Simone Rocha Spring Summer 2026 “No One’s Little Girl”. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE. Photo Courtesy: Simone Rocha.
Simone Rocha set her latest Spring Summer 2026 collection to the tune of inevitability. A phrase heavy with resignation and irony became a backdrop to clothes that seemed deliberately caught between generations — garments a mother might cherish more than her daughter, but which, under Rocha’s hand, refused to remain stuck in nostalgia.
Sparkle was applied almost indiscriminately, as if to prove that glamour can be both compulsory and slightly absurd. Sequins, crystal accents, and sheer overlays reframed familiar silhouettes, demanding to be looked at even when they didn’t ask to be liked. Rocha, never a minimalist, leaned into excess with a steady hand.
Her fundamentals were present, the usual architectural scaffolding of her language: crinolines reshaping the body, exposed underpinnings turned inside-out as if to remind us that elegance is always half-constructed, satin pleats folded with both delicacy and defiance. There was a deliberate tension: the codes of the lady, but cut with the awkward angles of someone who refuses to become one.



At the heart of the collection lay a curious role-play. The young girl, borrowing from her mother’s wardrobe — the skirts too long, the shoes slightly oversized — becomes the protagonist. The effect was not parody, but provocation: a performance of femininity staged in a way that teased rather than obeyed. Rocha described it herself as “oddly elegant,” a flirtation with grace that deliberately sidesteps stereotypes.
The result was a study in emotional teasing. Clothing here was not content to decorate the body; it tested the viewer, pressed on sentimentality, asked whether sweetness could coexist with irony. Rocha’s woman — or girl — does not sit neatly inside a cultural box. She toys with it, holds it at arm’s length, and lets it shimmer under the light before discarding it for something stranger.
Simone Rocha Spring Summer 2026 did not try to resolve contradictions. It staged them, crinoline after crinoline, sparkle after sparkle, until the runway became less about clothes than about the uneasy territory between memory, desire, and performance.
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