Anna Sui Resort 2027

Reported by Vogue.

There is a particular kind of designer who treats fashion as a living archive — someone who doesn't chase trends so much as excavate them, layer them, and send them back out into the world slightly scrambled and entirely more interesting. Anna Sui is that designer, and her Resort 2027 collection is proof that her method still works.

The throughline, according to Vogue, was the 1960s — but not the monolithic, mood-board version. Sui moved through the decade's full range: from the tailored restraint of early Kennedy-era dressing to the rising hemlines of the mod moment, all the way into the psychedelic blur that followed. Her entry point was Pauline Boty, a painter credited as co-founder of the British Pop movement and, notably, its only woman. Sui, who calls Boty "a flash wonder," was first drawn to her paintings of Marilyn Monroe — including one cheekily titled The Only Blonde in the World — and then to her broader project of mythologizing iconic '60s women: Brigitte Bardot, Christine Keeler, Monroe again. A Boty self-portrait in lingerie made it into the clothes, too.

Personal Contacts, Plural

Sui also noticed that collaged magazine clippings were the raw material for much of the period's art, and she drew a direct line between that analog obsession with image culture and our current digital one — a connection that landed with some charge, given that Olivia Rodrigo's recent choice to wear babydoll dresses (some of them Sui's) while promoting her new album has triggered the kind of outraged online pile-on that proves the point. The babydoll dress was Sui's original claim to fashion fame, and one standout here — a cocoa-and-white ditsy print paired with jeans appliquéd with mushrooms and clouds at the hem — compressed Twiggy, hippie, and grunge into a single outfit. That time-collapsing instinct is exactly what keeps the brand alive.

What made Resort 2027 feel especially textured was how thoroughly it drew on Sui's actual relationships. A cowboy shirt she wore to a line-dance party at Sofia Coppola's house seeded the Western references. Former assistant Michelle Kim came back into the fold during a Los Angeles trip, adding frills of pretty fabric to Levi's mini skirts — small interventions that read as genuinely joyful. Artist Ellen Berkenblit contributed ruched lingerie pieces she once sold at Le Corset by Selima in SoHo, which Sui describes as her favorite top of the '90s. The collection was self-referential in the best sense: intimate without being indulgent.

Devoré velvets, fringe, scarf details, pouch bags, lingerie, layering — the vocabulary here slots neatly into the current fashion conversation, which means Sui wasn't just looking backward. Glamour, she seems to argue, is not a fixed aesthetic but a recurring impulse, and it doesn't belong exclusively to blondes or any single decade.

Read the original at Vogue.