Beate Skonare Karlsson has built Avavav into a distinctive independent Swedish label by combining conceptual design with a sharp understanding of internet culture. Known for viral runway spectacles featuring models falling or garments slipping off, as well as her anthropomorphic finger shoes—worn by Rick Owens—the designer has made creative communication central to the brand’s identity.

For Spring 2027, however, Karlsson stayed in Stockholm rather than presenting in Milan. The decision represented less a retreat than a conscious move away from algorithm-driven attention and toward the label’s creative roots. The collection retained Avavav’s irreverent personality while marking a more mature direction, with less emphasis on streetwear and more focus on shape, texture and craftsmanship.

Karlsson’s signature designs often blur the line between fashion and fantastical creatures. Her scalloped larva bag, curvy panda glasses and fringe-covered centipede scarf all share an anthropomorphic quality. Previous collections have also featured distinctive techniques, including “sharpei” ruching, slashes and skeletal rib-like patterns.

This season, she explored how those established accessories could inform clothing. The rounded, larva-like shape of a familiar bag, for example, appeared in the curved pockets of a sharply tailored jacket. The result balanced playful proportions with a polished finish, creating a look that could appeal to a sophisticated, fashion-conscious customer.

Pleating emerged as the collection’s central design preoccupation. Karlsson experimented with plissé in both vertical and horizontal directions, including a slinky, spring-like skirt. A stretchy minidress featuring a single hoop evoked a vintage bathing suit, transforming a traditionally structured silhouette into something lighthearted and sculptural. Its cage-like construction offered a whimsical reinterpretation of the frameworks that have historically shaped womenswear.

Other pieces drew inspiration from paper crafts. A slashed skirt featured loops that exposed their undersides, while a dress covered in crumpled streamers recalled the texture of crepe paper. Karlsson cited a Christmas episode of Pippi Longstocking, filled with crumpled wrapping paper, as part of the inspiration. These designs captured the spontaneity of handmade decorations while translating them into carefully constructed garments.

Texture and dimensionality gave the collection a contemporary feel. Gingham appeared on a smart ribcage-shaped jacket, complete with smocking at the wrists, while the interplay of volume and surface added depth without relying on excessive ornamentation.

That restraint also reflected a wider cultural mood of digital fatigue and renewed interest in analogue experiences. Rather than competing for attention through ever more layers and visual noise, Karlsson sought to pare her designs back to their essential elements.

“I think it’s nice to just have calm for the eye,” she said. “My experience is that it’s a time where it’s just extra everything and layering—not just in fashion, but in life in general. I’m just trying to remove layers and see if the core and the actual essence is still interesting.”

The answer was particularly clear in a pleated tube dress that became a beautifully distilled little black dress. It demonstrated that Avavav’s distinctive sense of humor and experimentation could remain intact even when the design was stripped to its essentials.

For Spring 2027, Karlsson showed that growing up need not mean abandoning playfulness. By bringing greater focus to construction, texture and silhouette, she delivered a collection that felt more refined without losing the eccentric spirit that makes Avavav stand out.