David Koma began spring 2027 with a contradiction taken from figure skating, and specifically from the machinery behind Tonya Harding’s story. The glamour was the surface, he said, and the interesting part was the labour required to make something difficult look easy.
Compulsory figures appeared as crystal spirals centred with mother-of-pearl, embroidered onto dresses and then cut away as openings. Gathered satin formed circular voids, and transparent black mesh stretched across the body in fine geometric shapes, a second skin with a drawn plan.
The styling then softened the whole proposition. Satin bombers and voluminous shorts read as warm-up clothes, and a draped jacket closed into a protective cocoon, as though the collection were admitting that athleticism needs recovery time.
Commercially the proposal is clean. The separates are the entry point, the embellished cardigan and the pleated skirt being the pieces a buyer can place beside a plain tank without explanation, while the boned fringe dresses carry the window.
The result was a wardrobe of two temperatures. Rose, mint, ivory and silver ran against stark black, and sculptural structure dissolved into fluidity within the same look, so that a rigid bodice could end in a hem that moved on its own.
