Paris Fashion Week has rarely lacked drama, but Spring/Summer 2027 has found plenty of it without relying on one shared mood. Matières Fécales opened the week on Place de la République, and designers have since leaned on technique and idea in equal measure: transparency at Hermès and Elie Saab, exposed skin at Tom Ford, couture methods in everyday wardrobes at Balenciaga and Margiela, and invented film posters at Dries Van Noten. Heritage remains useful, provided it can be disturbed a little: Loewe looked between Spanish baroque and New England ease, Balmain between 1950s Paris and the California desert. Paris has been less about declaring one new direction than seeing how far an existing language can be stretched before it starts saying something different.
The Ninety-Nine Percent.
Matières Fécales
Matières Fécales opened the week with “The Ninety-Nine Percent”, a collection cast with 99 models and staged on a circular runway around the monument at Place de la République, the first Paris Fashion Week show held there. Steven Raj Bhaskaran and Hannah Rose Dalton built it as the counterpart to their earlier “The One Percent”, honouring immigrants, the working class and outsiders across three acts titled “Family”, “Tribe” and “Gods”, with a portion of sales going to La Maison d’Allanah, a charity housing LGBTQIA+ refugees in France. Wrapped tulle blazers with full skirts, leather capes with a decayed finish, knits unravelling at the hems and twisted gowns in red, white and blue were followed by a finale in which models carried lifelike billionaire figures. Rihanna and Rick Owens were among those watching.
Paris meets the desert.
Balmain
Antonin Tron showed his second collection for Balmain at the Hôtel de Maisons, Karl Lagerfeld’s former residence in the 7th arrondissement, setting Pierre Balmain’s 1940s and 1950s archive against 1960s and 1970s California counterculture and desert psychedelia. Beaded and embroidered gowns and ruched jersey dresses shared the runway with satin bomber jackets worn over exposed bras, sharp-shouldered 1970s pilot jackets and soft, oversized coats, in a palette running from ivory, black and mineral grey to copper and gold. The result split the wardrobe between Parisian glamour and something more mystical, without losing the house’s sense of structure. “These images are from Paris of the 1950s, but they could be today,” Tron said of the archive material behind it.
An ocean protest in the rain.
Stella McCartney
Stella McCartney sent her Spring/Summer 2027 collection down a rain-soaked runway through the greenery at the British ambassador’s residence, with PJ Harvey’s “Down by the Water” as the soundtrack and a David Attenborough voiceover opening the show. The subject was ocean conservation and a stand against industrial fishing, a fight she described in terms of war. Airbrushed dolphin T-shirts, drawstrings threaded through oversized blazers, soft peplums, bubble hems and wave embroidery on low-rise trousers carried the message in seafoam, sage and coral, with recycled cotton denim, organic cotton and an algae-based black pigment among the materials. Jennifer Lopez sat on the front row, umbrella in hand.
Posters for films that don’t exist.
Dries Van Noten
Julian Klausner built Dries Van Noten’s Spring/Summer 2027 collection around cinema. “We imagined films that don’t exist and created their posters,” he said, and the images were then printed on the clothes or cut and pasted into place. The posters appeared on polos, T-shirts, slouchy dresses and printed viscose trenches, with silk organza overlays blurring them into overlapping, double-exposed effects. Around them came stripes and rugby tops, organza workwear jackets, lurex jacquards, spray-painted flamingos, martini glasses and stars, and costume jewellery in glass beads, brooches and charms, across washed neutrals, cosmetic pinks, mauves, acid yellow and turquoise. The idea was dressing for an occasion that isn’t really happening, a premise that lets glamour be playful rather than solemn.
Desire needs air.
Tom Ford
At Tom Ford, Haider Ackermann built the collection around mirrors, seduction and freedom, staging the show amid transparent walls scattered through Place Vendôme. Satin bralettes in red, silver, blue and black appeared with tailored trousers or evening jackets, while menswear-style blazers were thrown over sequin bodysuits and mesh shirts and red roses sat in blazer pockets. Sheer and cut-out bodysuits and underwear worn with sweaters kept exposure central, across a palette spanning black, red, white, cobalt, sky blue, army and kelly green. “I am not interested in provocation. I am interested in the risk of being free. Desire needs air,” Ackermann wrote, with Alex Consani and Anok Yai on the runway and Kate Moss, Shakira, Cara Delevingne, Cynthia Erivo, Tate McRae and Rosie Huntington-Whiteley watching.
New world, old world.
Loewe
For their third Loewe collection, Jack McCollough and Lazaro Hernandez set “New world, old world” against a two-tiered circular arena at the Château de Vincennes, referencing both the Anatomical Theatre in Padua and La Scala. Spanish baroque met New England ease in plaid blazers with sculptural draped skirts, leather shaped into Velázquez-like folds and crumpled paper-bag skirts cinched with bungee cord. A chiffon basketball-jersey slip moved from sunshine yellow to tangerine, while glass-bead dresses, backwards polos, resin ombré collars and a tan suede blazer referencing Loewe’s first 1960s clothing piece made the collision of references increasingly literal. The new Pasito bag and Puzzle Charm joined the mix, with Cole Escola, Ziwe and members of Katseye among the guests.
Going clear.
Schiaparelli
Daniel Roseberry called Schiaparelli’s 52-look collection “Going Clear”, framing it as a move away from fashion’s promises of status and approval and from the noise of gossip and social media. In the clothes, familiar gowns and necklines were broken into separate tops and bottoms, opening Schiaparelli’s language to a more modular way of dressing across black, bone and butter. Knitwear emerged as the star, from a sheer tree-bark knit to knitted broderie anglaise, alongside leather and linen ruffles, vegetable- and feather-embroidered sheer shirts and eight versions of the Elsa jacket. Spirit-animal jewellery took the form of horses, dolphins, pigs, dogs, cats and spiders, while bags came with a brass mouth doubling as a handle.
A fairytale of empowerment.
Christian Louboutin
Christian Louboutin turned the Théâtre du Châtelet into the setting for “Eternal Youth: a fairytale of empowerment”, reclaiming glamour in its original sense of spell or enchantment. The premise begins in a world where “a quiet sadness lingers”, as though enchantment itself has been forgotten, before the arrival of a mysterious figure becomes a source of collective hope. Dita Von Teese filled that role with echoes of Snow White, although the story was explicitly “not the story of a heroine rescued by a prince” but one of a woman becoming the author of her own destiny. Jaden Smith, Jihyo, Cynthia Erivo, Elizabeth Debicki, Milly Alcock, Alice Pagani and Aditi Rao Hydari were among the guests.
Forever Chloé.
Chloé
Chemena Kamali titled the Chloé collection “Obsession”, treating the word as both subject and working method and following instinct, memory and desire back through the house’s history. Early robes de jeunes filles became the starting point for broderie anglaise and 19th-century threadwork in organza and crisp cotton, with three-dimensional floral embroideries recalling Chloé’s 1960s prêt-à-porter. Elsewhere, fishermen’s coats, capes and sou’wester hats borrowed from 1970s outerwear and sat over smoky transparent vinyl inspired by 1950s rainwear, while delicate lace was cut into romantic harnesses. “My approach to Chloé has always been intuitive: about feeling, emotion,” Kamali said, finally reducing the idea to two words: “Forever Chloé.”
Couture goes everyday.
Balenciaga
Pierpaolo Piccioli approached Balenciaga through its identity as a Maison de Couture, treating couture less as a category than as a working methodology for the wider house. Techniques developed for the 55th Balenciaga Couture Collection moved into ready-to-wear for women and men, allowing couture practice to infiltrate clothes intended for another context. Oversized, popped collars added volume, but the larger idea was about transferring construction, thought and handwork rather than simply reproducing couture forms. The stated aim was that “a trace of humanity can be found in every garment”, positioning craft as the point of continuity between Balenciaga’s past and Piccioli’s present.
Balance and clarity.
Givenchy
Sarah Burton reduced Givenchy’s SS27 proposition to an idea of balance, clarity, precision and simplicity. The starting point, in her telling, was a wardrobe able to hold its own against the speed and fragmentation of contemporary life. “I wanted a sense of balance and clarity. A wardrobe to bring precision and simplicity to dressing as we speed through the multiple perspectives and perpetual motion of all our lives,” Burton said. For Givenchy, that emphasis suggests less interest in adding more information to clothes than in making the act of getting dressed feel sharply resolved.
Close to the skin.
Elie Saab
Elie Saab titled its Spring/Summer 2027 show “À Fleur de Peau”, or “Close to the Skin”, drawing on Jean Harlow and the idea of a woman who wears her heart on her sleeve and feels the beauty of the world whisper close to her skin. Sheer midi skirts with trailing linings and asymmetric hems, lingerie-cut gowns and embellished bralettes with matching slips kept the body in view, while corseting was dressed with petals and embroidered roses. A leather trench knotted over a sheer skirt, slipping straps, lace edging and bias-cut silk moved through sage, powder blue and blush, finished with gold monogrammed butterfly-frame eyewear. Paris and Nicky Hilton were among the guests.
The shape of air.
Hermès
Nadège Vanhee called the Hermès collection “The Shape of Air”, filling a luminous white set at the Garde Républicaine barracks with clothes conceived for the height of summer. Silk in multiple weaves revealed the skin gradually, while perforations, cut-outs and openings in leather connected the collection’s lightness to Katagami craftsmanship. Loose knits and mesh dresses were worked with embroidered leather-strip lattice panels, cream bucket bags came cut open with latticework, and midi leather dresses and skirts carried thigh-high slits. A bright orange parka interrupted the neutrals before sunflower yellow took over in a zipped skirt and a run of roughly ten looks, with Sofia Vergara and Emmy Rossum among the guests.
The house speaks in silhouette.
Alaïa
Alaïa’s first collection since Pieter Mulier’s departure was created by the in-house team led by Boaz Eli and presented in the former Fondation Cartier building on Boulevard Raspail, with projections running across the walls. The clothes stayed close to the body: an olive-green tailored dress fitted like a glove, built-in bustiers, body-hugging jersey and little black dresses edged with ruffles. A pastel-pink wrap bra met an asymmetric ruffled skirt, while merlot, olive, eggplant, sapphire and fuchsia gave the collection its richest colour. It remained undeniably Alaïa in silhouette and sensuality, even if the absence of one designer’s distinct perspective was difficult to miss.
Hard meets soft.
Maison Margiela
Maison Margiela called Spring/Summer 2027 “HARD and SOFT”, using the Paris atelier traditions of Tailoring and Flou to examine what happens when hardness is inserted into archetypal clothes. Mark Colle’s floral set paid homage to Raf Simons’ 2012 couture debut as though its flowers had been left to age, while floral prints moved through trench coats with hardened panels, jackets folded inwards to hide their closures and draped dresses with corset-like chest structures. Coat linings were attached to floral dresses, cranes and eagles appeared spray-painted, and flattened moulded silverware was formed into a body, pushing the hard-soft tension from construction into image. Even the accessories were altered by the premise, from structureless 5AC Soft and Ghost bags to the leather-cord Marché, heel-less open-toe shoes and Tabi Heel Clogs.
The library of unread books.
Valentino
Alessandro Michele turned the Bibliothèque Sainte-Geneviève into Valentino’s “Antilibrary”, staging the show like a 19th-century reading room and asking guests to arrive carrying a book. Borrowed from Nassim Nicholas Taleb, the idea treats unread books as the useful part of a library, “not a monument to erudition, but a research tool”, an apt framework for Michele’s appetite for accumulated references. Across roughly 80 looks came satin bustiers with plissé skirts, silk corset tops in bright blue, yellow and hot pink, 1980s jackets with lace biker shorts, silk boxers pulled high over misbuttoned blazers, floral jacquards, lacquered fabrics and feather- or fur-trimmed tweed. Cynthia Erivo, Naomi Watts, Anna Wintour and Colman Domingo were among the guests.
Here and now.
Miu Miu
Miuccia Prada called Miu Miu’s collection “Here and Now”, combining clothes that looked worn, reworked or slightly unresolved with unapologetic decoration. Crossed lacing ran through jeans, skirts, dresses and shoes, while track pants were paired with tiny scarf tops and blazers and crystal-covered sports bras were promoted to eveningwear. Laminated suede was treated to appear aged, satin deliberately wrinkled and retro-print dresses sat beside shrunken, bejewelled 1960s-style silk minidresses. Collaborations with Wrangler on reworked vintage denim and New Balance extended that mix of everyday and embellished, with Gigi Hadid and Olivia Colman among the guests.
Emotional dressing.
Céline
Michael Rider showed his women’s Spring/Summer 2027 collection for Céline at the Archives Nationales, 71 looks built around what he framed as emotional dressing: clothes to be worn, mixed, repeated and made your own through personal styling. Little dresses and fluid satin sat beside tailored jackets with relaxed trousers, scarf skirts and floral-embroidered outerwear, with embellishment running through coats and dresses. Colour came in blocks of red, fuchsia and green, finished with drop earrings, hair bows, floppy hats and beaded jewellery. The appeal was a wardrobe polished without being stuffy, with SZA and Lisa Bonet among the guests.
The future, softened.
Louis Vuitton
Louis Vuitton closed Paris Fashion Week on Tuesday in the Cour Carrée du Louvre, where Nicolas Ghesquière lined an asphalt runway with dozens of wedge-shaped concept cars hung from poles and finished in Damier checks and colour-blocked stripes. His future came out softer than usual: gauzy shift dresses and sheer organza midis, cardigans and short jackets, slim trousers with mesh panels and silver lamé finishes that rippled as the models walked, alongside monochrome pantsuits with mechanical-style chokers and leather jackets with checked sleeves. Mossy neutrals were lifted by mustard, limoncello and soft peach, and bejewelled headpieces fell across the upper face like fringe. Zendaya, Emma Stone and Catherine Deneuve were among the guests.
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