Buyers and wearers gain a sunlit, handmade alternative this season as Giovanna Flores pushed craft, play and wearable flexibility to the foreground of her Spring 2027 ready-to-wear. The collection treats visible handwork and collage as organizing principles, producing pieces that are meant to be altered, mixed and remixed by the person who wears them.
The Story in Pictures
Flores, a California transplant who launched her line with her Pratt graduation collection and now works from Brooklyn while consulting for other brands, has become an indie figure in fashion after Chloë Sevigny, Ayo Edebiri and Greta Lee appeared in her one-of-a-kind pieces. That burst of attention set the tone for a presentation that felt open and improvisational rather than tightly composed. “It just feels like summer in a really nice, wholesome, sweet way. I felt that energy a lot in these pieces,” Flores said of the collection.
She explained her process in detail, arguing for an intentional rawness at every stage: “It’s hard for me to say, but I try to keep this rawness about everything where it does feel like a balance in tension in things. And I think sometimes the phases between draping, patterns, muslin, final fabric, every step dilutes something, so every phase sort of tones the final outcome down a bit. And also this is my situation right now: I do everything. I source everything. I have an assistant help here and there, but most people have people for different steps. You see one person’s hand and I think that must show.”
The looks traded polish for improvisation. A long dress in red, green and blue with white romantic sleeves and a draped, bustled low back acted as a bright focal point. A multi-layered “skeleton” dress used several slip silhouettes in overlocked, transparent tulle to build color and depth. Small interventions — a T-shirt with stuffed shoulder pads that let the padding color show through, a metallic pink stretch front paired with a cotton magenta back — leaned into deliberate mismatch.
Material limitations were treated as prompts. Flores discovered lawn chair webbing can only be sewn in straight lines and used that restriction to compose linear patterns. She added chunky, ’80s-style colored gems to embroidery on a black leather jacket and a floaty blouse, pieced triangular scraps into falling-lace effects, and spliced jeans with a denim skirt to accommodate trailing, colorful inserts. Several pieces are convertible and intentionally depart from standard sizing, inviting wearers to flip, reconfigure or resize garments to taste.
At a moment when appetite for analog goods is rising, Flores’s hand-forward, playful collection stakes a clear position in contemporary ready-to-wear, offering retailers and consumers pieces that foreground labor, limitation and personal adjustment over automated uniformity.
