David Koma spent the last year taking Blumarine somewhere darker. Gothic romance, Venetian nights, femme fatales, black lace, weaponised roses. The house’s old sweetness was still there, but it had grown teeth.

For Spring/Summer 2027, Koma seems to have decided to let her have fun again.

The show starts in black, with a dramatic tulle silhouette, a cut-out bodysuit and feathered heels. Then comes pink. A lot of it. Tulle, feathers, tiny silhouettes, flowers, glitter and enough exposed skin to keep the Blumarine woman recognisable. But the mood isn’t particularly dangerous anymore. It’s softer. Fluffier. Almost marshmallow-like.

And then the UGGs arrive.

Yes, UGGs. Some covered in crystals, some worn with tiny dresses, sharing the runway with feathered heels and glittering slippers. Suddenly, the Blumarine woman doesn’t seem particularly interested in choosing between glamour and comfort.

Why should she?

THE SWEET SIDE OF BLUMARINE

There is something more relaxed about this Blumarine. It still wants to be sexy, but it doesn’t seem desperate to prove it.

The collection plays with the tension between fitted, body-conscious pieces and huge, soft volumes. Skinny corset silhouettes meet fluffy skirts. Floral dresses are wrapped in glossy plastic and worn with shoes that look almost like slippers. A baby tee can sit next to a dramatic tulle skirt. High heels return, then disappear again under feathers, crystals or something much more comfortable.

It feels strangely close to how people actually dress now. Why choose between comfort and appearance when you can have both?

We love a baby tee. We love a giant skirt. We want to wear something ridiculous and still be able to walk home in it. Blumarine isn’t necessarily inventing this way of dressing, but Koma understands the appeal of putting things together that aren’t supposed to belong together and making the combination feel effortless.

SEXY, BUT MAKE IT SOFT

The sexiness hasn’t disappeared. If anything, there’s plenty of skin. But Koma keeps cushioning it with something softer.

Huge silver necklaces become almost armour against the sweetness of the clothes, suddenly shouting I’M HERE over otherwise delicate silhouettes. Sheer fabrics expose the body, while feathers, florals and crystals keep interrupting the nakedness.

A pale-yellow cropped knit is ruched up to reveal a sheer, crystal-covered bodice, opening into a huge matching skirt of fluffy, translucent volume.

Lingerie becomes outerwear, too. A barely-there pink lace slip sits somewhere between a camisole and a mini dress, its translucent floral layers revealing the body underneath while the scalloped hem keeps it sweet rather than overtly sexy.

Even the knitwear refuses to stay basic. Floral prints are given feathered edges and soft textures, making the pieces feel pretty without looking too polished. It is sexy, but there is always something slightly effortless about it.

That might be the difference between this and the darker Blumarine we’ve seen recently. The woman is still showing off. She just looks like she’s having more fun doing it.

A LITTLE GOTHIC NEVER HURT

The gothic hasn’t completely disappeared.

Skeleton-like motifs quietly appeared in Milan between the flowers and feathers, almost like leftovers from the darker Blumarine we’ve seen from Koma recently. The darker references don’t dominate the collection anymore; they sit underneath all the pink, blue, feathers and glitter.

Instead of turning Blumarine into a completely different woman, Koma lets the darker side stay in the background while the softer one takes over.