{"id":117406,"date":"2026-10-08T18:11:25","date_gmt":"2026-10-08T22:11:25","guid":{"rendered":"https:\/\/graziamagazine.com\/us\/?post_type=articles&p=117406"},"modified":"2026-10-08T18:21:53","modified_gmt":"2026-10-08T22:21:53","slug":"aje-spring-summer-2027","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/us\/articles\/aje-spring-summer-2027\/","title":{"rendered":"At Paris Fashion Week, Aje Showed Florals for Spring That Were Actually Groundbreaking"},"content":{"rendered":"
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Aje Spring\/Summer 2027. Courtesy of Aje<\/figcaption><\/figure>\n

The Aje<\/a> Spring\/Summer 2027 collection, Unfurled, is inspired by flowers blooming, but don\u2019t expect any ditsy prints. \u201cWe wanted to explore our own way of doing a floral print without it being a pretty repeat,\u201d says Edwina Forest, who co-founded the Sydney-based label with Adrian Norris in 2008. Known for a beach-goth uniform that mixes leather and sharp tailoring with floaty dresses, Aje has previously collaborated with the estates of two of Australia\u2019s most celebrated artists, Brett Whiteley and Minnie Pwerle. For their Paris Fashion Week show this season, Forest and Norris took a more hands-on approach, enlisting their good friend, multimedia artist Vicki Lee, to create a series of hyperreal botanical images.<\/p>\n

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Aje Spring\/Summer 2027. Courtesy of Aje<\/figcaption><\/figure>\n

The trio met in Bali nearly two decades ago, when Lee was designing the contemporary fashion line My Pet Square and the Indonesian island was something of an incubator for young Australian labels drawn by its skilled lace and leather artisans. She later turned her attention to art, opening her own gallery in Sydney and working with brands including Chanel. \u201cOur friendship over the decades made it much easier to trust the artistic fruition of the project, which, for me, is obviously the most important aspect of anything I do,\u201d says Lee. \u201cTrust gives you the freedom to experiment, to follow an idea and to let the work become what it wants to become.\u201d<\/p>\n

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Vicki Lee, Pink and Yellow Grevillia, <\/em>2026.\u00a0Courtesy of Aje.<\/figcaption><\/figure>\n

For Unfurled, Lee revisited a process she first explored in a 2017 photo series with photographer Ted O\u2019Donnell, suspending roses in water, adding drops of paint, and photographing the pigment dispersing around them. This time, she worked with native Australian species including wiry grevillea, pom-pom-like waratah, dense banksia cones, and woody gumnuts. \u201cThey\u2019re actually quite weird and sculptural, almost a bit aggressive,\u201d says Forest of the qualities that made them a natural fit for Aje\u2019s harder-edged take on femininity. In Australia, even the flowers have a certain toughness. \u201cThey have to be to survive in the heat,\u201d says Norris.<\/p>\n

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Aje Spring\/Summer 2027. Courtesy of Aje.<\/figcaption><\/figure>\n

Lee\u2019s imagery appeared on vegan leather jackets and fluid gowns alike, some slashed and shredded so the prints broke apart across the body. Forest and Norris also interpreted her work less literally. Sunray pleating mimicked the opening of a flower, while cascading beaded fringe and tactile petal appliqu\u00e9 picked up on another part of Lee\u2019s practice: plant bio-sonification, in which electrodes attached to plants register electrical activity that is translated into sound waves. \u201cWhether through color, form, light, material, or scent, the medium is secondary to the feeling it creates,\u201d says Lee.<\/p>\n

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