Setting aside the endless presentations, exhibitions, performances and other events- cocktails and parties included- that unfolded over the five days of the 66th edition of Lisbon Fashion Week, titled ‘ModaLisboa Pebbling presented by Omoda & Jaecoo,’ we highlight a number of standout shows, including Kolovrat’s, which opened the Lisbon catwalk.
On Friday afternoon, the eponymous brand Kolovratby a Bosnian-born designer based in Portugal, unveiled a new collection at the Gulbenkian Modern Art Center (CAM) in a site-specific, performative presentation built on the concept of the seed. Hence the title, ‘Seeds Need to Break to Grow.’
In the evening, at Pátio da Galé, it was CITEVE’s turn to present the result of years of study and work on the be@t Inspired by Nature project, with creative direction from Paulo Gomes, in a “collaboration between companies, research centres, and academia, demonstrating how creativity, industrial performance, and environmental responsibility can go hand in hand,” says ModaLisboa on its website.
From the ‘Workstation Design supported by Jean Louis David’ platform, we highlight the collection by çal Pfungst (artistic name of Gonçalo Pereira), who showed on Friday evening at Pátio da Galé, roaming “over classic forms and the functions of jacket sleeves,” as the multidisciplinary artist says on the ModaLisboa website, noting: “Thinking of clothing as a travel device.”
Also included in the Workstation, Bárbara Atanasio, winner of ModaLisboa For Good’s New Blood competition in March 2024, unveiled her menswear collection ‘Fica-te Mal,’ overturning tradition, on Saturday afternoon: “It’s not just about material inheritance: it’s mental, moral, and orthopedic. It doesn’t warm you; it weighs. Like an invisible law of moral rectitude. Inheritance as a pedagogy of its own error,” she explains on Modalisboa.pt.
Earlier on Saturday, around midday, Béhen by Joana Duarte presented her womenswear capsule collection, ‘Mirror, Mirror On The Wall…Who’s The Cutest Of Them All?’, which had already shown in Paris last January, courtesy of Portugal Fashion. Now in a private setting reminiscent of the great couturiers of old, she unveiled her looks one by one, highlighting “essential pieces, crafted from the finest materials and manual techniques,” she explains, pointing to the craftsmanship of various Portuguese regions applied in the capsule, “through a process of demi-couture.”
We thus recognize the “traditional ‘algibeira’ of the Minho costume, completely covered in glass beads and meticulously embroidered by Joana- a work of several months devoted entirely to embroidery”, or the ancestral burel of Serra da Estrela “transformed into a hoodie through the Nisa felt-embroidery technique,” to name a few techniques.
We also note mid-20th-century influences, both in the silhouettes and in the restraint and richness of the extensively embroidered garments: “trousers and shirts in 100% virgin wool, finished with ‘cat tails’ made by hand in soft Merino, a technique from Nisa, in the Alentejo. The skirts and dresses with seven layers are inspired by the traditional Nazaré skirts, an iconic piece of Portuguese clothing historically worn by women whose husbands went to sea. Each layer symbolizes protection, luck, and the waves of life,” the website goes on to say.
Returning to Pátio da Galé, in the late afternoon on Saturday, Carlos Gil presented a mixed collection titled ‘The World,’ which “celebrates aesthetic diversity and creative freedom, designing a cosmopolitan, sophisticated woman who is constantly reinventing herself,” he told FashionNetwork.com in a statement, while also introducing menswear. “The silhouettes alternate between structured and fluid, while patterns inspired by Art Nouveau intersect with a vibrant palette that evokes the 70s and 80s, in intense reds, luminous yellows, deep greens, and striking blues, balanced by neutrals and black,” the statement continues.
Closing Saturday night at Lisbon Fashion Week, Dino Alves presented ‘Eu Não Sou Perfeito’ (I’m Not Perfect), his autumn-winter 2026/2027 collection, which “is born from the acceptance of flaws and imperfections as identity and charisma,” reads the program note, which explains how the couturier takes on “imperfection as a form of aesthetic and even emotional resistance,” including irregularity and the unfinished “which, to everyone’s eyes, seems perfect.”
Besides this collection, Dino Alves presented a capsule collection with Humana: UP- Upcycling Collection Dino Alves X Humana, which “represents more than a simple institutional partnership, showing the importance of uniting the artistic dimension of designer fashion with social and environmental responsibility,” the note continues.
“By creating this collection with second-hand pieces and showing it on the catwalk at Lisbon Fashion Week, the designer intends to symbolize a certain paradigm shift: fashion as a tool for transformation, where creativity and sustainability can go hand in hand, and where contemporary luxury can arise from reuse and ethical commitment, without compromising aesthetic impact and artistic originality.”
On the last day of ModaLisboa Pebbling, Sunday afternoon, at MUDE- Museu do Design, Roselyn Silva presented the mixed collection ‘find Love’ with “looks constructed from these two colours, symbols of duality and harmony, in a timeless and sophisticated register,” reads Modalisboa.pt, about the designer born in São Tomé and Príncipe and raised in Portugal. The choice was to integrate “rare African fabrics in black and white” and combine them with silks and lace, creating contrasts in texture and a sense of material richness.
On Sunday afternoon, at Pátio da Galé, DuarteHajime, by Lisbon fashion designer and illustrator Ana Duarte, sent out the ‘Backbone Tour’ collection, for autumn-winter 2026/2027, with oversized silhouettes, “creating a real cocoon of privacy for those wearing the garments, both in the intimate moments of getting dressed and offstage” and in “shades of black and asphalt grey, cut through by the electric distortion of purple and light green associated with the stage.”
“Fabrics and metallic details- zips, press studs and rivets- combine with notes of whiskey‑yellow and animal patterns…”
At the start of the evening, Valentim Quaresma presented the ‘Fusão’ collection, developed from his research into “textile manipulation as a constructive methodology and formal language,” reads Modalisboa.pt, which explains how the raw material is “understood not only as a functional support for clothing, but as a plastic medium susceptible to volumetric and structural transformation.”
“Through tensioned draperies, twists, overlays and three-dimensional interventions, an approach is developed that fuses clothing with the designer’s work in the field of sculpture, resulting in a cross-disciplinary outcome. The dialogue with sculpture is established through a shared formal language researched and developed over the years.”
“@manuelalves_shoes BTS at ModaLisboa. Where craftsmanship meets contemporary design: Valentim Quaresma Like sculptural fashion in looks that suggest enclosure in the war-torn Islamic world, through masks and body jewelery that are more extensive than usual.
In short: “Anachronistic forms, apparently displaced from a linear chronology, run through the collection. As in sculpture, references from the past and the future coexist in the same object, giving rise to pieces that don’t belong to a specific time. There is a constant tension between the tribal and the futuristic, between the trace and the projection,” says the ModaLisboa website.
And finally, to close Lisbon Fashion Week, Luís Carvalho presented ‘AfterImage,’ “a silent territory,” he told FashionNetwork.com in a release: “A place where time blurs contours and memories reinvent themselves between the real and the imaginary. Not always clear, often distorted, memories are emotional fragments that return with new forms, new readings,” he continues, defining the motto of his autumn-winter 2026/2027 collection, with silhouettes that highlight “Marked waists that grip the body in contrast with shoulders that are now structured or dropped armholes that suggest a carefree, almost instinctive attitude,” as “a subtle tension between rigor and freedom, between what we remember and what we reinvent.”
We would also like to highlight the partnership with the centenary jeweler Topázio (since 1874): “The collection’s jewelery is revealed through the unexpected reinterpretation of everyday objects, transformed into pieces that inhabit the border between function and poetry, just like memories, familiar yet surprising,” concludes the note from the eponymous brand.
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