RUNWAY ROUNDUP: BEST OF BERLIN FASHION WEEK SS27

To me, every look in a collection is like a verse. Each one builds on the last until they come together as a poem.
Berlin Fashion Week Spring/Summer 2027 delivered four days full of creative ideas, playful silhouettes and statements that didn’t need words. One thing I couldn’t stop noticing after the first few shows was how every collection found its own way of playing with time and the beauty of knowing nothing lasts forever. Let’s dive into the shows that inspired me the most.

If there was one collection guaranteed to give Baby Boomers a headache, it was DAGGER SS27: LIFESTYLES OF THE BORED AND DISENFRANCHISED. Luke Raines takes us back to the British seaside town he grew up in, where skate culture shaped an entire generation long before algorithms did.
The collection lives somewhere between fairground lights, warm summer nights, beach parties in the dunes and awkward walks home at sunrise that feel more freeing than shameful. It’s built around the firsts that stay with you forever: first jobs, cigarettes, kisses and heartbreaks.
Ripped baggy denim, holey tanks, loud Hawaiian shirts and sun-faded colours look like they’ve survived endless skate sessions in worn Vans without anyone caring too much about the bruises. You know, every scrape turns into a story you’ll laugh about years later, before life starts measuring you by productivity instead of memories.
Backstage, I asked one of the models to describe their outfit in three words. “Young, sex and having fun”. The models taking a selfie halfway down the runway didn’t feel performative at all, it just felt completely normal. While Gen Z keeps getting labelled lazy for wanting freedom instead of burnout, DAGGER flips the narrative with ironic sashes reading “Miss Understood SS27” and “Miss Spent Youth SS27”.
The collection revisits last season’s characters, letting them grow into themselves instead of chasing the next new thing. The graphics, from stars and yin and yang symbols to tie dye, lipstick kisses, camo and animal prints, felt like the sticker-covered underside of a skate deck.
By the final look, Raines made his message impossible to ignore. A T-shirt reading “Employ Working Class Kids” closed the show with exactly the kind of honesty old fashion needs more of.

CLASSICAL REMINDER von KOLYA BOGATYREV felt like stepping into a place where space and time stopped following the rules. For a second I thought I had landed on another planet, until it hit me that everything I was looking at already exists right here on Earth. We just stopped paying attention to how magical it actually is. You never see time itself, only the marks it leaves behind. That’s the thread running through the entire collection.
Familiar pieces like shirts, tailoring and uniforms returned in reconstructed forms without hiding their past lives. Ties stretched into unexpected shapes and maps appeared like symbols of orientation. The show moved through three different rooms, each opening up another layer of time: past, present and future. At the beginning, two children ran ahead, opening every door, reminding us that every timeline begins in childhood and that every version of ourselves is connected. Suddenly, it felt impossible to separate who we were from who we’re becoming. The cast reflected that feeling too, with different generations sharing the runway.
Sharp tailoring dissolved into sheer fabrics, handmade details interrupted the precision and structured silhouettes slowly gave way to something softer and more human. The collection made me notice the ordinary moments happening right now, because those are always the ones that turn into memories before you even realise they’re gone. I guess that’s what was meant with a CLASSICAL REMINDER hier.

Und Haderlump turned the Palaissaal at Berlin’s iconic Hotel Adlon into a theatre where everyone had a role to play. A concierge, hotel staff or a guest wandering the halls wrapped in what looked like hastily gathered bedsheets. Their paths crossed over and over again, yet nobody ever seemed to truly see one another.
Watching the collection unfold made me think, wait, hotels are kinda strange actually, because they offer comfort without permanence, like a place to arrive while constantly preparing you to leave again.
That feeling settled into every silhouette. Haderlump’s signature draping kept the garments in motion, as if they had been caught somewhere between check-in and check-out. Tailoring borrowed details from old hotel uniforms while denim, tweed and crinkled fabrics shifted those familiar references into the brand’s avant-garde universe. Keys kept reappearing throughout the collection, woven into knitwear, turned into closures and hidden inside prints, reflecting ideas of access and belonging.
By the end, the collection’s title ATRIUM made perfect sense. Everything passes through an atrium before moving deeper inside, right? It creates a moment of transition where movement matters more than the destination itself.

sample030 didn’t come to play when it came to “saggingmaxxing”. A style often traced back to the US prison system, where oversized clothes and the absence of belts shaped the look, eventually found its way into Hip-Hop, where it became a symbol of identity and pride. Luxury fashion started borrowing from that same visual language, often without giving much credit to the communities that built it in the first place. RAW TERRITORY felt tired of streetwear constantly being treated like fashion’s second class. That attitude ran through the entire show: the dark circles around the models’ eyes echoed that exhaustion, while their expressions carried a stubborn, almost bratty confidence that refused to seek approval.
Set inside Tempelhof Airport, a place once designed to control movement, the show reclaimed the space in the same way urban culture has always reclaimed the city around it. Fat bikes opened and closed the runway, framing the collection with an energy that felt unmistakably Berlin.
Matte leather dominated the silhouettes, interrupted by bold flashes of turquoise and red, while oversized trousers sat deliberately low on the hips without feeling like a costume. The hair caps stayed with me the longest, because they almost looked like an extension of the body itself, blurring the line between fashion and identity, between something you wear and something that has always been part of you.

Realtalk: Some brands use fashion to escape reality and GmbH keeps dragging it right back onto the runway. Celebrating ten years of the label, the collection looked back at a part of Berlin’s fashion history that barely anyone talks about anymore.
Before Paris and Milan became the obvious capitals, Berlin had its own thriving fashion scene until the Nazi regime violently erased large parts of it alongside the people who built it. Instead of treating that history like a museum piece, GmbH folded it into the present, asking who gets remembered and who gets to shape culture today. Sitting there watching the show, it felt impossible not to think about how relevant that question still is at a time when the far right is becoming louder across Europe and minority communities continue to face political pressure. Fashion has never been neutral, no matter how often people insist it should be.
On the runway, DESIRE PATHS came wrapped in everything that makes GmbH instantly recognisable. Technical sportswear collided with precise tailoring, creating silhouettes that felt ready for movement while still carrying that sharp, protective edge the brand has built its identity around. Reflective surfaces caught the last flashes of sunlight against the ethereal evening sky, while metallic finishes and subtle hints of sequins picked up the light throughout the collection. Glossy leather boots nodded to GmbH’s unmistakable equestrian language, grounding the collection in the brand’s signature DNA. The silhouettes stayed powerful without sacrificing their sensuality.
GmbH definitely claimed its place in Berlin’s story while refusing to let anyone decide which histories deserve to survive. Ugh, GmbH was GmbHing.

At first glance, SKINS von UNVAIN looked like a bunch of strangers passing each other without ever exchanging a word.
Oversized sunglasses hid their faces, making every model feel slightly out of reach, anonymous enough that anyone could project themselves onto them. Every look was imagined around a single sentence, not a moodboard: “She herself is a mystery, but she likes it that way”. “A thousand dreams softly burn inside him”. Somehow, those fragments made the anonymity feel even more personal.
Transparency ran through the collection without ever feeling exposing. Delicate lace disappeared beneath weathered leather, feathered textures softened heavy outerwear and fabrics carried the kind of worn-in finish that looked as though they’d already belonged to someone else. Everything existed somewhere between vulnerability and protection, like the idea of a second skin that’s constantly deciding how much of you the outside world gets to see.
In the age of constant oversharing, SKINS made mystery feel cool again. Not everything has to be explained, posted or understood. Some layers are yours to keep.

Travelling rarely leaves you unchanged and EXCHANGE von WILLIAM FAN understood that without having to spell it out. There’s a reason William Fan’s show has become one of the constants of Berlin Fashion Week. Season after season, he creates a world that feels entirely his own and this time the Wilhelm Hallen became exactly that. Familiar faces from Berlin’s creative scene, including musician Wa22ermann, blended naturally into the cast, each bringing their own perspective before slowly becoming part of something much bigger.
The collection unfolded with a confidence, letting movement do most of the talking. Sport-inspired details like exposed zippers naturally found their place alongside the brand’s clean tailoring, while washed fabrics suggested garments that had already been somewhere before arriving on the runway. What I instantly noticed were the pleats. They gave the silhouettes an incredible sense of lightness, catching the air so effortlessly that the models seemed to glide rather than walk. The longer the show went on, the more those folds started to resemble the traces that travelling leaves behind. Surrounded by hundreds of objects collected from markets around the world, the whole show revolved around the idea that we carry little pieces of the people, cultures and moments we encounter long after the journey is over.