Once again, this time for Spring/Summer 2027, GIADA Creative Director Gabriele Colangelo highlights a flower with strong cultural resonance, narrating through fashion the extraordinary story of the jasmine once treasured by Cosimo III de’ Medici and translating its delicacy, history and mystery into a collection of architectural sensuality.
Presented on September 24, 2026, during Milan Fashion Week, the 30-look collection unfolded in the Stirling Room of Palazzo Citterio in Milan, surrounded by a soaring installation of 3,500 paper flowers. The setting felt particularly attuned to Colangelo’s vocabulary. Palazzo Citterio, the centerpiece of the Grande Brera museum project, brings historic Milan into conversation with modern and contemporary art, while its Brutalist underground spaces were conceived by British architect James Stirling. Against that severe geometry, GIADA allowed an ancient flower to bloom anew.
The story reaches back to the court of Cosimo III de’ Medici. The Grand Duke of Tuscany became enamored of the precious Jasminum sambac brought from Goa and presented to him by King Peter II of Portugal. So valued was the plant that a dedicated conservatory at the Medici Villa di Castello protected its cultivation. Centuries later, this botanical fascination provides Colangelo with a poetic starting point rather than a literal historical exercise.
GIADA calls the Spring/Summer 2027 collection “The Secret Codes of Ancient Jasmines,” an apt description for clothes that reveal themselves gradually. Floral imagery appears through embroidery, while transparency, Calais lace and fluid surfaces temper the collection’s exacting construction. Darkness acquires luminosity. Minimal forms disclose couture-minded workmanship through their cuts, fabrics and minute details.
Another garden enters the narrative through British ceramic artist Zuleika Melluish. Her botanical porcelain sculptures are informed by close observation of flowers and foliage, including the perennial garden she created in the foothills of Wales’s Cambrian Mountains. Colangelo draws upon this idea of preserving something inherently transient: a bloom translated into porcelain, and then the memory of that bloom reimagined through cloth and embroidery. That tension between permanence and ephemerality runs beautifully through GIADA Spring/Summer 2027.
The palette feels as though it has been extracted from petals, minerals and earth after rain. A distinctive white hovers between ivory and zinc; citron yellow introduces a lucid flash; champagne supplies quiet radiance. Desert rose brings warmth, while wet-earth brown gives the collection an enigmatic grounding. The shades have presence without heaviness, allowing silhouette and surface to remain in constant dialogue.
Colangelo’s minimalism is especially compelling when it begins to move. The proportions are lean and agile, and familiar wardrobe elements are reconsidered through displacement, layering and illusion. The white shirt, leather and lustrous silk effects enter a language of power dressing in which the body becomes an architectural element: defined yet light, controlled yet alive.
Fringe provides one of the collection’s most expressive gestures. Made from two-tone silk and knotted by hand, it shifts identity according to its placement, suggesting a skirt in one moment, then a train, necklace or stole. Its repetition retains the subtle irregularity of the handmade. Movement activates the material, giving the clothes a discreet sensual charge rather than an overtly decorative flourish.
The collection’s artistic vocabulary extends through ideas associated with Anne Truitt, Eva Hesse and Agnes Martin, whose explorations of color, material, repetition and reduction resonate with Colangelo’s disciplined approach. Within GIADA’s world, those references are absorbed into the clothes rather than treated as quotations. Color becomes spatial. Fringe becomes sculptural. Minimalism acquires emotion.
Jewelry and details bring the jasmine motif close to the skin. Necklaces, earrings and buttons recall sambac blossoms through baroque pearls, their organic irregularities offering an elegant counterpoint to the precision of the silhouettes. The effect is intimate: small constellations of pearl appearing across an otherwise restrained landscape.
The venue deepens that exchange between fashion and art. Palazzo Citterio opened to the public in December 2024 as a pivotal part of Grande Brera, expanding the cultural landscape surrounding the Pinacoteca di Brera. Its Stirling spaces carry a distinct architectural force, making them an eloquent setting for GIADA’s continuing “Art to Art” philosophy and for a collection concerned with the meeting of structure, nature and artistic thought.
Sound completed the atmosphere. Berlin-based Dutch-Italian composer and musician Aimée Portioli, known professionally as Grand River, created the collection’s sonic dimension. Portioli’s practice moves through electronic music and sound art, combining analog and digital synthesis with acoustic elements. Her background in linguistics and communication has also shaped an approach to music that reaches toward forms of expression beyond spoken language—a fitting accompaniment to clothes built around their own quiet system of signs.
For Spring/Summer 2027, Gabriele Colangelo finds richness in restraint. A seventeenth-century jasmine, porcelain flowers, hand-knotted silk, Calais lace, baroque pearls and the Brutalist lines of Palazzo Citterio meet within a single visual language. History is present, though never heavy. Nature appears, though never literally. Sensuality arrives through transparency, movement, texture and the precise relationship between fabric and body.
Perhaps that is the collection’s most seductive secret code. A flower treasured centuries ago can survive in unexpected forms: in porcelain, in memory, in embroidery, in a pearl button, or in the movement of silk across the body. At GIADA, the jasmine blooms again.
