Runway

Naranjo’s Art of Movement

For Spring/Summer 2027, Ernesto Naranjo drew on artists Ann Veronica Janssens, Rachel Whiteread and Franz Erhard Walther for Ondine, a collection exploring the shifting nature of matter. Organza, tulle and satin were sculpted around the body in bubble hem dresses, ombré frocks and knotted silver gowns, turning movement into the show's central language.

By Sarah Powless

Updated 05:10 pm EDT, Sep 17, 2026

Published 10:46 am EDT, Sep 17, 2026

Photo Courtesy: © IFEMA MADRID

Runway

Naranjo’s Art of Movement

By Sarah Powless

Updated 05:10 pm EDT, September 17, 2026

Published 10:46 am EDT, September 17, 2026

Photo Courtesy: © IFEMA MADRID

Updated 05:10 pm EDT, September 17, 2026

Published 10:46 am EDT, September 17, 2026

Photo Courtesy: © IFEMA MADRID

There’s something truly special that happens when the mediums of art and fashion collide. We have seen this many times before. For instance, Elsa Schiaparelli and Salvador Dali joined forces in the 1930s, and in the 1980s, Yves Saint Laurent heavily referenced Vincent Van Gogh in his collections.

The same can be said for Ernesto Naranjo, whose Spring/Summer 2027 collection looked to the works of artists Ann Veronica Janssens, Rachel Whiteread, and Franz Erhard Walther for inspiration. Naranjo, a Spanish fashion designer, is perhaps best known for his dramatic, geometric, and carefully crafted looks. Once again, this blend of craftsmanship and contemporary innovation was on full display with his latest showcase.

Sway and Structure

Dubbed Ondine, this collection sought to explore the constantly-shifting nature of matter itself. In a nod to Janssens, Whiteread, and Walther, whose works also address the motion of the universe around us, fabrics were carefully sculpted around the models’ bodies. Using organza, tulle, and satin, the result was a diaphanous, yet meticulously constructed presentation that was wholly unique.

One standout look was a sculpted lilac satin top, placed on top of a black pencil skirt. Lilac tulle enrobed the neckline, acting as an ethereal contrast to the opaque garments underneath.

Following this, two strapless dresses emerged, one in black and one in a retina-searing hot pink. Both were constructed out of a sheer fabric, tied at the bustline, and concluded with a bubble hem. They both swayed freely, bouncing with each step the model took, emphasizing the show’s central theme of movement.

Color Fading Into Form

There were also several ombré pieces, including a ruched dress that faded from a light grey to a muted green, and a similar sheer purple and orange frock. These were no doubt a reference to Janssens’ light and glass installations, which create a similar, colorful effect.

Sculptural, draped, and tied garments also abounded. This included two long silver dresses, knotted in various places, creating unique textures and shapes. Perhaps a nod to Whiteread’s works, these looks acted as a more grounded counterpart to the previous flowy tulle looks.

With Ondine, Naranjo showcased not only the beauty of movement, but also its complexities. How we, and our clothing, exist and move through the world around us automatically imbues us with a certain aura. The exploration of that movement can therefore help us further define how we both establish our own presence and interact with the space that exists directly beyond our bodies.

The Collection

Sarah Powless

Fashion Editor

Sarah Powless is a freelance writer currently based in New York. Previously, she has written for a variety of fashion and culture names, including CR Fashion Book, Daily Front Row, Worth Magazine and Wearing Magazine. Her work covers a broad range of subjects including, style, history, pop-culture, sustainability, and lifestyle.

Tags: Mercedes-Benz Fashion Week Madrid September 2026, Spring/Summer Mercedes-Benz Fashion Week Madrid

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