Paris Men’s Fashion Week Spring/Summer 2026 (June 24–29, 2025) delivered a dynamic mix of debuts, creative shifts, and contrasting approaches. Major luxury houses unveiled much-anticipated collections under new creative direction, while independent labels and rising designers made strong statements. From grand spectacles to quiet luxury, the season’s runways showcased themes ranging from heritage and history to modern ease, all amid a summer heatwave that had designers prioritising lightness and wearability.
Louis Vuitton – Pharrell’s “Paris to India”
Louis Vuitton’s menswear artistic director, Pharrell Williams, staged a “Paris to India” themed show on a Snakes-and-Ladders motif runway next to Paris’s Centre Pompidou. The gigantic game board set, created in collaboration with Studio Mumbai, paid homage to the Indian origins of Snakes and Ladders. Williams channelled Indian sartorial elements throughout: models wheeled out ornately embroidered travel trunks inspired by Indian craftsmanship and nods to India included cricket-striped ties, as well as Padua-style sandals and woven tassels reminiscent of traditional garb.
In terms of style, the collection embraced louche retro tailoring and inventive hybrids – for instance, cargo pants paired with shrunken sweaters – signalling Williams’s more personal vision for the house. The palette skewed towards neutral earth tones (brown, black, terracotta) with subtle pops of blue and yellow, reflecting a quieter luxury vibe. Williams “traded drama for clarity,” focusing on premium renditions of everyday menswear staples, such as striped polos, boxy work shirts, and chinos. These looks, often grounded in ribbed tank tops or relaxed vests, gave a sense of approachable luxury that is likely to resonate with style-conscious consumers. Although less logo-driven than past LV outings, craftsmanship shone through in pieces like a hoodie constructed from tiny, hand-sewn mink panels – a reminder of the house’s atelier excellence. Overall, critics noted this Spring/Summer 2026 effort as Williams’s strongest yet, blending Indian aesthetics (inspired by his travels) with a “quiet” sophistication well attuned to current tastes.
Dior Men – Jonathan Anderson’s Historical Remix
Making perhaps the week’s most anticipated debut, Jonathan Anderson unveiled his first collection as creative director of Dior Men, putting a fresh spin on the house’s heritage. Staged in an intimate setting at Les Invalides to evoke Dior’s original couture salons, Anderson’s show was a “play on history and affluence”: he drew inspiration from 18th- and 19th-century menswear. Classic forms such as the frock coat and tailcoat were meticulously recreated – complete with period-style silk moiré fabrics and floral embroideries – then playfully subverted when styled with casual staples like cable-knit sweaters and slouchy jeans. This juxtaposition captured a theme of “youthful spontaneity”, imagining boys discovering grand garments in an attic trunk and mixing them with modern clothes.
Anderson wove in authentic Dior references even amid the whimsy. The collection opened with his riff on the iconic Bar Jacket (cut from glittery Donegal tweed to inject some of his heritage) paired with voluminous cargo shorts whose draped, looped layers were a direct nod to a 1948 Christian Dior gown known as Delft. In a similar vein, another pair of experimental shorts featured tent-like hip structures, alluding to the silhouette of Dior’s 1952 La Cigale couture dress. By supersizing humble cargo pants with ruffled constructions inspired by archival Dior gowns, Anderson effectively “decoded and recoded” Dior’s formal codes into something more irreverent. Traditional suiting elements – club ties, Bengal-striped shirts, and even regimental cravats – were worn askew or inside-out, echoing a famous Jean-Michel Basquiat image and infusing a sense of louche insouciance. For the more sartorially cautious client, Anderson offered modernized tailoring: his new take on the Bar Jacket featured untied bow ties and relaxed trousers that brought Dior’s formality into everyday wear.
The debut was received as a triumph, striking a balance between respect for Dior’s opulent past and a cool, almost prep-meets-punk modernity. From powdered pastel tailcoats that faithfully reproduce 18th-century originals to sporty polo shirts and boxing shoe-inspired high-top sneakers, Anderson demonstrated a range. The collection’s irreverent mash-up of eras felt true to his design ethos (honed at Loewe) while charting a new direction for Dior Men.
Hermès – Quiet Craft and “Airy” Luxury
While many brands opted for spectacle, Hermès chose subtlety and substance. Longtime menswear director Véronique Nichanian unveiled a Summer 2026 collection that spoke “in a language of quiet strength, deep craft and calm luxury,” as one reviewer noted. Amid a Paris heatwave, Nichanian addressed the perennial challenge of summer tailoring by literally airing out her materials. She incorporated open-weave and woven leather techniques to create breathable garments that did not sacrifice refinement. Models walked beneath towering mirrors in looks that fused traditional house styles with modern ease: sharply cut, short jackets paired with high-waisted, lattice-woven leather trousers and buttery, sleeveless tops, exuding a confident yet relaxed sensuality.
The colour palette was cool and exact, dominated by subtle neutrals, including coffee brown, slate grey, taupe, and beige – each a study in restraint and tone-on-tone elegance. Hermès’s famous leather craftsmanship was front and centre, from a putty-coloured leather t-shirt with mesh-like ventilation to entire bomber jackets and cardigans constructed in strip-woven leather that resembled striped fabric from a distance. Even silk scarves became almost organic-feeling fringed bandanas(in reality made of leather) – a playful touch amid the polish. Accessories emphasised functionality and understatement: models carried roomy canvas totes with leather straps, including whimsical versions printed with gambling monkeys “just for fun”. Footwear ranged from rope-soled thong sandals that exposed bare feet to immaculate ankle boots in glossy calf and crocodile leathers.
What made this collection powerful was its restraint. Nichanian favoured “tailored silhouettes and a sense of order when the rest of fashion is busy making noise,” an approach that felt almost radical in its classicism. Subtle zig-zag patterns on knits, an unbuttoned shirt here or a glint of silver buckle there, provided a human touch without ever raising the volume. As the audience’s loud applause at the show’s end demonstrated, Hermès delivered a masterclass in timeless menswear, with luxury defined by the pleasure of perfect craftsmanship rather than flashy theatrics.
Rick Owens – “Temple” of Water and Sleaze
Rick Owens brought his signature blend of the glamorous and the grotesque in a spectacle titled “Temple.” Staged in the fountain courtyard of the Palais de Tokyo at dusk, the show was an otherworldly water ritual. Models initially traversed a raised scaffold above the shallow pool before climbing down and wading through the fountain one by one. Each model paused mid-walk to fall forward and entirely submerge themselves, then rose from the water, drenched head-to-toe, to continue striding with soaked outfits clinging to their bodies. For the finale, harnesses secured some models back onto the scaffold in a striking tableau flanked by spraying jets of water. This dramatic baptismal imagery underscored Owens’s theme of rebirth amid decline, tying in with a retrospective of his work opening concurrently in Paris.
Despite (or perhaps because of) the watery chaos, Owens’s Spring 2026 collection itself was rich in detail. He summed up the vibe in three words: “sleek, reckless, elegant sleaze”. That translated into pieces that revelled in a dark, punk sensuality. Tailored shorts were sliced and slashed into micro hemlines or cutouts, often secured precariously by studded straps to reveal plenty of skin. Biker jackets came cropped, frayed, or unzipped in panels to expose midriffs and hips. Owens explored gothic drama through fringed leather cloaks, draped like tattered wings on the models’ backs and long coats with exaggerated “Dracula” collars encrusted with murky, corroded-looking sequins. (When these cloaks and coats emerged from underwater, they created cascades of glittering droplets, turning the models into “human-borne waterfalls”on the runway.) The collection mixed the raw and the abstract: one deep V-neck vest was printed with what appeared to be Owens’s birth astrological chart, while a white hoodie bore a photo of grimy urinals, wry nods to fate and filth amid the high fashion.
Owens’s pursuit of “glamour and sleaze” was inspired by his memories of prowling Hollywood Boulevard, and he pushed that dichotomy to extremes here. Luxurious fabrics like silk taffeta and supple leather were juxtaposed with bare flesh and industrial hardware (several models wore visible carabiner harness rigs). The show also featured a collaboration with legendary punk band Suicide, underscoring the anarchic, downtown edge of the presentation. In the end, as the soaked models hauled themselves back onto the scaffold in their towering platform boots, the audience was left with an unforgettable image of triumph over collapse, a fitting metaphor for Owens’s enduring ability to find beauty in ruin and to literally “dive” into new creative depths.
Givenchy – A Pause in Transition
Not every major Paris house took to the runway this season. Givenchy was notably absent from the official show schedule as the brand navigates a transitional period following the departure of its menswear designer Matthew M. Williams (who exited the house in early 2024). Instead of a blockbuster runway presentation, Givenchy’s Spring/Summer 2026 menswear offering was kept low-key. Industry observers noted that the collection (shown to buyers behind closed doors) hewed to an “effortless elegance” ethos consistent with the house’s recent direction, blending refined tailoring with subtle streetwear influences. With no creative director at the helm, the approach appeared understandably cautious, featuring slim-cut suits with contemporary tweaks, embellished denim, and utilitarian accents reminiscent of Williams’s tenure, along with a muted palette of blacks, whites, and earth tones. Quietly luxurious detailing (such as fine monogram textures and hardware flourishes) hinted that Givenchy is maintaining its identity even during this interregnum. While fans missed a runway show, the industry anticipates that Givenchy’s menswear will return to the spotlight once new creative leadership is established.
Saint Laurent – Escapism at the Bourse de Commerce
Saint Laurent opened the week with creative director Anthony Vaccarello offering a rare afternoon show set in the rotunda of the Bourse de Commerce. Against the backdrop of an art installation featuring a pool of floating porcelain bowls, Vaccarello presented a Spring/Summer 2026 collection centred on themes of “ease” and “escapism,”envisioning a journey from Paris to the carefree shores of Fire Island. This narrative paid tribute to a generation of queer artists from the 1970s who sought freedom on Fire Island’s beaches, and the clothing echoed that spirit of elegant leisure.
Vacation-ready sensuality was evident in abbreviated shorts and pyjama-style sets, often crafted from silky fabrics and featuring sun-kissed colours that evoked a daydream holiday mood. These breezy pieces were layered over or alongside more structured elements drawn from the house’s ’80s repertoire – think generously wide-shouldered shirts, sharp blazers and even ties – but rendered with a new lightness to avoid formality. The palette wove together earthy khakis and olives with surprising hits of mustard yellow, aubergine purple and black, as noted by some observers. There was an undercurrent of sensual concealment and reveal: flowing sheer silk shirts unbuttoned to catch the breeze, short shorts paired with tailored jackets, and lightweight trench coats cinched just enough to suggest both propriety and play. Vaccarello described the collection as a homage to “a time when desire was style.” Gestures like semi-sheer knits and deep-cut tank tops allowed male models to show skin confidently, evoking the liberated sartorial codes of queer icons.
The overall effect was a balance of retro chic and modern ease. By pairing Miami Vice-era power silhouettes with coastal resort wear staples, Saint Laurent created a dialogue between city and seaside, formality and freedom. The unusual timing and setting, daylight pouring into the contemporary art space, only reinforced the feeling of a brand momentarily stepping out of its nocturnal, urban comfort zone and into a lazy summer afternoon. It was an elegant vacation fantasy grounded by impeccable tailoring, perfectly in line with Saint Laurent’s polished image yet enticingly dreamy and escapist in tone.
Dries Van Noten
Designer Julian Klausner presented his first menswear show for Dries Van Noten, marking a vibrant debut. The collection delivered an “explosion of bold colours, textures, and ideas,” drawing heavily on the Antwerp label’s rich archives. To a soundtrack of Lou Reed, Klausner sent out Dries-signature artful prints and lush fabrics reimagined for a new era – from tropical floral suits to deconstructed trench coats. The brand’s heritage motifs (like intricate brocades and tie-dye-esque washes) were spliced into modern, boxy tailoring and even paired with unexpected pieces like office-ready sarongs, reflecting the house’s penchant for eccentric elegance. Reviewers noted that Klausner stayed true to the “archetypal Dries Van Noten wardrobe” while injecting youthful energy, signalling a confident handover at the storied company.
Wales Bonner
British designer Grace Wales Bonner returned to Paris with a collection that fused sportswear and mysticism. Shown in a stuffy old library (where attendees fanned themselves in the heat, the Wales Bonner lineup mixed the brand’s hallmark tailored bohemia with athletic references. Notably, Bonner unveiled a collaboration with Adidas’s Y-3 line, translating her aesthetic onto sporty bowling bags and sneakers emblazoned with Yohji Yamamoto’s famous imprint. Classic track pants and cricket jumper silhouettes nod to her exploration of the Black Atlantic leisure style, which was elevated with sumptuous materials and paired alongside her signature pieces, such as jewelled buckle loafers and suede ballet flats. Rich cultural touches abounded (Reggae and jazz-inspired knits, cowrie-shell embellishments), but the overall mood was one of polished relaxation. Wales Bonner’s return to the Paris Men’s calendar was warmly received, affirming her status as a leading voice blending luxury with cultural narrative.
Jacquemus
Simon Porte Jacquemus closed Paris Men’s Week on a pastoral note, literally taking fashion out of the city. His Spring 2026 show, titled “Le Paysan” (The Peasant), was staged at the grand L’Orangerie of the Château de Versailles – marking Jacquemus’s second takeover of the palace grounds. The collection was a heartfelt tribute to the designer’s rural upbringing in southern France, transforming personal childhood memories into a luxe rustic fantasy. Set against manicured gardens, models walked in looks that melded humble farmhand staples with the whimsy and proportion of high fashion. Think: traditional French workwear jackets and aprons reimagined in silk faille, straw sun hats with exaggerated brims, and homespun linens trimmed with delicate lace. The palette drew from the countryside – wheat-beige, milk white, sky blue – grounded by bursts of sunflower yellow and poppy red that mirrored the blooms of Provence. Despite the “peasant” theme, refinement was evident everywhere: one male model wore a tailored ivory linen suit with shorts, accessorised with a wicker basket-style bag; another look featured a billowy smocked blouse (reminiscent of 19th-century field attire) layered under a sharp evening blazer. The countryside-meets-court juxtaposition felt cheeky and charming, perfectly in tune with Jacquemus’s brand of accessible escapism. With A-list celebrities making the trek out to Versailles to witness it, Jacquemus proved once again his flair for turning his personal story into fashion poetry, both grounded and grand at once.
