In recent seasons, several designers among London’s younger cohort have held alternative collection showcases in place of a traditional runway. Karoline Vitto revealed her fall collection via lookbook, and for spring she eschewed an on-schedule moment in favor of a show-photo-shoot hybrid, staged well before Fashion Week, attended by members of her community. Pulling the curtain on her process, customers and fans––some of whom even travelled from other cities––responded to Karoline’s call-out on Instagram, and experienced a day-long catwalk and video shoot, dressed in looks from previous seasons. “I was once reminded that when you’re a small brand, you have a luxury to do certain things,” she said at a preview. “It’s good to take the opportunity now. People showed up in my clothes and they were excited to be there. It was a really great way to connect and engage with them.”
Community has always been important for Vitto, who has fervently championed inclusive sizing: she has been an especially refreshing presence against the backdrop of a backwards-leaning size-diversity landscape. Spring 2026 was sampled on fitting models of size UK8 and size UK16, and graded appropriately to ensure a refined fit across the board. Inspired by her trips to Sao Paulo, “watching how people dress,” the collection harnessed the warm weather and focused on “lightweight layers.” “Winter doesn’t exist in Brazil,” she quipped, likening the style differences of Sao Paulo and Rio to New York and LA––she leant into the former Brazilian city this season, having done the latter last season.
Three new shirts in cotton and viscose, two cropped and one long with an “airy slit” at the back, exemplified the “easier silhouettes” Vitto explored throughout. This ease was also translated to the trousers, one of which was based on an archive “belly-button” iteration from 2021, reworked in deadstock herringbone with a baggier, curved fit––another, a pair “the girls loved” was updated with less bra-strap details than before. “It was important to include pieces that feel really good and are flattering on different bodies,” she said. “There’s more everyday wear,” she continued, honing in on the “entry-level” boxer shorts and tank tops. For the label’s stalwarts there were a selection of dresses with new twisted and draped proportions––gathered fabric on the hips, an asymmetric knotted strap––in rich tamarind red and chartreuse, pink, and black. As for the metal rings she has made her trademark? They were complementary rather than integral to her vision, and took form as handles for her debut bag offering.
Around 80 percent of Vitto’s production is in her native Brazil, but her design mind is split more evenly between there and London. As evidenced by the well-attended and well-received alt format she adopted for spring, the demand is also spread; from the UK to Brazil and beyond.
