For Spring/Summer 2027, Chemena Kamali left Chloé’s lace-loving muse prepared for any Paris weather.

Who is the Chloé woman? Typically, she's romantic, bohemian, effortless, earthy, and a bit of a muse. At Chloé's Spring/Summer 2027, Chemena Kamali gives her a new complication. The Chloé woman is now also obsessed with broderie anglaise, lingerie dressing, and a trench coat that looks as good in a downpour as it does when thrown over a slip dress.&nbsp;

Chloé Spring/Summer 2027. Getty Images.

Presented during Paris Fashion Week, the collection is a brisk catalog of the house's most familiar fixations, rendered with the force of a woman rifling through an exceptionally well-stocked wardrobe. There are draped whites and blush pinks that fall with obedient fluidity, but there are also sculptural elements that look kiln-formed, with bodices curved and lifted as if the fabric is taught to hold a breath.
Eyelet maxidresses with scalloped hems and nearly bridal puff sleeves, cream camisoles, and tiers of ruffles, floral appliqué appear alongside crocheted texture with lots of skin and swinging fringe. The brand's ease is evident even in the volume and unexpected elements, so that a gray lace skirt, a yellow tulle ensemble, and an inky black flower-flecked dress all carry the same pleasant sentimentality.&nbsp;

The cleverness lay in the interruptions. Romanticism is repeatedly disturbed by utility: a khaki fisherman's coat, ivory safari jackets, and glossy hooded rainwear in lacquered red, black, blush, and that wonderful impertinent yellow, with mysterious cape/veil hats to match. Tailoring, too, has its role: lean black trousers under a cropped lace top, a sharp ivory suit exposing a whisper of lingerie, a deep-V black suit softened by a gilded brooch, and even the ever-resurfacing Bermuda shorts.&nbsp;
The result is a collection that traded pastoral nostalgia for something more metropolitan. Romance is toughened by rain and designed for a woman whose itinerary does not pause for bad weather, a failed situationship, or a last-minute change in plans.&nbsp;

Apple Martin, daughter of Gwyneth Paltrow and Chris Martin—and, yes, fashion's newest nepo-baby curiosity—makes her runway debut in a white broderie-anglaise maxi dress. It is an appropriately Chloé initiation: youthful, ornamental, and faintly theatrical. Her presence also serves as a tidy reminder of the label's perennial allure for women who move between celebrity and style mythology. Apple is set to appear in an <a href="https://www.imdb.com/title/tt19386976/fullcredits/?ref_=tt_cst_sm">untitled Nancy Meyers film </a>next year, which will mark another debut after her earlier appearance this year in the house's ‘<a href="https://www.lofficielusa.com/fashion/apple-martin-chloe-summer-2026-campaign-images-photos-new-collection-boho-chic">Chloé à la Plage’ </a>campaign. On the runway, she joins a lineage built on soft-focus femininity.&nbsp;
That lineage began with Gaby Aghion, who founded Chloé in 1952 as one of fashion's earliest luxury houses that offered relaxed, refined clothes in opposition to couture's rigidity. Along the way, Chloé has dressed its own pantheon: Jackie Kennedy, Brigitte Bardot, and Grace Kelly in its earlier decades, followed by modern devotees including Madonna, Zoë Saldaña, Emma Stone, Cynthia Erivo, Sienna Miller, Maya Rudolph, and Greta Gerwig.
Its first runway presentation took place at Café de Flore in 1957, and the house later flourished under Karl Lagerfeld, <a href="https://preview.lofficielusa.com/fashion/stella-mccartney-hm-collection-interview-collab-bags-dresses-suits-fashion-style-buy-now-where-to-shop">Stella McCartney</a>, Phoebe Philo, and now Kamali.

Chloé's Romantic Muse Learns to Love the Rain for Spring/Summer 2027

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