Clothing sometimes creates its own space around the body rather than following it. This is one of the best starting points for Pierre Cardin's experiments with form when watching the house's new show. The spring and summer 2027 collection featured in the programme on 6 October 2026, the final day of Paris's womenswear fashion week; the official collection page also provides a video.
The official video of the new show is today's Fashion Week TV recommendation. We identified the link through the film embedded on the fashion house's own website. Artistic direction is by Rodrigo Basilicati-Cardin, whom the brand page of Paris Fashion Week organiser FHCM also lists as artistic director.
Sortiraparis's recommendation, updated on 7 October, connects the new collection's graphic silhouettes and garment construction with the house's futuristic heritage. Futurism, however, can become a worn-out description if it means no more than a striking mood. Our viewing suggestion therefore concentrates on shape: watch where a garment follows the body's line, and where it becomes an independent surface.
The archive image offers a tangible point of comparison. The photograph shows a 1956 Pierre Cardin bubble dress: the gathered lower edge of its pink skirt holds inflated volume beneath the waist. The image was taken at a museum display in Cleveland in 2017. It is not a piece from the 2027 collection, but an example of the house's earlier thinking about form.
The ASU FIDM Museum's historical account traces Cardin's experiments with the bubble silhouette to 1954. The museum also explains how full shapes standing away from the body appeared in several kinds of evening dress in the late 1950s. The distinction matters: the date of an archive garment does not necessarily match the year a shape first appeared, and a silhouette's history can extend beyond one house.
A moving figure in a video provides different information from a fashion photograph. Start with the overall image, then return to the shoulder, waist and lower hem. Where does volume begin, where does the garment hold it, and in which direction does it move next? These are our own observational questions; we do not attribute intentions to the designer that he has not expressed.
Volume and comfort are not the same thing, however. A conspicuous lower hem can change the rhythm of walking, so the body's movement is at least as important as a garment's outer outline in understanding a silhouette like this.
For Hungarian viewers, historical comparison can be useful in fashion education and in reconsidering one's own wardrobe. With an emphatic skirt, a simple top plays a different role than it does with a close-fitting cut. Observing the proportions of volume can help with choices more than dismissing an entire show under one dramatic style label.
Today's film can consequently be watched as more than a quick runway recap. It places fresh moving images beside a form inherited from the past, for readers to interpret with their own eyes. On the next viewing, choose a single detail: that is when the many possibilities in the apparently simple decision of whether a garment remains close to the body become visible.
Related reading: Nanushka's Between Moments film.
Watch the video
