Fashion depends, to some degree, on the disappearance of its own labour. By the time a garment is presented as finished, the traces through which it was cut, fitted and assembled have usually been removed. Raw edges are refined, temporary supports disappear and construction is made to look inevitable. Process Visual’s Fall-Winter 2026-27 collection, X, interrupts that sequence. Taped surfaces, exposed underlayers, unfinished hems and hanging straps remain within the final garments, complicating the boundary between the piece being made and the piece being complete.
Central to the collection is the symbol X: an intersection, a crossing-out and an unknown variable. “X began less as an idea and more as a feeling,” Montréal-based designer Jessy Colucci tells Liminul. “I found myself thinking about moments that resist resolution—when you’re caught between two versions of yourself, or between certainty and doubt.” Colucci was drawn to the symbol’s capacity to hold several meanings and “contain contradictions without needing to resolve them.” He began asking how clothing might embody the same condition, developing pieces that exist in “a constant state of becoming—where structure and softness, completion and incompletion, could exist simultaneously.”
Process Visual’s design language is recognizable through architectural silhouettes, asymmetry, oversized tailoring, draping and exposed construction. “There’s also a recurring tension between precision and disruption,” Colucci says. “Even when a piece is carefully tailored, there is usually an element that interrupts that order.”
In X, these interruptions are controlled and exact. Sculptural collars extend outward from the shoulders; elongated cuffs descend over the hands; tunics and skirts separate into offset layers and loose lengths of fabric. A grey wrap skirt is crossed with glossy tape, while elsewhere a pale strip remains exposed at the waist beneath an unevenly gathered shirt. Raw hems, curved openings and displaced panels prevent the garments from settling into conventional proportions. A predominantly black palette, interrupted by graphite, muted blue and white, directs attention toward differences in weight, texture and sheen.
“I have never been interested in clothing as something that simply dresses the body,” Colucci explains. “For me, the garment creates a relationship with the body—it changes posture, movement, perception—it asks the wearer to negotiate with it.” The collection continually redirects rather than simply outlines the figure. A collar reframes the shoulders and neck; a cuff partially obscures the hand; a suspended panel moves beside the leg; an oversized silhouette alters the space the wearer occupies. The X can be understood as this point of contact, where the body acts upon the garment and the garment acts back.
The construction of the clothes carries the same sense of negotiation. “I never saw process as something that disappears once a garment is finished,” Colucci says. Tape, raw edges and temporary-looking details are not decorative simulations of the atelier. They acknowledge that “garments, like people, are never entirely finished.” Each piece is “complete enough to exist,” while continuing to bear evidence of how it was assembled.
This refusal of resolution also complicates clothing’s role in producing identity. Dress is often understood as the outward expression of a coherent interior self. X proposes something less stable: the garment participates in forming how the wearer is perceived, how the body moves and how it is experienced from within. The subject wearing it remains as open as the unknown variable from which the collection takes its title.
The accompanying editorial carries these ideas into New York City. Photographed by Richie Ramirez Jr., styled by Harry Corrigan and modelled by Ella, the series developed through a collaboration that pushed the collection beyond Colucci’s initial conception. “New York has an energy that’s constantly shifting between construction and collapse, elegance and disorder,” he explains.
The photographs move between the waterfront beneath the Manhattan Bridge, fenced shopfronts, weathered service entrances, concrete passages and a fluorescent institutional corridor. Against these settings, the collection’s controlled black forms encounter rusted metal, peeling paint, construction barriers, open water and the uneven surfaces of the street. Photographing the collection in New York marked a point when Process Visual was “beginning to move beyond its immediate context while remaining grounded in the same values that shaped it from the beginning.” That outward movement comes as the label itself reaches a more defined stage. “I think Process Visual has reached a point where the visual language feels established,” Colucci says. “The collections, photography and creative direction all speak to the same world.”
Process Visual remains intentionally small and hands-on, with garments produced in limited quantities and photography considered from the beginning of the design process. Colucci thinks of each collection as “an ongoing conversation rather than a product cycle.” While the creative identity has become recognizable, the structures surrounding it—funding, production, distribution and visibility—are still taking shape.
The pace of that development is closely tied to Montréal, which has given Process Visual “the freedom to develop slowly” within a culture where artists from different disciplines regularly intersect. Yet the city that made this gradual approach possible also presents limits of scale. Experimental fashion has fewer opportunities locally than in larger international capitals, making it necessary to look outward while continuing to build a meaningful practice at home. As Colucci puts it, “Montréal gave Process its foundation, but international dialogue is becoming increasingly important for its next stage.”
Independence allows him to protect the pace and integrity of the work. “I don’t have to produce collections because a calendar says I should, or simplify ideas because they’re easier to sell,” he says. Colucci is interested in expanding production, presenting internationally and reaching new audiences, but draws a line at reducing the work to trend or treating garments as disposable products. “Every collection has to introduce a genuine question or investigation,” he says. “If it doesn’t challenge me creatively, there’s no reason to make it.”
For Colucci, meaningful growth involves longevity and a clear point of view. He imagines Process Visual as a platform through which fashion can exist alongside photography, publishing, installation and other forms of visual practice. “I’m not interested in building the biggest label possible,” he says. “Meaningful growth isn’t only measured by sales or visibility—it’s about developing a body of work that remains coherent over time while continuing to evolve.”
X leaves the garment and the label at a similar point: formed enough to speak in a recognizable language, but still open to revision. “Nothing has settled yet,” Colucci says. Process Visual’s aim is to contribute something lasting to contemporary fashion, “not by following its pace, but by moving at its own.”
Process Visual Fall-Winter 2026-27, X. Photographed in New York City by @richieramirezjr. Designed by @jessycolucci for @processvisual. Styled by @harryfacemajors. Modelled by @ellatronica.
Cody Rooney is the editor-in-chief and a senior contributor at Liminul.
He is a PhD candidate, digital content specialist, writer, editor, multimedia artist and photographer.