Ukrainian Fashion Week AW26/27 as an act of cultural continuity

Since its return to Kyiv in September 2024_ Ukrainian Fashion Week has been held under conditions that repeatedly disrupt the regular rhythm of a fashion week. The autumn/winter 2026/27 edition was no exception.

Between a postponed date and ongoing attacks on Ukraine's energy infrastructure_ with noticeable consequences for power and heat supplies in Kyiv_ the event_ held from March 12 to 15_ nevertheless asserted itself. This once again highlighted the role of fashion in Ukraine_ not only as an aesthetic force but also as a cultural and economic one.

“This season will not be remembered for its postponed dates or the difficult conditions under which the collections were created_” said Iryna Danylevska_ founder and CEO of Ukrainian Fashion Week. “It will be remembered for the uncompromising belief in what we stand for and in the Ukrainian fashion industry.”

Stemming from this attitude_ questions of identity—national_ individual_ or brand-specific—became a central theme of the presentations in Kyiv. In parallel_ textiles and sustainability took on key significance. Under the title Art of Fashion_ Ukrainian Fashion Week presented an accompanying exhibition that brought together sustainable approaches_ new materials_ and experimental techniques. It featured works by Bevza; J_aemme; Kseniaschnaider; Litkovska; Nadya Dzyak; Plngns; TG Botanical; Upslowuse; and the Ukrainian Fashion Education Group.

Sustainability as structure

The discourse was not confined to the exhibition space. The runway collections also engaged intensively with sustainability. The theme rarely appeared in isolation; instead_ it was closely linked to questions of identity_ memory_ and transformation.

At Upslowuse_ upcycling and zero-waste production are not supplementary layers but the foundation of its entire approach. Materials carry visible histories within them. Denim_ wool_ and reconstructed textiles retain their past and are placed in new contexts.

In the _Liminal_ collection_ this material approach is expanded by a conceptual layer. Drawing on Ukrainian demonology_ the work explores transitions_ ambivalence_ and psychological tension. The presentation reinforces this impression through layering_ material contrasts_ and a performative structure. Here_ sustainability is evident in the life cycle of the clothing as well as in the question of cultural memory and the shifting of meaning over time.

A similar approach is seen at St. Mariia. Reused materials are understood as carriers of experience. Their rearrangement does not erase the past but allows different layers of time to coexist. This creates garments that appear less as finished products and more as condensations of time.

This process destabilises existing codes and opens up new interpretations. Here_ upcycling becomes a critical tool that questions not only the production but also the social function of clothing.

Ukrainian identity as a system

Alongside sustainability_ the question of Ukrainian identity forms a second central axis of the season. This is less about representation and more about the translation of cultural content.

At Khrystyna Rachytska_ the work is based on traditional embroidery techniques_ archival research_ and artisanal precision. Elements of Ukrainian folk art are translated into contemporary silhouettes without losing their meaning. Every detail refers to historical contexts while simultaneously becoming part of a contemporary narrative. Natural materials strengthen this connection and anchor the designs in a material reality. Themes such as resilience_ continuity_ and care shape the collection. Here_ fashion becomes a medium of cultural transmission.

Identity is also central at Yaroslav Filip_ explored through questions of stigmatisation and social attribution. Clothing becomes a space for negotiation. The deconstruction of classic suits questions the symbolic content of clothing within social systems of order. The suit_ traditionally associated with authority_ professionalism_ and gender norms_ is broken down and transformed into modular forms.

Across these positions_ a common core emerges: Identity is not understood as a fixed entity but as a process. It arises from the interplay of experience_ context_ and attribution. The runways make this movement visible.

Between form and fluidity

In addition to these thematic axes_ the relationship between form and function comes more sharply into focus. Juliya Kros works with the principle of transformation. Her designs change through reversible constructions_ variable elements_ and modular systems. Clothing becomes an active system_ co-designed by the wearer. The focus is on cut and proportion_ often in clean_ architecturally influenced silhouettes.

Chuprina_ in turn_ transforms classic materials like tweed into softer_ more fluid forms. The collection is characterised by candy colours_ movement_ and lightness_ while fringes and flowers add soft accents. This creates an image of femininity that moves between structure and fluidity. Meanwhile_ table tennis rackets worn as bags—covered in tweed_ of course—suggest a sporty idea.

The season in Kyiv defies a single_ clear narrative. Instead of committing to a single narrative_ it unfolds in layers where sustainability_ identity_ and form merge. Materials carry memory; silhouettes allude to change; and cultural references are not merely cited but re-staged. This complexity creates an image of fashion that relies less on clarity and more on resonance—on the interplay between past and present_ personal experience_ and collective history.