Every adult once had a world of their own as a child — a singular way of seeing and imagining it.

Our new summer collection was born from a desire to look at the world through a child’s eyes. To try to see what remains visible to children, yet is so often lost in the adult world.

The starting point for the collection was the story of Ukrainian artist Anastasiia Yershova and her three-year-old daughter, Uliana, who was born during the full-scale war. Paintings begun by an adult hand are continued through a child’s vision — her lines, colours and imagery. It is as though two different realities meet on the same canvas. The artist first creates a painting, then invites her daughter to complete it as she sees and feels it. It is also an expression of the intimate, almost sacred bond between mother and daughter.“I have always been fascinated by the subtle way children look at the world. The way they see it with such open, sincere eyes; the way they trust it; the way they find beauty and their own perspective even where adults fail to notice it. The way they delight in the simplest things and see what we so often pass by without looking back,” says Nadya Dzyak.Today, a generation of children is growing up in Ukraine for whom war has become part of everyday reality. They are growing up faster than they should. And yet they continue to wonder, to dream, to invent worlds of their own and to find light where adults sometimes cease to see it.

“I was particularly moved by the painting The Girl Who Lived in Rome, created after a terrifying night of shelling. There is pain in it, but also love — the love with which the artist seeks to preserve the memory of children. Later, she entrusted the painting to her three-year-old daughter, Uliasia, who continued it with her own lines. She completed it as she herself sees the world. Not erasing the pain, but allowing her own childlike light to enter it,” the designer says.This freedom of a child’s imagination finds its way into the language of the collection itself — into the recognisable architectural codes of NADYA DZYAK. At times, lines take an unexpected turn, almost like an accidental brushstroke in a child’s drawing.

The palette is built around soft shades of vanilla, milk, ivory and warm beige. These tones also appear in delicate gingham checks, unexpectedly paired with turquoise and pale mint. Transparent multicoloured polka dots create an effect of watercolour stains and layered pigments, as though paint had accidentally touched the surface of the fabric.

For the first time, mélange knitwear enters the NADYA DZYAK vocabulary, reinterpreted through the brand’s distinctive DNA. Multicoloured threads evoke layers of paint, while soft lines and ruffles echo the movement of a brush curling into the spirals characteristic of the brand. The technique appears across lightweight summer dresses, blouses and jumpsuits. The designer also continues her exploration of hand-crocheted pieces. This season, they appear to be assembled from fanciful fragments — varied in shape, colour and texture, joined freely and intuitively, like an image composed through a child’s imagination.

For the summer collection, the designer introduces a new denim treatment that gives the fabric a soft sandy-brown hue. It is used for jackets with an accentuated broad shoulder line, denim corsets with sculptural peplums, lace-up capri pants and low-rise jeans finished with the brand’s signature graphic ruffles. The silhouettes carry a distinct echo of 2000s aesthetics.

Created especially for the SS’27 show, a creative collaboration between NADYA DZYAK and GRIE introduces hand-knitted bags in mélange raffia, echoing the collection’s layered colours and textures.

Another new direction is broderie Richelieu embroidery based on Nadya’s original patterns. In place of traditional ornamentation are free, at times unexpected graphic strokes and irregular lines, deliberately released from perfect precision. They trace the edges of garments, appear within the brand’s recognisable spiral ruffles and evolve into sculptural peplums.