For three days, Baku Fashion Week Fall/Winter 2026–2027 brought together designers from Azerbaijan and other countries, all with very different styles and moods. The whole week felt very alive, from the runway shows and backstage moments to the styling, casting, music, and overall atmosphere around every show. What I liked most was that every runway felt completely different. Some collections were minimal and clean; others were more artistic, playful, dramatic, or streetwear-focused, so the three days never felt repetitive. There was also a really nice mix of debut designers and more established brands, which made the whole fashion week feel fresh and interesting to watch. Here is my review of the collections and brands that stood out to me the most this season.
UVENTA’s Back to Roots really felt like going back to the brand’s DNA, but not in an old-fashioned way. You could still see their classic feminine style, but now it felt more grown-up, more confident, and more playful with textures and shapes. There were so many details on the runway that kept catching my eye – feathers, floral elements, layered fabrics, different textures. Some looks felt dramatic, but still very easy to imagine in real life. I also liked how alive the collection felt because of the colours and movement. Nothing looked flat or boring – every look had something interesting in it without trying too hard. What I personally liked the most was that the collection didn’t feel like the brand was trying to recreate old pieces from the archives. It felt more like revisiting their own style and showing how it naturally evolved over time. You could still recognise UVENTA immediately, but now the brand felt more mature, more experimental, and even more sure of itself.
DE MAJNUNS had one of those debut shows where you instantly understand the vibe of the brand. Controlled Madness felt very street, very now, and very wearable, but with enough detail to keep every look interesting on the runway. The collection mixed sporty pieces with oversized shapes, denim, and structured fabrics in a really easy way. You could really feel the designer’s energy behind the whole collection. Nothing looked too complicated, but the styling and textures gave the looks a strong character. I also liked that the collection didn’t feel limited only to menswear – a lot of the pieces could work on anyone. The dark blue, brown, and brick tones gave the whole show a cool city mood. Combined with the heavier fabrics and relaxed silhouettes, the collection felt calm, confident, and effortless. For a debut runway show, DE MAJNUNS already came with a very clear vision, like a brand that knows its direction and identity.
THE HOUSE OF JESUS STAR presented in Baku for the first time, bringing a collection that felt very girly in the best way possible, but still super elegant and well-styled. Burning in Luxury played a lot with black-and-white looks and little details that made the whole runway feel fun to watch. I honestly loved all the feminine touches throughout the collection – pearls, bows, star details, polka dots. One detail I really noticed everywhere was the sheer knee-high socks. They appeared in many outfits and became one of the key styling pieces of the show. I actually loved them even more because I was wearing almost the same ones that day. The collection struck a nice balance: some looks were very soft and feminine, almost romantic, while others felt sexier and a bit stronger in mood.
YAMAMAA made a very interesting debut in Baku. The whole Fall/Winter 2026 collection felt more like an exploration of ideas through clothes than just a show of outfits. Everything looked like it could change shape or be worn in different ways, which made the show feel very dynamic on the runway. There was a strong mix of sporty and experimental elements – oversized shapes, adjustable details, hybrid constructions that didn’t feel fixed. A lot of pieces looked like they could be transformed depending on how you wear them, which made the whole concept feel very modern and practical at the same time. The colour palette consisted of shades of blue, red, and brown. Those are actually my favourite colours. For me, YAMAMAA’s debut felt like a brand trying to rethink how clothes actually work – not just how they look, but how they can evolve with the person wearing them.
SELINA KEER was shown in Baku for the first time, and Ballad of the Enchanted Forest had this very soft, almost dream-like mood from the beginning. The whole idea felt connected to nature and emotions – like the clothes were telling a quiet story rather than just being outfits on a runway. What I really noticed were the nature-inspired details everywhere. There were bird motifs, soft floral patterns, and light prints that looked very delicate and almost poetic on the fabric. Some pieces had a water-reflection effect; others felt closer to flowers or leaves – everything stayed in that natural direction without feeling too literal. The collection also played a lot with this idea of transformation. Some looks felt very simple and quiet, others had a bit more layering or texture, but they all stayed connected through the same gentle, nature-based mood. For me, it felt very pure in its own way – not dramatic, not loud, just a soft mix of femininity and nature.
ZUMRUD MIRZALIYEVA showcased Rebirth of the Soul, and this one felt very powerful, but still very feminine in its own way. Also important to mention, she is a designer with more than 20 years in fashion, so you could really feel that experience in how the collection was built and how clear her vision was. The idea behind the collection was transformation, like burning everything down and starting again, but coming back stronger. You could feel that idea in the way the looks changed from more structured to more fluid, almost like a shift in emotions through the runway. Across the 25 looks, there was a mix of strong shapes and softer silhouettes. What I really liked was how femininity was expressed here. It wasn’t about being soft in a weak way; it was more about inner strength, but still keeping elegance. The clothes didn’t feel aggressive or heavy; they felt controlled, confident, and balanced. For me, the strongest message of the collection was simple but clear: you can go through change, break down, and still come back stronger, without losing your elegance on the way.
LEINÉA made a very calm and clean debut with its 2026 collection. You could really feel that the designer chose minimalism on purpose – nothing extra, nothing loud, just a pure focus on shape and feeling. It was very clear and very controlled in its own way. The silhouettes were long and elongated, with open backs and soft, flowing forms. Everything felt very architectural, but still light because of the fabrics. Chiffon and silk brought this gentle movement, so even simple looks didn’t feel static. What I liked was how the collection stayed so quiet but still interesting. It wasn’t about decoration or details; it was about lines, proportions, and how the body moved inside the clothes. Everything was very intentional, like every cut had a reason. The inspiration came from sunsets and horizon lines. The whole collection had this calm, open feeling, as if everything was clear, simple, and balanced. For me, LEINÉA felt like a brand that trusts simplicity. The strength of the collection lay in its minimalism and in how that minimalism became the main statement.
ZHSAKEN’s Art Is Not Enough felt like a total switch in energy – very fun, very creative, and honestly a bit unexpected in a really good way. The whole show had this playful, almost pop-art vibe, as if fashion turned into a performance rather than a runway show. The silhouettes were super interesting – broken shapes, layered pieces, and outfits that felt like they were built in different directions at the same time. Nothing looked basic or predictable, and that’s what made it exciting to watch. What made it even more fun was the styling. Some models walked out holding helmets, some had toys in their hands, and it felt a bit random but very intentional at the same time. It gave the whole show this artsy, playful mood, like you never knew what would come next. The colours were also really nice together – soft pinks, baby blues, and silver tones. So, the collection felt like a mix of fashion, art, and a bit of chaos in the best way. And as the designer himself pointed out, “Art is not enough,” and you really felt that here, because the whole show went beyond both art and fashion.
SULTAN GADIMBAYLI’s Back to Black felt like a strong final note of the season. The whole collection was totally black – no colour at all, but it never felt boring. Every look had its own energy, shape, and attitude. What I really liked was how black was used here, not just as a colour, but as the whole idea of the collection. It felt clean, powerful, and very focused. The silhouettes were very strong, with structured shoulders, sharp tailoring, and fitted shapes mixed with softer movement in fabrics like satin, jersey, and crepe. Some looks felt stricter and more minimal; others had a sexier, more confident mood, especially in the dresses. Even without colour, a lot was happening. The textures, cuts, and construction made every outfit stand out in its own way. It had this 90s minimalist feel, but updated in a very modern, couture way. And in the end, Back to Black really lived up to its name – a complete return to black but shown in so many different ways that it never felt the same twice.
