Niccolò Pasqualetti Spring 2027

Niccolò Pasqualetti has the eye of a magpie. Objects, materials and fragments of everyday life seem to become starting points for the designer, and for Spring 2027 that instinct led to Brazilian artist Lygia Clark and her “Relational Objects”, tactile works made from ordinary, unprecious materials. Pasqualetti was particularly interested in what happens when a shape meets the human body: how something that begins as a square, triangle or line can shift, distort and acquire an entirely different character once it is worn. “I started working with my hands on very three-dimensional shapes and trying to work out how they can evolve and move on the body,” they explained backstage.

That idea of movement ran through a collection that rewarded a closer look. From a distance, the clothes appeared familiar enough: a jacket, a cardigan, a dress. Up close, their construction became much more intriguing. One jacket was assembled from multicoloured strips of leather, suede and translucent viscose, while a cardigan combined panels knitted in different directions and varying yarn gauges. Workwear and rugged materials added another layer of experimentation, with heavy canvas giving balloon trousers a sculptural volume and cords pulling crepe dresses and shirt sleeves into new shapes. The effect was less about decoration than transformation. Garments appeared to be constantly negotiating with the body, tightening, expanding, folding or pulling themselves somewhere new as they moved.

Pasqualetti has been careful not to let the brand become fixed around a single idea, describing evolution as an antidote to that kind of rigidity. Spring 2027 made that philosophy tangible. Some experiments pushed further than others, but that willingness to allow clothes to remain slightly unresolved is increasingly part of the appeal. The collection was not interested in creating a perfect silhouette and leaving it untouched; it wanted the wearer to complete the process. In Pasqualetti's hands, clothing becomes less of a finished object and more of a moving sculpture, changing depending on how the body inhabits it.