Sandy Liang might live in a fantasy world, but apparently she’s got a pretty packed schedule.
For Spring/Summer 2027, the New York designer takes the idea of getting dressed up and gives it somewhere to go. These are clothes made for running around town, carrying far too much stuff and turning otherwise ordinary moments into an occasion. Functionality is everywhere, but this being Sandy Liang, even the practical stuff comes covered in ribbons, ruffles and a healthy dose of weirdness.
That balance has become increasingly important to Liang’s universe. The designer continues adding to her wardrobe, pulling familiar pieces, childhood references and everyday objects apart before putting them back together slightly differently.
Track pants, for example, suddenly sprout a ruffle across the backside. A sporty jacket gets a pair of dolphins meeting across its back, while lace shimmers with transparent paillettes as it moves. Trompe l’oeil skirts aren’t particularly interested in keeping their illusion secret, and a deceptively simple V-neck sweater dips just far enough to make you realise nothing here is accidental.
It could easily become overwhelmingly sweet, but Liang knows when to interrupt the fantasy. Sharper workwear cuts through the bows and embellishment, while glossy white patent wedges introduce something more grown-up. The contrast is what makes the collection work. Sandy Liang isn’t asking women to choose between dressing practically and dressing like they raided a particularly fashionable childhood bedroom.
Accessories push that contradiction even further as one bag comes plastered with a futuristic “Sandy Liang X3000” identity, looking like something designed for an alternate universe where gorpcore and princess dressing evolved together. Another is loaded with an almost comical number of pockets. Even the tiniest bags have compartments for everything, turning organisation itself into part of the aesthetic.
Bright ballet flats take cues from slippers, bunny footwear gets sparkling gemstone eyes and leg warmers send ribbons flying behind them. Elsewhere, oversized sashes turn getting dressed into something closer to wrapping a present, while clusters of hair clips spill around the neck like bouquets.
It’s silly, but knowingly so. Liang has always understood that nostalgia works best when it isn’t treated too seriously. Her references to girlhood take the things people once loved, making them useful again and letting adults enjoy them without sanding away their childishness.
If the Sandy girl is living in a fairytale, she’s certainly not sitting around waiting for anything to happen.
