Best Of New York Fashion Week SS27
New York, In Ten Collections
written ALBAN E. SMAJLI
documented NOA LESCHE
New York Fashion Week has rarely depended on a single definition of New York style. Its relevance comes from contradiction: commercial polish beside improvised presentation, established names sharing the calendar with designers still working out of small studios, and familiar American clothing pulled apart by people whose experiences of the city are anything but uniform. Spring/Summer 2027 made those differences particularly visible.
Photographed for LE MILE by Noa Lesche, this selection brings together ten SS27 collections shown across New York. It includes debut appearances, long-awaited returns and designers revisiting the ideas and techniques that have shaped their work. ThreeASFOUR returned to the runway after five years, using denim as an everyday material and a starting point for experimentation. Magda Butrym staged her first New York show, bringing her precise and sensual vision of womanhood to the city. Terrence Zhou’s BAD BINCH TONGTONG continued to explore how radically clothing can change the shape and presence of the body.
What can be done to a shirt, a military jacket, a pair of chinos or an oversized hoodie before it stops belonging to its original category? Avon Anglers and Ethan Lewy worked through recognisable menswear archetypes, while Clara Son introduced instability through twisting and knotting. Alienant turned streetwear into protective volume; Science Project Company examined the visual codes of hierarchy. Big Ocean’s collaboration with Andy Yu brought Korean pop culture into conversation with British military and Victorian references. RIO, meanwhile, looked towards plants, saturated architecture and the physical suggestion of new growth. Together, these collections offered something more accurate: ten distinct positions on clothing, identity and presentation, documented across a city whose fashion culture remains strongest when it resists speaking with one voice.
MAGDA BUTRYM SS27
MAGDA BUTRYM SS27
MAGDA BUTRYM
For her New York runway debut, Magda Butrym named the collection Natalia, referencing Polish artist Natalia LL and a model of femininity authored from within rather than arranged for an external gaze. Broad-shouldered coats and severe leather blousons were placed against transparent dresses, lace, lingerie constructions, feathers and pearls. A runway strewn with roses reinforced the brand’s familiar romantic vocabulary, but the collection was strongest in its harder collisions: foil-coated outerwear over exposed skin, or a black trench containing something almost weightless beneath it. Butrym’s sensuality remained deliberate, controlled and conscious of its own image-making power.
MAGDA BUTRYM SS27
MAGDA BUTRYM SS27
MAGDA BUTRYM SS27
ALIENANT
Yuchen Han titled Alienant’s SS27 collection A Glimpse of Divinity, beginning with a childhood image of an ant carrying a grain of rice larger than itself. That improbable burden became a study in endurance: oversized hoodies, track jackets and loose trousers surrounded the body with protective volume, while distressed surfaces kept the clothes from appearing comfortably insulated. The streetwear language itself was familiar, but Han made it personal through imbalance, abrasion and an almost defensive scale. Presented at New York Men’s Day, the collection framed resilienc as the physical effort of carrying what appears impossible.
ALIENANT SS27
ALIENANT SS27
ALIENANT SS27
ALIENANT SS27
CLARA SON SS27
CLARA SON
Clara Son disturbed tailored clothing through physical gestures that remained visible in the finished garments. Fabric twisted across the torso, seams changed direction and sections were gathered or knotted instead of settling into conventional symmetry. The presentation extended that instability through performance, allowing the clothing to be understood in movement rather than as a sequence of isolated looks. Son’s approach was most convincing when the intervention remained economical: a controlled fold or displaced fastening could make an otherwise familiar piece feel psychologically unsettled. SS27 continued her interest in menswear as an emotional form, capable of suggesting vulnerability without abandoning structure.
CLARA SON SS27
CLARA SON SS27
AVON ANGLERS SS27
Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer
AVON ANGLERS
Patrik Rzepski approached American menswear from inside its most recognisable categories. Chinos, checked shirts, pleated trousers, denim and hoodies were retained as practical clothes, then reconsidered through fabric, proportion and construction. Japanese rainwear material gave a technical character to familiar shapes, while upcycled Carhartt trousers and bleached T-shirts introduced the evidence of prior use. Produced in New York, the collection resisted heritage nostalgia and gratuitous deconstruction. Its strongest pieces relied on small disruptions: a more deliberate volume, an unexpected surface or a workwear reference refined without being cleaned of its original purpose.
AVON ANGLERS SS27
AVON ANGLERS SS27
BAD BINCH TONGTONG
Terrence Zhou’s bodies rarely occupy only the space conventionally allowed to clothing. For SS27, hooped constructions pushed skirts far beyond the hips, spherical forms appeared to hover around the models and translucent fabric kept even the largest silhouettes unexpectedly light. Neon pinks, acid greens and illuminated elements gave the runway the heightened colour of an imagined world, culminating in Saweetie’s closing appearance. The collection’s spectacle rested on serious control: structures bounced, swayed and shifted without collapsing into static costume. Zhou’s achievement was to make extreme volume feel responsive to movement, giving fantasy a physical logic of its own.
BAD BINCH SS27
BAD BINCH SS27
BAD BINCH SS27
BIG OCEAN × ANDY YU SS27
BIG OCEAN × ANDY YU
Created with Big Ocean, the Korean group recognised as the first deaf K-pop boy band, Andy Yu’s collection assembled an unlikely vocabulary of British military dress, Victorian romance and hard-wearing denim. Cadet jackets were cropped or softened with lace; floral appliqués spilled from a blouson; loose shirting acquired ornamental overlays. Rather than translating the band’s identity into merchandise, Yu developed a fuller visual proposition around performance and communication. The ceremonial elements gave the clothes presence, while denim and workwear prevented the collection from becoming overly precious. It was among New York Men’s Day’s most resolved and genuinely surprising collaborations.
BIG OCEAN × ANDY YU SS27
BIG OCEAN × ANDY YU SS27
ETHAN LEWY
Ethan Lewy describes his work as “charming menswear,” and SS27 gave the phrase substance without relying entirely on nostalgia. Classic tailoring and neatly composed shirts appeared in spirited colours, faded camouflage, painterly checks and loose, ink-like patterns. The silhouettes remained legible, allowing surface and fabric to carry much of the collection’s personality. Made partly from luxury deadstock textiles, the clothes possessed the slight irregularity of pieces discovered rather than uniformly manufactured. At times the whimsy approached preciousness, but Lewy’s restraint in construction kept the presentation grounded. Its appeal lay in making conventional polish feel individual again.
ETHAN LEWY SS27
ETHAN LEWY SS27
RIO
Rio Uribe’s Horizons looked to the architecture of Luis Barragán and to plants as models for colour, proportion and growth. Sun-faded pink, deep cyan, indigo and succulent green moved through relaxed sportswear, elongated silhouettes and more emphatically sculpted forms. Flowers and carnivorous plants informed shapes without being reproduced as polite decoration; their opening, folding and consuming structures were translated into volume around the body. Presented with RIO’s characteristic mix of streetwear and unapologetic individuality, the collection treated renewal as something physical. New beginnings arrived through saturated colour and silhouettes that appeared to be actively expanding.
RIO SS27
RIO SS27
SCIENCE PROJECT COMPANY SS27
SCIENCE PROJECT COMPANY
Heginz Janvier called Science Project Company’s collection Reading the Room, using military clothing and technical tailoring to examine the social codes through which hierarchy and belonging are recognised. Uniform references appeared in controlled layers, functional detailing and garments that signalled different positions within an implied chain of command. The clothes drew equally from hip-hop’s use of dress to communicate status, protection and affiliation. Rather than reproducing literal service uniforms, Janvier focused on how authority is constructed visually—often before anyone speaks. The collection’s precision gave those questions clarity, while its street-level practicality prevented the concept from overwhelming the clothing.
SCIENCE PROJECT COMPANY SS27
SCIENCE PROJECT COMPANY SS27
THREEASFOUR
Returning to the runway after five years, threeASFOUR built its SS27 collection around denim, described by the designers as a “uniform of humanity.” New jeans and archetypal jackets appeared beside archival forms reconstructed in indigo-dyed cotton and repurposed vintage Levi’s. Spiral-cut, reversible trousers demonstrated the trio’s geometric pattern-making at its most functional; elsewhere, tetrahedral structures, illuminated icosahedrons, bubble helmets and a 3D-printed butterfly-wing dress pushed the material into speculative territory. The scale of the show occasionally bordered on excess, yet its central proposition remained clear: familiarity does not exclude experimentation. Even the most universal garment can support an entirely singular system of construction.
THREEASFOUR SS27
THREEASFOUR SS27
THREEASFOUR SS27
THREEASFOUR SS27