{"id":122852,"date":"2026-07-05T14:12:11","date_gmt":"2026-07-05T14:12:11","guid":{"rendered":"https:\/\/www.europesays.com\/dk\/122852\/"},"modified":"2026-07-05T14:12:11","modified_gmt":"2026-07-05T14:12:11","slug":"laura-gerte-berlin-spring-2027-collection","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/dk\/122852\/","title":{"rendered":"Laura Gerte Berlin Spring 2027 Collection"},"content":{"rendered":"<p class=\"has-dropcap body dropcap\">For her spring 2027 collection, \u201cLost to Virtue,\u201d Laura Gerte explored the deconstruction of femininity\u2019s moral ideals. Her starting point was research into Dadaism and the work of artist and poet Mina Loy, whose feminist manifesto, written in 1914, framed female \u201cvirtue\u201d\u2014or rather virginity\u2014as a patriarchal tool of control. Published only decades later, the text still felt radical enough to hint at just how provocative it must have been in its own time.<\/p>\n<p>\u201cOne of the manifesto\u2019s central ideas is the destruction of virtue. For generations, the idea of female morality has been used to keep girls and women small, forcing us into predefined roles. And we don\u2019t want that anymore,\u201d Gerte said after the show. With \u201cLost to Virtue,\u201d Gerte completes her own trilogy: vulnerability gives way to darkness, and darkness to liberation. \u201cThe first collection was very vulnerable, the second was really very dark and dedicated to the Female Villain, and now it\u2019s free\u2014free from the expectations of society.\u201d<\/p>\n<p>The show opened with white looks built from Gerte\u2019s signature deconstructed vintage T-shirts. Cut apart and heat-bonded back together, they cling closely to the body before gradually slipping away from it, transforming into halter dresses with cut-outs\u2014virtue rendered as fabric that falls, shifts, and slowly comes undone. The body has always been Gerte\u2019s primary construction site. Here, close-fitting mesh pieces layered with sculptural draping hugged, suspended, and framed it rather than simply exposing it. \u201cMany of the garments were made without traditional pattern cutting. For me, that\u2019s a rejection of classical design\u2014of virtuous design and virtuous ways of working.\u201d New this season were secondhand scarves, pleated in an old West Berlin workshop before being draped modularly around the body in vibrant summer colors. Tongue-in-cheek Bavaria graphics from upcycled brewery T-shirts\u2014only recognisable on close inspection\u2014added a welcome dose of humor without overexplaining themselves. \u201cWhy not? I\u2019m from Bavaria.\u201d<\/p>\n<p>Then there\u2019s Berlin in the summer. \u201cYou\u2019re either wearing a winter coat or almost nothing,\u201d Gerte joked. That reality translated into micro bras, string details, low-rise skirts, and fluffy upcycled boleros. These aren\u2019t everyday clothes but pieces for weddings, exhibition openings, clubs, and the fleeting occasions in between\u2014moments when being seen is precisely the point. Free, feral, unruly, amused. Gerte\u2019s manifesto for 2027 already feels definitive.<\/p>\n","protected":false},"excerpt":{"rendered":"For her spring 2027 collection, \u201cLost to Virtue,\u201d Laura Gerte explored the deconstruction of femininity\u2019s moral ideals. 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