PARIS FASHION WEEK SPRING/SUMMER 2026: DAY 2

editors ELIANA CASA, MAREK BARTEK, MARIA MOTA and MARIE-PAULINE CESARI

LOUIS VUITTON
review by PHOEBE PHOEBE GIBSON-DOUGALL

all images LOUIS VUITTON provided by the brand

Twelve years into his tenure at Louis Vuitton, Nicolas Ghesquière feels at home. His SS26 collection for the storied house, showed at the Musée du Louvre, explored the notion of home with refreshing and creative ardour. It was difficult not to be struck by the show’s cohesion; every detail-from the audio to the setting to the clothes-fit within the larger concept, Ghesquière’s fascination with the “boundless freedom of the private sphere.” Cate Blanchett’s voice opened the show, with her spoken word rendition of Talking Heads’ This Must Be the Place playing for the program’s entirety. Also known as Naïve Melody, the song was a fitting accompaniment to the clothes, where Ghesquière let naivety peek through. Ruffles, tassels and leather flowers added a playfulness to the collection, whilst a largely muted palette and chic, defined silhouettes grounded it. Never one to be pigeonholed, Ghesquière’s versatility was on full display; necklines varied from Chelsea collars to boatnecks, accessories were both printed and monochrome. History was considered, with nods to gowns from the house’s archives alongside wholly modern pieces. For Ghesquière, home isn’t just a place, it’s a feeling. The clothes reflected his ability to be comfortable with contrast and showed that a sense of home doesn’t have to be boring. Rather, ease within oneself and one’s surroundings can make way for infinite avenues of creativity and innovation. Put simply, there are many ways to make a house a home.

MATIÈRES FÉCALES
review VERONICA TLAPANCO SZABÓ

all images MATIÈRES FÉCALES provided by the brand

Spring has sprung at Matières Fecales, in a complete rewrite of the house’s color palette. Hannah Rose opened the show in blush pink ballerina tones reimagining the familiar pagoda-shouldered suiting. The raw unfinished edges reminded us that, even in rebirth, the house remains delightfully wayward. The makeup equally mirrored this metamorphosis with porcelain doll pinks softening her charcoal gaze. Tweed, unexpectedly, made its entrance, paired with romantic updos (for those with hair) and bow-adorned platform heels. Only to be brought back to black, in a delicately layered, unfinished tulle. Fragile and frail, it placed the models at the centre as if they were a delicate flower caught in an uncertain wind. The accessories spoke of certain Edwardian elegance, white gloves and ostentatious, curved hats, culminating in an angel wing headpiece that signalled the return of the FW25 final look. Throughout, waists remained cinched like a grip on order, yet eyes hidden behind masks, sight surrendered to the unknown as the season ahead remains unpromised. Denim briefly peaked in, soon overshadowed by the arrival of blood-soaked looks, continuing to evoke an uneasiness about the future. The house’s unhinged spirit lived on in the audacious floral placements covering private bits, weaving a Garden of Eden narrative where light and dark clash, culminating in a tulle tornado that propels the collection toward a dramatic finale. Hannah Rose closed, living up to her name, draped in roses and standing amid a puddle of wine-coloured petals, the last soldier of Matières Fecales’ enduring ‘Never Conform’ ethos.

LANVIN
review by PHOEBE PHOEBE GIBSON-DOUGALL

Peter Copping’s fidelity to Lanvin’s history was apparent in his debut collection in January, and it appears nothing has changed. SS26 was heavily foreshadowed by research into the house’s signature codes, and the new “Lanvin Blue” was unveiled, inspired by Jeanne Lanvin’s fascination with the colour. As promised, blues abound; every imaginable shade of the colour lends itself to a look. A pastel hue mirrors the softness of a delicate dress, whereas electric blue injects drama into a high-necked, billowing blouse. Tailoring takes centre stage in this collection; waists are cinched, necklines are defined, and silhouettes reign supreme. Patent kitten heels are paired with patterned silk robes and ruffled A-line skirts, it’s chic and wholly feminine, but not fussy. Throughout the collection Copping acknowledges heritage-silken neckties and headpieces reminiscent of Lanvin’s early designs and millinery background-whilst looking to the house’s future, creating something truly modern and elegant.

DRIES VAN NOTEN
review by VERONICA TLAPANCO SZABÓ

Julian Klausner, who made his debut earlier this year, continues to prove himself a deft storyteller on the runway. This latest collection unfolded as somewhat of a journey, caught midway between beachside ease and office formality, with the glimmering pause of a cocktail party in between. Already deemed a crowd-pleaser, Klausner brims with daring flourishes yet is tethered by wearability. Showcasing a crisp white embroidered jacket unexpectedly paired with shiny red sneaker-pumps and their matching socks, a look echoed later in sunny yellow, followed by tangled, jewel-encrusted necklaces. Grey ruffles cascaded down into a silhouette softened by a sparkling oversized bag, while a laid-back striped sweater tied at the waist recalled the languor of a beach chair. Embroideries, this time glittering with gems, carried a sense of enchantment. Just as the audience felt they had discerned the rhythm of Klausner’s universe, he shifted course. The yellow sneaker motif resurfaced as patterned shorts, the maximalist jewels trickled all the way to the ankles. The narrative reached a high in a kaleidoscope of swirling fireworks, psychedelic spirals, and harlequin motifs rippling upon a wood grain pattern. By the finale, entire garments were engulfed in crystals, patterns magnified until they seemed to swallow the runway whole. It was a collection of escalating abandon, diving into Klausner’s spiral, whether one wished to be rescued from the delirium or surrender completely, the choice was part of the spell.

COURRÈGES
review by PHOEBE PHOEBE GIBSON-DOUGALL

For a study in sun-drenched precision, look no further than Nicolas Di Felice’s SS26 Courrèges collection, staged last night at Paris’ Le Carreau du Temple. Titled “Blinded by the Sun”, the clothes were precise and sexy, and toyed with the conventions of contrast. Think dresses with tight, defined tops and leather jackets with open sleeves. Centred around a circular white stage, the show’s set was designed to mimic the rhythms of the sun, with frequent changes in light and temperature. A dulcet voiceover narrated changes in time and atmosphere, set against a pulsating funk beat, conceived by Nicolas and Erwan Sene. This reference to Courrèges’ place in a heating world was present in the clothes also, three models opened the show wearing UV-blocking veils, and guests were all sent sunglasses to wear to the show. The house’s signature codes were present everywhere, despite the show’s thoroughly modern feel. The brands iconic belts were reimagined as tiny tops and dresses, and Andre Courrège’s futuristic vision loomed large.

DE PINO
review by VERONICA TLAPANCO SZABÓ

Gabriel Figueiredo’s second runway appearance arrived ballooning the familiar into surreal proportions. Waists were tumbling outward and black squares censored certain flashes. Hairstyles continued veiling the models’ eyes, while police hats swelled into saucer-sized proportions, part authority, part Gaga. French savoir-faire was reinterpreted with a conscience as deadstock fabrics were fashioned into silhouettes that were equal parts sensual and spontaneous. Meanwhile shoulders towered so high they seemed to carry the models, rather than the other way around. And yet, the boxy cuts never felt boxed in, all the square shapes moved fluidly, swinging with softness across the different skirts and dresses. Figueiredo’s love of detail sparkled through fabric scales, asymmetry, and arch-shaped constructions that lead to bare-backed surprises. Throughout, Lady Gaga’s ghost lingered from the first show, in the police hats, in the pleaser heels, in the very sense of performance. For the finale twin looks marched out like uniformed guards, skirts seemingly holding themselves up, escorting the show to its close. Less about closure than declaration, signaling that Figueiredo’s world won’t be boxed in, it’s only expanding,