PARIS FASHION WEEK MENSWEAR SPRING/SUMMER 2027: DAY 4

WILLY CHAVARRIA
review by NIA TOPALOVA

all images courtesy of WILLY CHAVARIA

“Comunión is a belief that we are more whole together than apart, that the beauty of a person is sacred, and that the beauty of a many gathered is holy”. Willy Chavarria’s SS27 collection took place inside Espace Niemeyer - the former HQ of the French Communist Party, which, ironically, one hopes, was the chosen setting to embrace joy, hope, optimism, and the “power of collective spirit”.

Plastic pink, blue, yellow and green formed preppy yet sexy silhouettes; tailoring was structured but softened, offering sharp suiting balanced by relaxed trousers. Cocktail dresses with floral motifs slightly resembled our grandma’s faded walls and tablecloths. 

Last but not least: Chavarria’s muse of the show? The baddie: “A baddie is a woman that if somebody tries to steal her bag, she beats the shit out of them. With her bag. And then she takes her lipstick out and keeps walking.”

LGN
review by FRANCESCO PIZZUTI

Moody, dramatic, sexy, mysterious: LGN Spring/Summer 2027 show went full cinematic as the models, contoured by harsh lighting, walked down the runway as sets of silhouettes, of characters — archetypal without falling into the costume realm.

The show took Twin Peaks as a starting point; a smart choice given the show’s history and cross-generational resonance, and its sharpness, both aesthetically and in the bodily feeling it leaves the viewer with. Crisp summer sunrises, foggy woodds, cold water, high contrast, dark hues.

Dale Cooper’s character, the unsettling elegant detective, is the backbone of the collection, but other characters appear alongside him: a waitress, a rebellious teenager, a femme fatale.

The collection feels sensual in a covert way, through its structures and strong silhouettes, its ample use of leather that gives a raw sense of rebellion, and through its layering of tank tops and dresses.

VETEMENTS
review by NIA TOPALOVA

all images courtesy of VETEMENTS

This season Gvasalia served office wear gone bad: raw unfinished sleeves, shirts halfway untucked, neckties reversed, and more constriction anomalies. 

The collection explored societal archetypes and workplace hierarchies; Gvasalia’s goal was to focus on a more grounded kind of clothing - one people actually want to wear. He offered oversized tailoring in sharp construction, structured leather, and deconstructed coats. Womenswear and menswear united in organza dresses, oversized trench coats, and jewellery.