The Solid Homme Spring/Summer 2027 show space was a greenhouse in miniature: yellow netting draped from the ceiling, terrariums arranged on pedestals, moss creeping along the edges of the runway. The Korean house, under the creative direction of Wooyoungmi, titled the collection “After Nature” and used the set to frame an argument about the relationship between the natural and the artificial — a theme that felt particularly charged for a fashion brand producing clothing in one of the world’s most industrialised manufacturing economies.
The clothes themselves occupied the same liminal space. Tailored jackets in lightweight wool were cut with the precision of officewear but finished with outdoor-inspired hardware — webbing belt loops, metal grommets at the vent, pockets sealed with press-studs that looked like climbing equipment. Trousers swung between two poles: a wide-legged, almost fluid silhouette in washed linen that moved like a second skin, and a sharper, cropped version in cotton-nylon that felt technical and resistant.
Wooyoungmi’s colour palette shifted between soft neutrals — parchment, putty, oyster — and vivid bursts that appeared without warning: a chrome-yellow bucket hat, a vermillion silk shirt glimpsed beneath a neutral jacket, a pair of cobalt blue trousers that cut through the collection’s earth tones like a streak of mineral. These accents provided the collection’s emotional arc, moving from the subdued palette of the opening looks to a crescendo of saturated colour in the finale.
The collection’s commercial centre of gravity is likely to be the outerwear and the trousers, both categories where Solid Homme has built a loyal following. But the colour-blocked knits — particularly a panel-neck sweater that blended oatmeal, terracotta, and a stripe of the same cobalt — felt like the real sleeper hits. They offered the collection’s conceptual sophistication at a price point and silhouette that required no special occasion to wear.
The most convincing pieces were those where the natural/artificial tension was most acute. A washed silk shirt printed with a photographic image of bark texture read at first as a trompe-l’œil, then revealed itself as a genuine fabric manipulation. A raincoat in coated cotton had the appearance of waxed canvas but the hand feel of silk. These ambiguities — is this natural or is it engineered? — rewarded the close inspection that the greenhouse setting encouraged.
