At Milan Fashion Week, Maria Grazia Chiuri uses poetry, pop culture and conceptual art to explore the body, gender and freedom in her Fendi debut.

<a href="https://www.lofficielsingapore.com/fashion/fendi-maria-grazia-chiuri-first-couture-show-rome" title="Maria Grazia Chiuri Stages First Fendi Couture Show in Rome" target="_blank" rel="noopener">Maria Grazia Chiuri</a> opened her <a href="https://www.lofficielsingapore.com/fashion/fendi-baguette-layering-handbags-accessories-itzy-yuna-celebrity-styling-bags" title="Fendi Wants You to Start Layering Your Bags Like ITZY's YUNA" target="_blank" rel="noopener">Fendi</a> Spring/Summer 2027 show with a line from E. E. Cummings: “I like my body when it's with your body.” It sets the tone for a collection that puts the body before the clothes, using fashion to question ideas of gender, modesty and convention.
Cummings's unconventional poetry, with its physicality and rejection of traditional syntax, becomes a fitting reference. Chiuri brings that same sense of freedom to the collection, where masculine and feminine are treated less as fixed categories than as fluid spaces that overlap.
Lace and embroidery become less about traditional seduction and more about the freedom to reveal. The attitude recalls Raffaella Carrà, whose performances in the 1970s turned the female body into a statement of independence. Chiuri draws on that spirit without reducing Carrà to nostalgia.

The show's setting reinforces the connection between pop culture and conceptual art. A monumental mirror inspired by Luciano Fabro's Mirror Cube multiplied the models on the runway, while the soundtrack brought together Carrà's Rumore and the playful Prisencolinensinainciusol by Adriano Celentano.
The clothes themselves thrive on contrast. Misaligned lengths, clashing textures and unexpected combinations bring gloss against matte, silk against leopard print, and velvet against parchment. A smoking jacket moves from private dressing into the street, while bejewelled shoes add a punk edge to tailored silhouettes.
Rather than resolving these oppositions, Chiuri lets them collide. Formality meets transgression, masculine meets feminine, and decoration meets irreverence.

At the heart of the collection is a broader rejection of gender hierarchy. Men and women share the same codes without either being presented as a variation from an established norm. Instead of simply borrowing from the opposite wardrobe, Chiuri questions the idea that such divisions need to exist in the first place.
That is perhaps the defining idea of her <a href="https://www.lofficielsingapore.com/fashion/bang-chan-va-huh-yunjin-gop-mat-trong-chien-dich-fendi-pre-collection-thudjong-20" title="Bang Chan and Huh Yunjin In Fendi Fall/Winter 2026 Pre-Collection Campaign" target="_blank" rel="noopener">Fendi</a> debut. Rather than introducing another aesthetic formula, Chiuri asks us to reconsider the assumptions built into the way we dress. Here, the body is not simply what clothes cover. It is the starting point of the conversation.

Celebrities at Fendi's Spring/Summer 2027 Show

Stray Kids' Bangchan. (Courtesy of Fendi)

TWICE's MINA. (Courtesy of Fendi)

Ren Meguro. (Courtesy of Fendi)

Tan Jianci. (Courtesy of Fendi)

Heart Evangelista. (Courtesy of Fendi)

Meng Ziyi. (Courtesy of Fendi)

Maria Grazia Chiuri Redefines the Body for Fendi Spring/Summer 2027

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