The designer showed Spring 2027 in the Mayfair flat she has used for a year, hung with work lent by seven women artists she counts as friends, then cut the daywear lighter than usual to go with it
LONDON – Alessandra Rich showed Spring 2027 in the Mayfair apartment where she has presented for the past year, and gave the collection a title: Pink Fury. The circular bed from last season’s seedy-motel set returned covered in pink fur, set on a rug of the same make. Around it hung work lent by seven women artists who are also friends: homeware designer Anissa Kermiche, Marfa Journal founder Alexandra Gordienko, photographers Polina Antipova and Guen Fiore, potter Alma Berrow, and painters Veronica Smirnoff and Polina Osipova.
Pinned to the collection is a line from Dolly Parton: I look one way and am another.
“I felt the need to bring my community together in a space where we could share objects that are important to each of us,” Rich said. “I think it is important to be surrounded by things that you feel close to.”
The house frames the room as an open door rather than a closed set: a woman moving among her dresses, jewels and photographs, bringing everyone into what it calls her pink comfort zone. Performance without rehearsal. Body without alterations. Head without premeditation. The objects she keeps are not stage props. A painting, a photograph, a jewel, a garment, each is a presence that kindles light, a mirror in which to see oneself reflected. The clothes follow the same logic: they ask for a physical experience, seducing with their form and shifting again in movement. Some carry traces of past evenings; others wait to be worn. Some things only reveal themselves up close. Touching is mandatory. Please sit down and make yourself comfortable.
An Object Comes First
The scene is also the method. Rich builds a collection outward from an object that establishes a mood, and this season the object was a small group of vintage silk Georgette pieces she found while sourcing. In other seasons, she has said, it has been a pair of tights. Her own collecting habit sits in the same frame: Guen Fiore’s photograph of a nude woman with pink pubic hair, from Rich’s personal collection, was on display near Kermiche’s “Iron Ladies” and Berrow’s metal chairs and cigarette-butt ceramics.
That Georgette reached the collection’s standout piece – a red mini dress in a floral print, cut off the shoulder with a giant bow across the back.
Daywear, Loosened
Against the apartment’s clutter, the clothes read outdoorsy. Cotton jacquards, silk printed with miniature floral motifs, and fabrics woven with shiny nylon thread echoed the lookbook, shot in and around a friend’s mansion outside Milan. Apron dresses, minidresses with bustier detailing and quilted sets slit high carried the label’s established sensuality, but at what the designer called a “garden party” ease.
The suiting ran on bouclé: black, white and pink skirt suits embroidered with micro sequins and bandera embroidery, in mini, midi and maxi lengths.
Silhouettes then opened up. Straps came thinner than usual, and backs were often left bare, which put more weight on the evening offer. It held. A feather-trimmed black velvet gown was the pick of the group, alongside a black velvet “revenge dress” with a lace neckline, a poplin tea dress that reads like a nurse’s uniform, and a silk cocktail dress with a plain sweetheart neckline in turquoise.
Four Collections a Year
Scale is part of the argument. Buyers worked through more than 100 pieces, and after a couple of seasons of showing twice a year, Rich has returned to a four-collection calendar. She offered “fresh” as the reason. The read is simpler: she likes the work, and the appetite for it shows in the range.
What ships from here is a wardrobe, not an apartment. The proposition behind it is that a woman’s taste in the objects she collects and the clothes she wears is one instinct, and that a label can run four collections a year on it. Buyers who spent the week walking Mayfair will soon find out whether the garden-party register sells with the same reliability as the bouclé.
About Alessandra Rich
Rich founded the label in 2010 and runs offices in London and Milan. Production is entirely Italian, and the house works in silk crepe de chine, wool tweed bouclé, and Chantilly lace, often returning to lace-trimmed collars and puff sleeves played against an ironic edge. The brand sells worldwide and has become a fixture of red-carpet and social dressing.
See the complete collection below:
Images courtesy of Alessandra Rich
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