By Gabriela Afanador
Friday 25, September 2026
David Koma showed Blumarine’s Spring/Summer 2027 collection on September 25 in Milan, titled Cali Princess. The show moved the house away from the dark, gothic romanticism that defined Koma’s earlier seasons and into something sun-bleached and West Coast in spirit, still built on the brand’s signature hyper-feminine codes but reworked entirely in daylight. Stylist Marc Goehring paired elevated eveningwear against utilitarian leisurewear throughout, and movement director Ryan Chappell had the cast walk with a slower, looser gait than a typical runway stride, something closer to coastal ease than a sharp military walk, while still holding real couture posture. The soundtrack, produced by Mode-F, layered pulsing electronic bass under warm, hazy synthesizers built to evoke California heat.
The Collection
Photo via @Blumarine on Instagram
Koma developed the concept during his annual research trip to Los Angeles, and rather than abandoning the dark, romantic mood of his earlier seasons, he took that same mood and exposed it to what the show notes called intense ultraviolet light, essentially the same emotional register pushed into sunshine instead of shadow. The collection centers on what he calls the California ingénue, a sun-kissed character caught between the shoreline and the boudoir, built around the tension between the active surfer and the prom queen, the innocent ingénue and the more dangerous vamp. Rather than leaning on obvious 1970s surf references or early-2000s nostalgia, Koma worked through a concept he called Anatomical Eden, where floral treatments stop functioning as a decorative print and instead get built directly onto the body’s own contours, following the curve of the waist, the line of the hip, the shape of the chest. Alongside that, intimate apparel moved out of the bedroom entirely: sleep robes became full evening outerwear, tank tops turned into sheer formal tunics, and lingerie pieces were built specifically to be worn out in the world rather than hidden underneath something else.
The Clothes
The show opened on three black looks that connect directly back to Koma’s earlier, darker seasons, the first worn by Irina Shayk, a boned corseted foundation built from spiral steel and flex-boning, with densely gathered black silk tulle radiating out from the structured bodice into a dramatic ruffled hem. The second black look carries that same corsetry underneath a long lace ruffled jacket that opens into a sheer, dotted tulle skirt trailing to the floor, and the third is a close-fitting black bodysuit cut with sharp asymmetric side cutouts along the ribs, a much more athletic, pared-back silhouette set deliberately against the volume of the two looks before it. That opening stretch sets the tone for the whole collection, since even once the palette shifts into daylight, the underlying construction stays this disciplined and architectural underneath.
Photo via @Blumarine on Instagram
From there the collection moves into a run of pale pink looks built almost entirely from tiered, ruffled tulle, delicate and genuinely romantic, closer to fairy-tale dressing than anything beachy. These pieces use the same tulle tiering as the opening black gown but in soft ballet pink, with corseted bustiers underneath short, layered tulle skirts that read as light and celebratory rather than structured. From here the collection shifts into its marine-toned stretch, pulling in pale blues and soft aquamarine. The suede jacket with small fringe trim stands out in this section, a shearling surfer jacket, the house’s reinterpretation of a classic beach silhouette rebuilt in suede with a dense fringed trim running along the body. It genuinely works as a standout piece, the kind of outerwear that bridges the collection’s beach references with real material richness. The same tiered tulle gown from the opening black sequence reappears here in that same aquamarine shade, a direct callback that shows how deliberately Koma built repetition into the color progression rather than treating each section as unrelated.
Photo via @Blumarine on Instagram
The feather and fur trim on jacket collars and sleeve cuffs has been showing up across several shows this season, and Blumarine works it into its own cardigans and jackets throughout the collection, finished most often in ostrich feather rather than a literal fur. The house’s classic knit cardigan gets this treatment specifically, rebuilt in a fine-gauge, cool-touch viscose and finished with an ostrich feather collar, a piece built to move easily from a casual daytime layer into something formal enough for evening.
Photo via @Blumarine on Instagram
The palette then shifts into a vivid but soft violet, a genuinely striking color that runs through the collection with real presence despite how light it reads. One dress in this violet stretch stands out clearly, built with the same ruffled, layered construction running through the rest of the collection but rendered in that vibrant lilac tone, giving it a completely different mood from the pastel pink looks earlier in the show. The collection then moves toward a softer baby pink register, where one look built around a single asymmetric, one-legged skirt is a particularly striking silhouette, cutting the drape unevenly across the hip so one leg stays fully bare while the other is wrapped in layered chiffon.
Photo via @Blumarine on Instagram
Later in the collection, a denim moment brings in a floral shirt worn open over light-wash jeans finished with asymmetric thigh cutouts, mixing the collection’s rose prints directly with the West Coast daywear running through the middle of the show. Toward the close, a sheer, pale pink gown appears finished with three-dimensional crépon roses appliquéd directly onto gossamer tulle, individually hand-sewn so the flowers trace across the shoulder, bust, and hip rather than sitting as a flat surface print. This is the clearest expression of the Anatomical Eden concept in the whole collection, treating bare skin as part of the actual design rather than empty space around it.
Footwear throughout the show came from an official collaboration with UGG, reworking the brand’s Enwrap Clog into two versions, one caged in galvanized silver metal set with pink and clear crystal stones, and a second fully wrapped in ostrich feathers in white and pale lavender, matching the movement of the sheer dresses worn with them.
The Close
This collection captures something romantic and springlike from the very first black look through to the final rose-covered gown, and the color progression does real work holding the whole thing together, from the opening black and the ballet pink stretch through aquamarine, violet, and back into softer pink. The construction underneath all that tulle and feather trim stays disciplined throughout, corsetry and internal boning doing the structural work while the surface stays soft and transparent, which is what keeps pieces like the opening gown or the one-legged skirt from ever reading as costume rather than clothing.
The fur-and-fringe trim running through so many of the jackets, the shearling surfer jacket in particular, is one of the most memorable threads in the whole show, giving even the most casual daywear pieces in the collection a sense of real craft and texture. Between the Anatomical Eden florals, the UGG collaboration, and how the palette moves through black, pink, aquamarine, and violet, Koma pulled off a real shift for the house, taking its signature dark romanticism and rebuilding it in daylight without losing what made it Blumarine in the first place.