jacket and pleated trousers capture the light transmitted by a cotton button-down in vermillion with triangular, pleated detailing. A nubuck leather bag adds storage potential.
FOUR
Triangular-shouldered Chronotope top in a mixed cotton and nylon knit harmonizes a vermillion cotton and tulle striped skirt, echoing the reflections of light and darkness throughout. Nappa leather, almond toe pumps in a Chronotope weave radiate the motif across
the body.
FIVE
A cargo pocket, washed cotton jumpsuit can be unzipped into a jacket and trousers, and its pockets unsnapped and re-applied in different locations, honoring the transformations and labour done throughout a woman’s life.
SIX
Rubberized cotton appears in an angular rain jacket and on the basque of a skirt with cascading wool crepe panels in a triangular motif that runs throughout the collection.
SEVEN
A sheer wool habotai pleat sleeve blouse creates a moody glow, tucked into workwear trousers in iridescent wool with modular pockets.
EIGHT
Iridescent pleated coat transforms the space over a grayscale Chronotope dress in cotton and nylon knitwear mix, grounded by Chronotope sandals and knitted socks.
NINE
The draped rectangle duster, gathered around her back, swooshes around the body in sheer wool, a smoky illusion.
TEN
A shimmering taffeta Victorian jacket with triangular slashed shorts in crinkled viscose. That tension of then and now, striding into the future.
ELEVEN
A trick of your eyes: The Chronotope top in a mixed cotton and nylon knit mirrors the matte cotton and gauze like appearance of the knit skirt, an imperfect harmony of shadows, all in tonal grays and blacks.
TWELVE
Referencing an ultra-feminine Victorian jacket from a costume archive, made in crinkled viscose, the past is brought into the future, paired with a coordinating crinkled viscose triangular pleated skirt. Changing the past to imagine a new suit for today.
THIRTEEN
Finding a new shape through the reimagined Victorian jacket in an airy silk linen blend with triangular dart-front trousers in crinkled viscose that creates a jutting forward shape at the hip. Progress comes from the past.
FOURTEEN
Check silk linen blend tailoring goes from a rugged jacket in a familiar cargo shape to the new, multi-pleated fitted skirt with triangular shapes folded into its hem.
FIFTEEN
Textured wool, cropped cargo jacket embraces function, layered over the blurred moiré top and shorts. Sloped Napa leather loafers ground the woman, with knitted socks adding carrying color and pattern to other parts of the body.
SIXTEEN
Testing the limits of knitwear in color: A matte cotton intarsia knit dress in lagoon and lapis over a matte cotton and tulle gauze knit top with lime knitted socks. The cotton absorbs color better, allowing for a brightness not often seen in knit ready-to-wear, as though the garments themselves radiate light.
SEVENTEEN
Jade habotai dress and skirt in bias draping morphs angles into motion. Both pieces are silhouettes that carry over from Fall 2027, brought to life again through new color and texture play.
EIGHTEEN
Experimentations in darting around the bust of a check linen blend jacket carries the geometries through to the wrap trousers. Worn with the coral reef-colored Chronotope top and lacquered black belt.
NINETEEN
How light moves underwater: The full Chronotope dress in Coral Reef with Chronotope sandals and Abalone shell earrings.
TWENTY
Brightness continues in a cotton intarsia top and skirt with contrast pleats paired Chronotope pumps.
TWENTY-ONE
The Iridescent wool of the jacket reappears in the skirt basque, creating a visual vibration with the jade taffeta pleats of the skirt. It radiates through the habotai blouse and black-jade Chronotope pumps.
TWENTY-TWO
A tailored jacket in Iridescent wool, worn with a cotton button-down in sky blue and wrap trousers in Iridescent wool, paired a pleated evening bag made of thermoset filament in sky blue.
TWENTY-THREE
Wrap trousers in monostretch wool with a tailored jacket in sateen black—an imperfect match to tease out new colors. Worn with cotton intarsia top in orange and navy for brightness.
TWENTY-FOUR
A play of dimension: Iridescent anorak over a tonal navy matte cotton and tulle gauze top and flat pleated knit skirt, on which the color play transcends the geometry. The colorplay extends into a red folded bag.
TWENTY-FIVE
Striped jersey tailoring made from a darted, sharp- shoulder top and bi-color cropped trousers brings the geometries latent in the collection and Nanda Vigo’s work to life.
TWENTY-SIX
Speckled jersey, dart-shouldered top carries its cobalt piping into check jacquard pleated trousers in indigo, fastened by the leather belt with polished wood buckle.
TWENTY-SEVEN
A sheer wool pleated coat in cobalt creates bursts of movement, pleats on pleats with a knit, color-blocked skirt in orange and navy. Bi-color socks and Chronotope sandals bring stripes and linear echoes into the footwear.
TWENTY-EIGHT
Full dimensionality: A tone-on-tone knitwear staple dress with a drop waist in matte cotton and tulle gauze. Chronotope sandals extend the surface tensions, worn with a pleated evening bag made of thermoset filament in black.
TWENTY-NINE
A check jacquard pencil skirt creates strictness against the flowing pleats of the sheer wool navy sleeves. Simple. With abalone shell earrings for added radiance.
THIRTY
A cotton, triangle-pleat shirt morphs the masculine with the feminine, tucked into our signature wrap trousers in black monostretch wool. Custom polished wood belt buckles in cherry complement red leather belts. The dynamic loafer allows for a wider range of work and movement.
THIRTY-ONE
The history of the velvet top—an art deco silk velvet piece reimagined in electric blue—with piped cuffs and a romantic aura fills out the rainbow with an intarsia pleated minidress in scarlet, fuchsia, and fog.
THIRTY-TWO
The signals of regular work made strange. Made-in- Japan tailoring of shadow check wool with seamed bodice and straight leg trousers, worn over a cotton, triangle-pleat top. The wood-buckle leather belt and brown loafer confounds conformity.
THIRTY-THREE
Dress in a custom, printed moiré in a blurred light repeat print referencing Nanda Vigo’s Light Tree. The outline of the dress is framed in cotton wadding, with shoulders that stay afloat with boning.
THIRTY-FOUR
A camisole top, bias-draped in two-tone, featherweight organza creates a cloud of motion over a fitted pencil skirt in melange wool with triangular tiered hem in silk viscose velvet. A black belt with a covered belt buckle holds her together.
THIRTY-FIVE
Sheer wool slip dress in mushroom is covered in featherweight, two-tone, Italian black organza with triangular drapery on the bias.
THIRTY-SIX
A dress in a custom Italian jacquard mirrors the pressed glass patterns of Nanda Vigo. The outline of the dress is framed in cotton wadding and shoulders stay afloat with boning. A wool felt head piece is hand covered in an Italian two-tone featherweight organza for movement. Legs follow the sheer quality of headdress in 10 denier tights. A kitten heel pump with an almond-toe shape has oversized piping for dimension.