Meryll Rogge's Spring/Summer '27 Collection Is Built to Be Lived In

It was a sweltering day in Paris—not quite at the record-breaking heat that came deeper into fashion week, but hot enough that the cobbled streets of the 8th arrondissement seemed to warp and bend with the midday sun. Hôtel de La Marck, which serves as the official residence of the Belgian Ambassador in Paris, was chosen as the location for Meryll Rogge’s Spring/Summer ’27 presentation.

 

After passing through a handful of rooms in the front of the residence, which maintained all of its original decor spanning back to the mid 1700s, a salmon and beige sign laid atop a grand piano welcoming visitors to Rogge’s latest offering.

 

Instead of a typical showroom, the Belgian designer presented her collection as a series of flat lays. Contrasted against the baroque works of the halls prior, the installation was instead all black, a converging hallway for guests to peruse both Rogge’s new garments as well as an extensive collection of books as part of her collaboration with Saint-Martin Bookshop. The curation also included photos of the pieces worn by models, journals, pictures, CDs, parking tickets, and other ephemera as a means to build the season’s throughline.

Through this display, the world in which the Rogge archetype inhabits is abundantly clear: quirky, freespirited, and inseparable from the designer’s fully realized Belgian fashion heritage. In Rogge’s point of view, there’s no idealized muse, but a wearer in mind. The result is a grounded approach that makes the garments feel real—a sensation not often found during the pastiche glaze of fashion week.

An immediate standout in the collection are Rogge’s take on boat shoes, which have been truncated into mules that feature a slight springstep and an enlarged toe box. The innovative styles were rendered in deeply saturated pastels and displayed in front of Richard Prince’s Adult Comedy Action Drama. Off to the side laid a pink moire silk cocktail dress. From a distance it would’v`e been difficult to discern the dress’s material composition, but up close the rippled texture shines through. The short dresses mixed loud patterns into delicate lace work, its bodice cut into a shape that feels reminiscent of early Helmut Lang.

 

Among the collection’s highlights were the double collar poplin shirts. The double cuff situation was novel, but seeing Rogge herself wearing one, layered underneath an oversized bomber and paired with the newly released Trader Joe’s mini tote, endeared the design even further—these are clothes that are worn by real people.

Once through the hallway, past the industrial AC fighting to keep the heat out, the room following led towards the courtyard. Belgian brand Gimber provided drinks as a respite from the heat as guests spoke with Rogge and the team about the collection.