Marni S/S 2027 Keeps the Weird and Sharpens the House Codes

Marni Keeps the Weird, Sharpens the Tools for Spring 2027

The threads and pieces from Marni’s Spring/Summer 2027 runway show arrived in Milan with a very clear mission: do not blow the house up just to prove there is a new hand at the wheel. For her second collection as creative director, Meryll Rogge works the opposite way — editing, exaggerating and exposing Marni’s familiar codes until they feel newly strange again.

Via Milan Fashion Week, Rogge’s Marni comes off less like a clean-slate rebrand and more like someone going through the family wardrobe, pulling out the oddest pieces and asking what still has bite. The answer is plenty: awkward scale, heavy hardware, off-kilter sportswear, raw surfaces, tailoring that refuses to stay polite and enough contradiction to keep everything from settling into one easy mood.

Meryll Rogge Isn’t Reinventing Marni — She’s Editing It

Rogge described the collection as an exercise in continuity: deciding what to keep, what to stretch, what to shrink and what to remove. That instinct is all over S/S 2027. Classic Marni details are not treated as sacred objects. They get enlarged, miniaturized, displaced, turned inside out and pushed into combinations that feel slightly wrong in exactly the right way.

A loose ’60s current runs through the collection, but Rogge also reaches into the late ’90s and early 2000s without turning the show into archive cosplay. Sack-like shapes harden in raw calfskin, modernist embroidery interrupts surfaces, while appliqué and ornament appear almost as found objects rather than precious finishing touches. The clothes keep arguing with themselves: soft versus structured, decorative versus industrial, familiar versus purposely off.

Hardware Gets Huge, Then Tiny, Then Moves Somewhere Else

Scale becomes one of Rogge’s favorite troublemakers. Buckles go oversized, then suddenly miniature. Elastic gets blown up. Buttons migrate away from where you expect them. Linings and internal construction are left visible. Industrial triple stitching stops hiding in the seams and starts behaving like part of the design language.

That slight sense of something being “off” has always been one of Marni’s best instincts. Here, Rogge does not try to clean it up. She makes it more deliberate. Even the palette — grays, brunettes, blacks and blondes — plays with the idea of hair color rather than conventional seasonal color stories, giving the collection a human reference without making it literal.

The Menswear Loosens Up Without Turning Into Costume

For the men’s looks, workwear and tailoring keep colliding. Suit trousers pick up utilitarian details; color-blocking breaks up familiar proportions; knits carry tiny sequins; halter constructions and unexpected openings loosen the usual masculine silhouette. Rogge’s own description of the effect is almost perfectly Marni: present, but not shouting.

That restraint matters. The collection has weirdness, but not chaos for the sake of chaos. The silhouettes are allowed to sit oddly on the body, details are pushed out of scale and the styling keeps nudging things slightly off balance, but the clothes still read as clothes someone might actually want to live in. Marni’s oddness survives because Rogge is editing it, not performing it.

The full runway makes the point more clearly than any one look can: this is not Marni trying to erase its previous lives. It is Marni deciding which parts still matter. Rogge keeps the artiness, the awkwardness and the instinct for contradiction, then gives them a drier, more urban edge. For a house that has already been reinvented more than once, that may be the more interesting move.

And that is really the S/S 2027 story: less reinvention, more precision. Rogge is still establishing her Marni vocabulary, but this second outing sounds more confident about what deserves to stay in the sentence.

Sources: Marni; FY Magazine!; Vogue Runway. Collection presented during Milan Fashion Week.