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Meryll Rogge Spring Summer 2027 Builds From Familiar Pieces

The collection draws from pieces customers have worn and loved, turning personal taste into design direction.

Meryll Rogge Spring Summer 2027
Photography by Julie Greve

Meryll Rogge Spring Summer 2027 looks at the question of what makes a collection through the people who choose, wear and return to the clothes. The season starts from customer selection, using garments that have carried the label since its beginning as a point of reference. Rogge shifts the focus from an imagined muse to the end consumer, treating taste, use and repetition as part of the design process.

SPRING SUMMER 2027

Rogge continues to develop her eponymous line while leading Marni as creative director, following her appointment in July 2025. For Spring Summer 2027, the launch of an online shop sharpens the collection’s direct relationship with the wearer. Wardrobe staples, familiar combinations of pattern and texture, and recurring silhouettes shape the season. A monochromatic floral print appears in several color variations across classic shirts, giving a known house code a clear place in the new lineup.

Meryll Rogge Spring Summer 2027
Photography by Julie Greve

Rogge also brings back the label’s interest in distinctive fabric surfaces. Draped and bi color evening pieces appear in moiré silks, using the material’s marked pattern to recall the refined mood that has defined many of the brand’s silhouettes. Sporty jackets and knit pieces appear with bloomer shorts in striped poplin, adding a relaxed charge to the collection. Oversized chino trousers return with double pronged leather belts, extending a styling idea that has appeared across previous seasons.

Bomber jackets and men’s tailored suits carry a layered feeling, as though older references and new combinations meet inside the same wardrobe.

Photography by Julie Greve

Rogge presents the collection at the official residence of the Belgian Ambassador in Paris through a site specific installation inspired by Claes Oldenburg. The installation refers to Mouse Museum from 1979, where everyday commodities appear as objects for display and reflection. Clothes, books, common objects and photographs of the collection by Julie Greve appear folded, piled and assembled, creating unexpected views of the garments.

Discover Full Collection on DSCENE

The curatorial direction continues through a collaboration with Brussels based Saint Martin Bookshop. Rogge shares her selection of artist books, photobooks and fashion publications online, placing them beside the clothes they inform.

Photography by Profirst

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