At the fitting a day ahead of his Spring/Summer 2027 show, Mexican designer Patricio Campillo watched intently as a model stepped into the room in one of the collection’s standout looks: a curtain of brown horsehair draped over the torso, fastened to the body only by a bridle, paired with suede trousers striped in the same horsehair. 

Across Campillo’s collections, Mexican handicrafts like basketweaving and onyx jewelry give the looks an artisanal edge, often infusing sharp tailoring and artful draping. Campillo called the horsehair details one of his current “obsessions” that carried over from his Fall/Winter 2026 collection, “Possibility and Restraint.” Traditionally woven into bridles, reins, and ornate leather belts, the horsehair went from being a subtle trim last season to dominating entire looks this season. The magnified detail is just one aspect of the “joyful, fun, and slightly more relaxed perspective” he introduced for SS27.

Since he started his business in 2016, it has undergone several transformations, changing its name from The Pack to Campillo a year after launching, and beginning to show at NYFW with Spring/Summer 2025. The designer explained that he saw an opportunity to build a community in New York: “I noticed a large Hispanic and Latin American community eager to see themselves represented here.” “You have to follow those moments when life tells you the path is right and the energy is flowing,” he added. 

With no formal education in fashion design, Campillo studied communications and luxury marketing in Milan and Paris before launching his brand. The designer credited these experiences with teaching him the ins and outs of storytelling and building a strong narrative. Reflecting on how his academic career shaped the brand, he said, “Many privileges in my early life were conditioned on my academic performance by my parents… That instilled a lot of structure and ambition in me regarding the results I put out.”

If you haven’t already heard of Campillo, you’ve certainly seen it. After being named an LVMH Prize Semi-Finalist in 2024, the designer’s clothing quickly began appearing across major world stages. Just this year, Burna Boy wore custom Campillo for his performance at the 2026 World Cup opening ceremony, Law Roach and Shaboozey both wore Campillo suits to the Oscars red carpet, and BTS wore Campillo on tour during their stop in Mexico City. Though the designer described these as “pinch-me” moments, he continues to remind himself that “it’s vital to focus on the causes rather than the consequences.” “Continuity is a vital part of creating a legacy,” he added. As it enters its first decade and spreads its wings in New York City, that legacy is increasingly global.

Presented at an East River heliport in Downtown Manhattan on September 13, the SS27 show marked the designer’s fifth collection to be shown at NYFW. Campillo’s reverence for process was central to the theme of the show “In Media Res,” which literally translates to “in the midst of things.” “Within the process of creating something, there are steps in the middle that actually become the final result,” he explained. Whereas the previous show’s vocabulary was darker and more restrained, the current show was an exercise in “joy”: “I am imagining a moment so precious and beautiful that you want to hold onto it. That feeling is the core insight — wearing something that serves as an analogy for that moment.”

The moment that he chose to freeze in time for the SS27 collection was a picturesque, golden hour in the Mexican jungle with his mother: “It was around New Year’s Eve, right at sundown. We were on top of a pyramid overlooking the jungle, surrounded by birds.” This vibrant memory was palpable in the solar-inspired palette and degradé prints, which ranged from the deepest reds to the brightest yellows. Some looks could be described as deconstructed sunsets: one featured layers of tangerine denim up top, a red jacket tied at the waist, and degradé trousers fading into a rust hue, while another combined a white feather mane around the neck, a pearlescent yellow top, and red-orange leather trousers. 

With a paintbrush-like texture, short horsehair trims ran down some garments like emanating rays, while long horsehair accessories danced with each step. Many of the fabrics shone with a satin quality or iridescent colors, while magenta and Klein blue accessories anchored looks. Yet for all its theatricality, the collection was grounded by pieces that can be worked into an everyday wardrobe. A range of neutral-toned looks composed of wearable staples, like solid jeans, suede shirting, and pinstriped suiting, received light distortions (jackets worn backwards and twisted styling interventions). Even the quintessential basic, a logo T-shirt, was designed with a subtle aberration: in a range of upcycled tees, a collage of Campillo wordmarks is superimposed over pre-existing logos.

“This season, the brand is evolving into something that feels more relaxed and embodies the warmth of simply having a good time,” the designer shared. The softening into a more joyful expression is unmistakable when you compare the mostly grayscale fabrics and crisply tailored garments of the FW26 collection to the current season. The clothes, which were rigid with structure, are now lighter and move fluidly in the breeze. Whereas last season had an almost conservative sensibility with its high-coverage, high-neck looks, this season has more than a handful of skin-bearing styles and translucent materials freeing up the body. 

With the level of craftsmanship involved, Campillo’s clothes occupy a space between contemporary and couture, or in other words, function and fantasy. The designer even enlisted a Parisian feather atelier that works in haute couture to collaborate on the latest collection. “There are pieces intended to create a narrative, and there are pieces intended for daily wear,” he explained. The tension he described was showcased in the contrast between the T-shirts, jeans, and shirting, as functional staples, and the ornamental role of the horsehair and feathers. 

Ultimately, the designer understands fashion as something to be “worn, used, and adapted for everyday life,” and that “art has a more contemplative function in society.” In the world of Campillo, both of these qualities are essential; “It is always a balance between the two.” The designer injects a “deliberate lack of practicality” to provide context, expand the brand’s vocabulary, and simply, “to have fun.” Informed by his luxury marketing background, Campillo’s philosophy holds the necessity for both clothing that sells and serves its purpose and the expansive potential of more artistic garments. “The less practical pieces are what allow me to push boundaries, which is my ultimate goal every season,” he explained.

The central memory explored in Campillo SS27 — peering at a colorful sunset horizon — perfectly illustrates the designer’s outlook. Ten years into the brand’s life, he eyes growth, not only in the business but in the visual language of Campillo. “I would like to grow this project to encompass more boutiques and a wider array of products that allow us to build out our creative universe and identity,” he revealed. The latest collection may look different than the last, but it’s certainly not abandoning the experimental tailoring and Mexican craftsmanship he’s become known for. “In Media Res” holds and stretches these roots, while loosening its posture, turning up the color and movement, and making more room for play. 

In an interview with Hypebeast, Patricio Campillo described the “joyful, fun” turn he’s taken the collection into, the philosophical underpinnings that drive his evolution, and how he’s expanding the universe of Campillo with new stories and concepts.

Hypebeast: What does In Medias Res mean to you, and how did that idea shape SS27?

Patricio Campillo: The SS27 collection is called In Medias Res. It explores an object that emerges during the becoming of a process. Within the process of creating something, there are steps in the middle that actually become the final result. 

This can manifest in a lot of ways. It could be something I am draping, and in the middle of the process, I see something I like that remains as the final object. It is also about trying to freeze a moment—whether out of nostalgia or the simple intention of wanting to hold onto something dear to you.

I have always shot part of our campaigns at either sunset or sunrise. To me, it is a very special moment of the day. You can see that reflected in the color palette of the collection, the degradés, and the digital printing. The evolution for this season is that I wanted a joyful, fun, and slightly more relaxed perspective for the brand, where beauty and joy are elements you can readily identify with.

There is also this idea of creating an object that looks effortless, but actually requires a very specific way to construct and drape it. These are small details that are not necessarily seen by everyone, but they are deeply appreciated in the complete composition.

How has the Campillo silhouette changed this season?

The silhouette is definitely more fluid. Proportion-wise, we are keeping the same dimensions, but I am playing with layering. This maintains the traditional charro silhouette in the torso, but then expands and breaks the body line. I am not being as strict with the silhouettes as we were before. We are keeping the core historical elements, but I wanted the overall feel to be much more relaxed.

When you talk about your clothes, you often discuss the sentiment they evoke for the person wearing them. What kind of feeling does this collection evoke for you?

Joy. I am imagining a moment so precious and beautiful that you want to hold onto it. That feeling is the core insight — wearing something that serves as an analogy for that moment. For example, the specific way a shirt falls over your shoulder is a fleeting circumstance; the challenge is how to make a tangible object out of that concept.

I wanted people to live in this bliss of summer moments, warm temperatures, fun times, and relaxation. In the past, I explored a lot of strict concepts and rigid tailoring. This season, the brand is evolving into something that feels more relaxed and embodies the warmth of simply having a good time.

Are there any particular memories connected to this collection?

The first suit I ever received was orange suede. I always felt it was such a random, bold choice to make an orange suede suit 50 years ago, and I wanted to explore those colorways.

Another strong memory involves being in the jungle with my mom. It was around New Year’s Eve, right at sundown. We were on top of a pyramid overlooking the jungle, surrounded by birds. I remember thinking how much I would love to freeze that moment. That specific feeling channeled a lot of inspiration into this collection.

Craft plays a major role in your collections. What techniques or artisan relationships did you develop further for SS27?

There was a lot. Instead of necessarily looking for new collaborations with artisans, we focused on developing deeper relationships with our current ones. One of my obsessions right now is the horsehair we work with. We partner with a specific artisan who uses amazing techniques to create different objects with horsehair. What we are applying in this collection actually comes from the beginning of their process. We saw it and realized that was the exact direction we wanted to go. It created something highly unique.

We are also working with bridles. Normally intended for horses and made out of horsehair, we are repurposing them into belts. That is a very specific trade; there are very few people in Mexico who can still make them, which makes the work fascinating.

We are also collaborating with Maison Février, a feather atelier in Paris that works in haute couture. We developed a close relationship with Maxime, one of their creative directors. We have built a cultural exchange ever since I designed a jacket with rooster feathers. When we connected, he was excited that we were working with feathers. He taught us a lot of couture techniques and even made a few pieces for the collection.

Finally, I am really excited about the jewelry. We developed buttons made from onyx stones mounted on silver bases. That involves one artisan for the onyx and another for the silver. While we started by making buttons, that concept has evolved into standalone jewelry. Those are some of the most interesting collaborations we are featuring this season.

Before fashion, you studied marketing. Does that experience still influence the way you operate Campillo as a brand?

I hope so. I actually studied for two degrees in communications and marketing, eventually majoring in luxury marketing. That background gave me a very clear framework for how to craft storytelling and build a narrative. It taught me how to maintain conceptual consistency throughout a collection, a story, or a campaign.

On a personal level, many privileges in my early life were conditioned on my academic performance by my parents; I could only do certain things if I got excellent grades. That instilled a lot of structure and ambition in me regarding the results I put out. I made it a personal endeavor to always strive for excellence.

Campillo has evolved considerably over the last decade, including changing the label’s name and relocating your shows to New York. How do you see Campillo evolving today?

Primarily through expansion. Expansion in our product range and our distribution. I would like to grow this project to encompass more boutiques and a wider array of products that allow us to build out our creative universe and identity. We are currently opening a store in Mexico City, and designing the space has been a fascinating exercise. You have to ask yourself, “How does the brand translate into a physical space? If the brand were a chair, what would that chair look like?” I am very interested in those types of creative challenges.

Your Mexican identity is something you have really emphasized in Campillo. Are there any specific cultural aspects you highlight in SS27?

That identity is the intrinsic DNA of the brand. One way or another, everything relates to my culture and identity. It is not just about it being Mexican, but more importantly, about it being my authentic life experience. I am moved by the things that happen in my universe, which happens to be in a wonderful country like Mexico. Ultimately, the inspiration comes from the things that interest and move me, and my daily exposure to those stimuli.

As a designer, do you lean more toward function or fantasy? Or neither?

I think both. There are pieces intended to create a narrative, and there are pieces intended for daily wear. It highlights the interesting boundary between art and fashion. Fashion is meant to be worn, used, and adapted for everyday life, whereas art has a more contemplative function in society. I am not pretending my work is art, but there are artistic elements involved that are not necessarily practical. That deliberate lack of practicality provides context, allows me to have fun, and expands the brand’s universe. It is always a balance between the two. The less practical pieces are what allow me to push boundaries, which is my ultimate goal every season.

This will be your fifth season showing in New York City. What drew you to relocate your shows here?

I saw an opportunity in New York to build a community. I noticed a large Hispanic and Latin American community eager to see themselves represented here. Historically, there has been a lack of representation for Latin American cultures in the broader fashion world. New York is incredibly diverse, and people here are very open to seeing new cultural perspectives. Plus, geographically, it’s the major fashion capital closest to Mexico.

Five seasons ago, when I first attempted to get on the calendar, everything organically fell into place. You have to follow those moments when life tells you the path is right and the energy is flowing. Five seasons later, I am working with almost the same team and often the same models. Continuity is a vital part of creating a legacy.

Your clothing has also been worn on massive global stages, such as at the World Cup opening ceremony by Burna Boy, and multiple times by Maluma, Rauw Alejandro, and Bad Bunny. How does it feel to see your designs in such a massive global spotlight?

It is amazing. It is a “pinch me” feeling—you find yourself asking, “When did this happen? How? Who made this connection?” It is incredibly motivating, and I feel immense gratitude that these moments have occurred. However, they also remind me that it is vital to focus on the causes rather than the consequences. These milestones happened because of the specific work we put in. I want to stay dedicated to those core reasons rather than just focusing on the end results.