Hodakova’s Spring/Summer 2027 collection starts with a strange feeling: something is watching, something is caught, and nothing is quite where it should be.
Presented at the Institut Suédois in Paris, the collection turned the covered garden into something between a washed-up shoreline and an industrial workspace. White chalk covered the ground – and by the end, everyone’s shoes were covered in it too. The clothes moved through beeswax, old washing-machine covers, antique linen, industrial netting, leather and sailing materials. But the maritime references never became literal costume. They felt more like traces of things that had been found, used and transformed.
And then there were the extra eyes.
Models walked out with a second pair of eyes sitting directly on their eyelids – sometimes drawn on, sometimes physically attached like tiny pieces of paper. The effect was genuinely unsettling. When they closed their eyes, the fake ones stayed open. Some models were practically squinting their way down the runway, trying to walk while barely being able to see.
Hodakova has spoken about wanting to highlight old habits and wake us up again. The eye became the most direct expression of that idea. It is difficult to look away when you are being asked to look differently.
EVERYTHING GETS A SECOND LIFE
The opening looks were made from deadstock lining fabric coated in beeswax. Dyed with natural materials including avocado pits and turmeric, they arrived in muted, sandy colours, forming dresses, coats and rainwear that looked almost preserved.
Then the materials became stranger.
Vintage washing-machine covers were transformed into dresses and two-piece sets. Antique linen became sailor-like dresses and nightgowns. Old industrial nets from Stockholm’s harbours slipped over shirts, chemises and skirts, while other sections were moulded onto upcycled leather to imitate the structure of fishing nets.
It is very Hodakova: nothing is treated as finished.
A material can move from one context to another, from something functional to something decorative, without losing the evidence of what it used to be. Even the collection’s most elaborate pieces still carry that sense of being made from something that already existed.
The same approach continued with the brand’s deadstock leather, patchworked into crocodile-like surfaces, and in a collaboration with Swedish glove maker Hestra, whose deadstock leather was turned into driving gloves that doubled as brooches.
CAUGHT IN THE NET
The further the collection went, the more the clothes started playing with how much you can actually see.
Sheer nightgowns revealed the body underneath, while nets slipped over dresses, shirts and skirts. Some looked like fishing nets thrown directly onto the clothes; others were moulded onto leather to imitate the structure of a boat’s netting.
And then came the wet dresses.
Not wet-looking. Actually wet.
Hodakova described the collection through sensations rather than simply objects: smells, sounds, sheerness, nakedness, coveredness, being caught in a net.
It makes the clothes feel less like a collection of separate looks and more like different states of the same environment.
WHEN THE HEAT BECOMES IMPOSSIBLE TO IGNORE
Behind all of this was a more contemporary anxiety: the heat.
Hodakova spoke after the show about her concern over increasingly extreme temperatures and the absence of rain. Rather than turning that anxiety into a straightforward climate statement, she seems to approach it through the materials and atmosphere of the collection.
The clothes feel humid, wet, exposed and slightly uncomfortable. There is a constant suggestion of water — even when there isn’t any.
The final section pushed the sailing references further, with heavy sailcloth, spinnaker fabric and thick anchor ropes collected from Stockholm’s harbours. The ropes were hand-knitted into sleeveless tops and tent-like dresses, while netting continued to appear across the body.
And yet, for all its references to boats, fishing nets and the sea, this isn’t really a collection about escaping to the water.
It is about noticing what is already happening around us.
The old habits, the materials we throw away, the weather we have become used to, the things we stop seeing because they have become normal.
Hodakova simply puts another eye on the face and asks us to look again.
