Missoni Spring/Summer 2027

Alberto Caliri’s Spring/Summer 2027 collection for Missoni is built around a simple premise: clothes should move as easily as the person wearing them. Presented in the cloisters of San Simpliciano, the collection imagined an itinerant wardrobe inspired by Rosita Missoni’s instinct for travelling lightly while retaining a little cultivated eccentricity. There is no specific destination, and that lack of destination is important. Caliri is less interested in resort dressing than in the act of getting dressed when plans are constantly changing.

That idea gives the collection its deliberately improvised quality. Crumpled hats, thick socks worn with delicate sandals, oversized bags and belts appear alongside balloon trousers, low-slung pants, easy peignoirs and drawstring-gathered tabards. Nothing feels particularly precious, even when the materials are. A soft dress can be pulled together with a chunky talisman; a knit can be tucked into a belt; evening shimmer can sit comfortably beside something that looks borrowed from daywear. The styling is loose enough to suggest that the wearer dressed herself rather than being assembled by a stylist.

Caliri also continues to loosen Missoni’s familiar visual language. Chevrons, zigzags and geometric patterns remain unmistakable, but they are stretched, blurred and partially dissolved, sometimes interrupted by sequins or metallic threads. An archival pattern first introduced by Rosita Missoni in the 1980s is reworked through transparent sequins, producing a liquid surface across second-skin dresses, tank tops and cropped jackets. The contrast between matte and iridescent surfaces is particularly effective because it makes the famous Missoni pattern feel less static. It becomes something that changes as the wearer moves.

The collection’s weakness is also its greatest risk: the philosophy of effortless dressing can become so relaxed that individual pieces lose some definition. Yet Caliri seems increasingly comfortable with that lack of hierarchy. SS27 does not insist on separating day from evening, practical from decorative or humble from precious. Instead, it lets those categories collapse into one another. The result is not a radical reinterpretation of Missoni, but perhaps a useful reminder of what makes the house distinctive in the first place: its patterns have always been happiest when they are allowed to move, collide and go slightly off-script.