Curation, from the Latin curare, meaning to care for or attend to; Anderson’s notes on the collection get etymological right out of the gate, and for once the lineage holds up, because Spring/Summer 2027 isn’t built around a single concept so much as an act of tending: caring for materials, people, and objects that already existed in some form, rather than designing outright from nothing.

The cast isn’t so much models as Anderson’s actual orbit: shot by Heikki Kaski, the campaign features actress and model Dree Hemingway, Saltburn actor Archie Madekwe, Oscar-nominated actress Sophie Okonedo, Sex Education star Connor Swindells, Black Adam actor Quintessa Swindell, Manifest actress Luna Blaise, Broadway performer Isaac Powell, and comedian Leo Reich. Also photographed are Japanese ceramicist Akiko Hirai, fashion consultant and writer Camille Bidault-Waddington, creative consultant Caroline Deroche Pasquier, filmmaker Charlie McCormick, painter Cy Gavin, writer and art historian Dr. James Fox, cultural strategist Fatou Kebbeh, renowned art collector Ivor Braka, artist London Lee, creative consultant Martin Pasquier, fashion commentator Nicky Campbell, and model and artist Tommy Campe.

The clothing follows the same logic of controlled imperfection that has defined Anderson’s tenure at the brand. A draped evening dress looks pinched into shape by one quick gesture rather than meticulously constructed. Jeans cut from Japanese denim are finished to look mended several times over by hand. Camisoles sit loose enough to suggest they slipped rather than were styled. Jackets are boxy and easy to wear, built for someone who wants to look as though they didn’t think about it. The accessories carry the workwear theme through in more practical terms: pouch, duffel, and hobo bags with pockets wrapped around their bodies, striped in the soft pinks, greens, and blues of old rugby kits.

Where the collection gets more interesting is in its texture work. Donegal wool, knit into deep green sweaters, is scattered with wildflowers and ferns. An orange hare knit is the brightest thing in an otherwise earthbound palette. The Squirrel Knit draws on a Fair Isle pattern specific to the Scottish town of Sanquhar, and its counterpart accessory, the Squirrel Clutch, comes with its own crocheted nuts.

Beyond fashion, Anderson expands his thesis into home and garden objects. Vintage linens are hand-dyed and turned into cushions rather than replaced with new fabric. Wedgwood mugs borrow their shape from ancient Etruscan pottery instead of starting from a blank mould. Irish linen tea towels are printed with the words WOW, FAB, and CHIC; a small, dry joke buried in domestic textiles. And the sleigh bell, cast by the John Taylor Bell Foundry using an archival mould untouched for over a century, is the clearest example of all: nothing here was invented for this collection. It was found, then cared for, until it was ready to be loved again.

Take a look at the collection below.