PARIS FASHION WEEK SPRING/SUMMER 2026: DAY 5

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

LOEWE
review by FIONA FROMMELT

all images LOEWE via vogue.com

Another stunning designer debut this season, and perhaps one of the most colourful shows in Paris yet. The duo of Jack McCollough & Lazaro Hernandez stepping into Jonathan Anderson’s shoes, who led the house for over a decade, delivered a fantastical debut that both honoured the legacy they inherited and ventured boldly into new territory. Their vision for Loewe’s future feels bright, full of colors, textures, and shapes that nod to Anderson’s and Loewe's aesthetic while pushing it even further.

The designers centred the collection around a single work of art: American painter and sculptor Ellsworth Kelly’s Yellow Panel with Red Curve (1989), displayed at the entrance runway space. “In it lies a vibrancy and tactility that feels fundamental to the House; a chromatic intensity and sensuality that feels inherent to its Spanish roots; and ultimately an optimism and spirit that we deeply identify with… It operates as a starting point, a prelude of sorts, to what lies ahead,” said creative director duo.

Inspired by the paintings of Ellsworth Kelly, the colour palette of this collection was a bright, joyous celebration that reminded of a beautiful summer at the beach. Sunny yellows, mango oranges, deep sea blues, grass greens, and sunset reds created a feast in colour theory. In true Loewe fashion, they transformed everyday objects into the most desirable clothes and accessories. Towels became dresses, pears turned into bags, stripes were revived on full looks, coats and pants wore layered fringes, leather jackets were sculpted to perfection, almost doll-like along the models’ bodies. The runway was filled with trompe-l’œil effects, flower patterns,  extravagantly shaped shirts and dresses, knitted pants and super short bottoms. One thing became evident: the designers had a lot of fun bringing this summer fantasy to life.

Honoring and evolving a house with such a rich history all at once is no easy feat, yet Jack McCollough and Lazaro Hernandez have done just that. Bravo.

VETEMENTS
review VERONICA TLAPANCO SZABÓ

all images VETEMENTS via vogue.com

LOUDER FOR THE PEOPLE IN THE BACK! Guram Gvasalia said it all in the first look, reflecting the spooky times we are living in. With the far right’s international growth, this statement feels all the more urgent, a reminder of the Anti-Nazi League and the mass movement it sparked in the late 1970s. Our bodies are vehicles for expression. And yet we’re losing our bodily autonomy! There is a history of using one's bodies to protest, they carry our views into the public sphere. Allowing us to quite literally stand up or sit down against things.

Gvasalia doubled down on this statement in the second look, stocking masks, long tied to criminality, which turn to the question, is it now a crime to stand up for one’s beliefs? More sheer looks followed, creating a bleak palette across multiple looks, as if the transparency of the fabrics mirrors the vulnerability of our own bodies in a world where taking a stand can feel dangerous. The collection transforms the runway into a stage for visibility and exposure, with bomber jackets carrying “remove before flight” tags, neck pillows integrated into jackets and military pants, and lifted collars ready for takeoff. Every detail gestures toward movement and escape, signaling the urge for change. One shirt reads, “In my world you don’t exist,” a declaration that leaves no room for hate. It’s a refusal to normalise or accommodate the ideology of Nazis, a reminder that some beliefs should have no space in society.

The tone shifts dramatically in the final six looks, with bare-faced Cara Delevingne and Natalia Vodianova wearing dresses that progressively erode with each look, fading into black. The last look recalls Anok Yai’s runaway bride from last season, she now returned in a fully black gown, tears streaming down her face. It stands as a powerful image of mourning, reflecting both freedom’s fragility and the countless lives being currently taken, leaving a haunting imprint.