Paris Fashion Week: Victoria Beckham Gives Fashion Something to Dance About as Sheer Dresses and Sculptural Tailoring Find Their Rhythm

The fluidity of one of Victoria Beckham's dance-inspired designs for the new SS27 collection shown in Paris at the gothic La Conciergerie. Cover picture of Issey Miyake by Filippo Fior.

For Spring/Summer 2027 at Paris Fashion Week, Victoria Beckham looks to the artistic revolution of the 1920s, when dance, painting and fashion began to challenge established ideas of form. At La Conciergerie, that influence emerged through sheer dresses, painterly prints, sculptural tailoring and a sophisticated play between weight and movement. The collection arrives at a pivotal moment for the house, following its first operating profit and the introduction of a new red lipstick. Story by Isabella Lancellotti 

Beckham's new red lipstick called Rouge

Victoria, was launched on the Paris runway.

THERE was something almost deliberately contradictory about Victoria Beckham choosing La Conciergerie for Spring/Summer 2027. Beneath the Gothic stone vaults of the former prison where Marie Antoinette spent her final days, Beckham presented a collection rooted not in historical costume, but in one of the great artistic ruptures of the twentieth century: the moment when dance began to break away from ballet’s prescribed vocabulary and seek a new language for the body.

The 1920s provide Beckham with more than a period reference. They were a moment when choreography, painting, music and fashion began to overlap in increasingly experimental ways. Dancers questioned the architecture of the classical body; artists questioned the boundaries of the canvas. Beckham translated that same curiosity into clothes, asking how much structure a garment can contain before the body begins to dictate its final form.

There is also a new maturity in the commercial acuity of the collection. Victoria Beckham’s business recorded its first operating profit in 2025, reaching £7.3 million, while revenue across fashion, leather goods, make-up and fragrance increased 15 per cent to £129.8 million. The achievement gives the collection a different context. Beckham is no longer establishing whether the fashion house can survive beyond its founder’s celebrity; the numbers indicate a business with increasing traction across several categories.

Beauty has become an integral part of that equation. The runway introduced Rouge Victoria in House Red, a new lipstick developed over two years. Applied to the majority of the 44 models, the matte-velvet red was deliberately striking against otherwise polished, natural complexions. Because the gesture was so simple, the saturated red mouth cut through the collection’s more nuanced palette.

Victoria Beckham’s business recorded its first operating profit, reaching £7.3 million, while revenue across fashion, leather goods, make-up and fragrance increased 15 per cent to £129.8 million

Hand-painted flowers and translucent

georgette created a delicate aesthetic.

The most evocative dresses were cut from translucent viscose georgette, their asymmetric, wavering lines creating an almost drawn quality around the figure. Tiny ball beads replaced conventional hems, giving the delicate fabric a counterweight. 

As the models walked, the beads pulled the dresses downwards while the sheer material responded upwards and outwards. The effect was less about decoration than physics: weight becoming part of the design.

Painting entered more directly through hand-painted flowers and kissing birds, motifs that recalled the extraordinary collaborations between choreographers and visual artists during the period. 

The Ballets Russes had already demonstrated how costume, set, painting and movement could become one visual language; Beckham approached the idea from a contemporary perspective, transferring painterly gestures onto dresses, knitwear and crêpe viscose rather than treating the 1920s as a source of retro imagery. Her own history with ballet makes the reference particularly pertinent. Yet there is no attempt to reproduce the stage. Instead, its influence is absorbed into a collection where line, weight, suspension and rhythm become design principles.

Elsewhere, coloured fragments taken from the backgrounds of 1920s portraiture appeared almost like pieces of canvas translated into cloth. Bows were threaded through dresses and knitwear as constructional devices, while pleats and tucks created garments whose forms seemed to be determined by the relationship between fabric and body.

Beauty has become an integral part of the label and the Paris runway introduced Rouge Victoria, a new lipstick developed over two years, applied to the majority of the 44 models

A starched cotton shirts and soft Nappa

suede bag made for a stylish look. 

The contradiction became more appararent in the more streamlined pieces. Starched-cotton shirts and mini dresses opened like paper fans around the figure, recalling the curious relationship between paper dolls and their clothes. Pleated geometric forms maintained their shape while leaving space for the body beneath. 

Trench coats folded into sculptural silhouettes suggestive of couture, yet were made from exceptionally light technical fabrics. Tailoring followed the same principle: elongated jackets, floating high waists and oversized trousers maintained Beckham’s precision without turning it into rigidity.

The accessories continued the modernist vocabulary. The new Fontana buckle divides Beckham’s familiar B into a lighter graphic form, while the oversized Sloane bag abandons stiffness for soft Nappa leather and suede that can be gathered beneath the arm. Flat bags take their cues from 1920s shapes, while sculptural wedges introduce another conversation between industrial construction and organic form.

What makes this collection interesting is therefore not simply its reference to dance, nor its polished commerciality. It is Beckham’s understanding that modernism was never merely an aesthetic. It was a way of reconsidering how things function. At La Conciergerie, she applied that principle to the wardrobe: how a hem can become a moving line, how a bow can alter construction, how weight can animate fabric, and how tailoring can retain authority without dominating the woman wearing it.

In that sense, Spring/Summer 2027 feels less like an exercise in looking backwards than a conversation with the artists who first questioned where one discipline ended and another began. Beckham has taken that century-old argument and brought it into her own precise, increasingly confident fashion language.

See the full collection below from Victoria Beckham's Spring/Summer 2027 Collection in Paris

Paris Fashion Week: The Shape of Things to Come at Issey Miyake as Fabric Takes Flight and Finds Its Own Form

Vivid colour and ballooning forms were highlights of the Issey Miyake show in Paris for the new SS27 womenswear collection. Cover picture by Filippo Fior. 

Issey Miyake's artistic director Satoshi Kondo brought a sense of movement and play to the Spring/Summer 2027 collection, filling the Paris Dojo with inflated silhouettes, floating pleats, sheer layers and brilliant colour. From ballooning ripstop coats to sculptural moulded tops and fluid knits, the clothes constantly shift between structure and softness. Behind this spirited wardrobe is Kondo’s fascination with what happens between the body and the garment, a space that gives fabric room to move, expand and change with its wearer. Story by Ambrogio de Lauro. Photographs by Andrea Adriani and Filippo Fior

The billowing fabric and dancers that

opened the Paris Issey Miyake show. 

SATOSHI Kondo began with a simple experiment: a vast sheet of lightweight cloth, lifted into the air and allowed to reveal its own possibilities. Before there were coats, dresses or pleats, there was movement, the fabric floating, collapsing, stretching and catching the air.

That experiment became Kondo’s latest exploration of ma, the Japanese concept of the space between. But rather than approaching the idea as an abstract aesthetic principle, Issey Miyake gives it a physical presence. The space between body and garment becomes the place where clothing comes alive.

The collection was introduced at the Paris Dojo through an extraordinary opening performance. Eleven dancers, led by Tess Voelker, moved beneath and against an enormous piece of pale fabric, transforming it into something that appeared simultaneously like a sail, a wave and a breathing organism. The choreography established the central proposition before a single look appeared: clothes need not remain fixed around the body; they can respond to it.

Kondo and his team had worked with a ten-by-ten-metre piece of lightweight fabric before beginning the garment-making process, watching how it behaved in motion and against the skin. “It’s the ma in its purest form,” Kondo said. “That play really serves as the source of this collection.” The comment explains much of the resulting wardrobe, where experimentation precedes construction and the material itself becomes an active participant in the design.

Dancers moved beneath an enormous piece of pale fabric, transforming it into something that appeared simultaneously like a sail, a wave and a breathing organism

Ballooning jackets and skirts swelled

into fluiid, rotund shapes with ripstops.

Volume is consequently liberated from weight. Ballooning jackets and skirts swell into rounded forms using lightweight ripstop, while sheer garments billow around the body rather than enclosing it. Fine, translucent yarns create another kind of movement, allowing colour and skin to shift beneath the surface. Horizontal pleats animate the clothes further, bouncing and changing with every step.

The collection also demonstrates how far that philosophy can be pushed into three-dimensional form. Developed with Wacoal Corp, the Cocoon series uses three-dimensionally moulded forms to blur the boundary between garment and anatomy, drawing on the image of a silkworm creating its protective cocoon. Elsewhere, Fluiglyph translates the movement of water into seamless knitwear, while hand-twisted Balloon pieces preserve the sense of fabric being manipulated directly by hand.

Even the colour palette participates in this atmosphere of movement. Azure, raspberry, lemon yellow and pink appear across transparent and opaque surfaces, while hand-marbled organza produces the soft iridescence of soap bubbles. The effect is exuberant without overwhelming the underlying discipline of the clothes.

What distinguishes the collection is the sense that the garments have not been forced into their final forms. They appear discovered rather than imposed. A sleeve lifts, a pleat rebounds, a ballooned silhouette expands; the wearer completes the design simply by moving through it.

For Kondo, the space between body and fabric is therefore not an absence. It is where the action happens. This collection makes that invisible territory visible, through air, movement, volume and the remarkable ability of cloth to behave as though it has a life of its own.

See the full collection below from Issey Miyake Spring/Summer 2027 in Paris