Di Petsa Spring/Summer 2027

Dimitra Petsa has never been interested in making fashion that behaves itself, and Spring/Summer 2027 continues that instinct with a collection centred on motherhood, self-mothering and the physical connection between bodies. Her signature wet-look draping remains, but this time the familiar sensuality is complicated by dangling white cords, padded bras and tethered forms that reference umbilical connections. It is theatrical, deliberately excessive and unmistakably Di Petsa — although the concept occasionally threatens to overpower the clothes themselves.

The strongest pieces are those where Petsa’s construction does the talking. White satin, brown mesh and red silk are wrapped, twisted and gathered around the body, creating silhouettes that appear almost liquid. The draping remains remarkably effective because it does more than expose the figure: it changes how the body is perceived beneath the fabric. The recurring cords are less successful when treated as literal symbolism, but become more interesting when integrated into the garments as movement and texture rather than simply announcing the collection’s maternal theme.

Petsa also used the runway to expand the idea beyond conventional femininity, placing men in her clinging gold and white fabrics as part of a wider meditation on how we care for lovers as well as ourselves. That gives the collection a more complicated emotional premise than its visual language might initially suggest. Still, there is a fine line between conceptual fashion and performance for performance’s sake, and some of the runway spectacle — particularly the fountain of milk from a pregnant model — risks becoming more memorable than the clothes.

Ultimately, SS27 demonstrates both the strength and limitation of the Di Petsa universe. Petsa has developed one of London fashion’s most recognisable visual languages, and her command of draping, wet-look fabrication and the moving body remains distinctive. But the challenge now is finding new ways to push that language without relying too heavily on spectacle. When the clothes are allowed to carry the idea, Di Petsa is at her most convincing.