Designer Natasha Zinko explored themes of surveillance and performance in her Spring 2027 collection, staged in a brutalist theater setting.

Key facts
- •The collection was presented in a former theater arranged in a circular, panopticon-style layout.
- •Cast members included Kelly Osbourne, Faris Badwan, and Katie Price, alongside opera singers, skaters, and athletes.
- •Performers were instructed to bring a personal prop and decide how to act when their specific window was illuminated.
- •Garments featured materials like latex and rubber, with designs referencing uniforms and protective gear.
- •Zinko produces most of her work in her west London studio and factory.
Natasha Zinko debuted her Spring 2027 collection, titled 'Pay Per View,' in an underground brutalist theater in London. The show featured a diverse cast of performers, musicians, and models positioned in individual windows arranged in the round. Inspired by the concept of the panopticon, the presentation examined how modern social media and live-streaming influence self-regulation and behavior under the constant gaze of an audience.
The Concept of Performance
Zinko drew inspiration from Michel Foucault’s writings on Jeremy Bentham’s panopticon, a prison structure where inmates regulate their behavior because they cannot determine when they are being watched. The designer applied this to modern society, noting that social media forces individuals to act as if they are constantly under observation. The show’s layout required the audience to turn their attention toward individual, illuminated windows where performers were stationed.
Cast and Garments
The cast included figures such as Kelly Osbourne, Faris Badwan, and Katie Price, each of whom brought a personal prop to the performance. The garments featured distorted archetypes, blending elements of fetishwear, club gear, and theater costumes. Notable looks included a tenor in a sheer pink latex jacket and rubber gloves, and a sailor wearing a striped, backless halter crop top with a low-slung skirt. Zinko’s designs intentionally avoided clear categorization, oscillating between various aesthetic identities.
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This article was independently rewritten by ManyPress editorial AI from reporting originally published by Vogue.


