PARIS FASHION WEEK MENSWEAR SPRING/SUMMER 2026: DAY 3

editors ELIANA CASA, MAREK BARTEK and MARIE-PAULINE CESARI

IM MEN
review by SONNY NGO

all images IM MEN provided by the brand

Aptly titled “Dancing Textures,” Issey Miyake’s IM MEN Spring/Summer’26 collection was a rhythmic offering unveiled at the Fondation Cartier. Inspired by the late pioneering ceramic artist Shoji Kamoda, the collection explored the beauty of textiles and the playfulness of movement.

Praised as one of the leading ceramic artists of the 20th century, Kamoda was exceptional at pushing the boundaries of what was possible with the medium; creating innovative techniques and further developing the capacities of ceramics. Despite his premature death, his work has left an indelible mark in the contemporary Japanese art scene, and even today his oeuvre continues to inspire the broader art landscape. In Issey Miyake’s case, the IM MEN design team turned to the artist to transform his now-iconic ceramics into wearable garments. As ever-interesting layers converge with rich textures and extravagant shapes, this collection too pushes the boundaries of what traditional forms of clothing can be. Hats and ponchos add interesting dimensions to the silhouettes, resulting in relaxed yet neat looks. Colourways range from terracotta hues to bold neon greens, sunglasses are horizontally extended to create a distinct vision, and a standout pottery-circle look recalls the collection’s core ceramic inspiration. 

Tying the entire runway together, fully dressed faceless dancers swayed through the room to capture the flowy rhythmic movements made possible by the meticulously crafted garments –  a one-two step between innovation, material, and texture.

DRIES VAN NOTEN
review by MAREK BARTEK

all images DRIES VAN NOTEN provided by the brand

It truly has been ‘A Perfect Day’ for Julian Klausner at Dries Van Noten. For his official menswear debut, Klausner looked at what he’s always loved about the brand’s wardrobe. As he shared: “I asked myself: What is formal? What is casual? How do these feel? A man in love, on a stroll at the beach at dawn, after a party. Shirt unbuttoned, sleeves rolled up, the silhouette takes on a new life.”

The entire collection was a balancing act between formal and casual, between lavish and sporty, masculine and feminine, and the fun of combining these together. The opening look laid the foundation: a beige pincheck knee-length coat with buttons covered in the same fabric, a sharp raised collar at the back, red socks, and matching red sneakers. From there, the contrasts only deepened. Flowy trousers, joggers, biker shorts, and at times no trousers at all, were paired with sharply tailored outerwear, tuxedo jackets, or evening tops with boat necklines. The proportions were unexpected, with snug fits up top in the form of jersey tanks, wrapped vests, pointelle knits, and offset by exaggerated volumes in coats or completely bare legs. It felt subversive, but never try-hard. he cummerbund appeared as a key styling device, cinching, redefining, or simply adding depth to a look.

Fabric choices leaned into richness with ease: duchesse satin, cloqué jacquards, embroidered panels, and vibrant prints reminiscent of distorted florals or traditional pyjamas. Embroidery had taken casual wear by storm, with a tank top shimmering, and sequins appearing across jersey. Colour played its own emotional rhythm: red, cyan, mauve, sand, pale greens, and grounding greys. Accessories added that DVN charm: sneakers in red suede and pastel satin, croc-stamped dress shoes with sporty laces, and jewellery made from sustainably sourced shells and abalone, strung like keepsakes from a night never meant to end.

In Klausner’s hands, the Dries man felt emotional but self-assured, like someone who knows how to dress without overthinking it. It was romantic, lived-in, and slightly offbeat in the best way. A debut that didn’t feel like a shake-up, but a continuation, just with a new kind of tenderness. A perfect day, indeed.

SEAN SUEN
review by ELIYA WEINSTEIN

all images SEAN SUEN provided by the brand

Tucked away between stacks of crisp white pages and stories bound in dusty book covers, we found a boy who dozed away a little too deep. Slipping in and out of his dreams and a half-wakefulness, he curled himself up on the edge between the reality of the library and the words within it that take him wherever he wants to be.

Sean Suen’s SS26 followed a stream of consciousness only reachable behind closed eyes. Each model clutched a notebook, the prized possession of those who seek out more than life’s normalities. Long shirt-like scarves, silk draping and the relaxed ease of deconstructed suits echoed divinity in creamy, earthy gradations. Juxtapositions in material, texture and patterns - like knitwear meeting silk - remind of the unexpected nature of our dreams, disruptions in harmony as we toss, turn and begin to wake. The structure of suiting intentionally lost its form, becoming lazy and comfortable while revealing slips of skin as if by accident. Hair and elongated collars evoked the shape of wings at ease, ready to reach for the clouds at a moment's notice. And to close the show, sculptural headpieces added an architectural, almost celestial edge, a bold image that the mind holds on to as it comes back to earth.

BLUEMARBLE
review by SONNY NGO

Guests stepping into the Bluemarble show were greeted by a floor of soil and grass, and a rising level of smoke. In a Texan-like face-off, shirts were tucked into waistbands, denim trousers adorned with mountain imagery, and embroidered hats were pulled low to frame striking faces – this season’s offering evoked a cowboy fantasy in a clash of elegance and raw ferocity.

That intentional mismatch was mostly found in the styling; tight leather jackets were styled under oversized blazers, for example. Furthermore, tiger iconography roars from the chests of sweatshirts, and bright yellows and flower prints burst onto shirts, making you want to abandon the city heat for a retreat into the wild. Earthy tones dominate the rest of the collection, and camouflage parkas are an absolute highlight. In a variety of other looks, the streetwear feels incredibly relaxed with effortless long sleeves and intricate stitching falling across sweatpants. Paired with oversized bags, Bluemarble SS26 is an odd working eclecticism of confident and untamed fervour, channeling both the wild jungle and the Wild West.

AMIRI
review by NIA TOPALOVA

all images AMIRI provided by the brand

Amiri welcomed us into a secret Parisian garden, in a rather secluded setting, centred around a monumental stone fountain, with the sounds of L’Impératrice drifting through the air. Models moved through the space in tailored suits, layered with cropped waistcoats and adorned with delicate chains bearing keys – a nod, perhaps, to the gates of the secret garden. The silhouettes were fluid yet sharp, with sequins tracing jacquard knits in Italian retro patterns.

Floral and avian motifs appeared throughout the collection, woven into knitwear, printed on flowing satin, and embroidered onto lace. Kimono constructions softened the silhouettes in petal-rose pinks, sage greens, soft ivory, earthy browns, and muted blues. Touches of green grounded the collection in nature, while oversized retro sunglasses offered a playful 1970s attitude. The Amiri man, ever so elegant, embraced a distinctive spirit of eccentricity. 

Women’s looks unfolded in lace or satin cocktail dresses floating softly, and once again kimono-inspired layers adding structure without weight, reinforcing the collection’s balance of lightness and strength.

CAMPERLAB
review by NIA TOPALOVA

“I beg for somebody to straighten these askew grids flashing in front of my eyes. To wake me up from this dystopian daydream disguising itself as the embossed skin of a ruby crocodile.”

CamperLab’s world is a “world where light borrows time from the shadows”. Achilles Ion Gabriel invited us into his unfiltered psyche, describing his Spring 2026 collection as one of mercurial forms, fainting colours, and deranged surfaces. The collection explored form and discomfort, with garments challenging conventional fit and proportion, appearing rather askew on the models, either too tight or too large, resisting perfect definition or alignment. The colour palette moved through dense blacks and industrial greys, offset by flashes of ruby crocodile skin and softened by beige and white. Colours interacted with one another, and materials were layered in a way that balanced polished surfaces and textured irregularity.

With his Spring/Summer 2026, Achilles Ion Gabriel challenged the way we perceive form and presence, balancing fragility and disarray. 

RICK OWENS
review by FIONA FROMMELT

Who knew leather looked this good wet? I guess we did, but did we really? Well, whatever, it is definitely clear now, thanks to Rick Owens and his SS26 show, where models dipped and emerged soaked from a pool and climbed a steel temple-like structure fully dressed. Watching it was almost as nerve-wracking as it was mesmerizing. With a towering metal construction at the centre of the Palais de Tokyo’s fountain  and models drenched, dripping, and scaling its frame, it felt like a fever dream set in the Parisian summer heat. Especially considering the footwear, which was quintessentially Rick: hard to walk in as it is, let alone in water or climbing with. It was terrifying in the best possible way. 

Rick showed us how to survive summer; how to stay cool and still look hot. We saw leather pants combined with straps or no shirts, shredded, waxed white denim, brown suede shorts, massive in size carabiners, sheer tops, frilled capes, many straps and fish leather details, a collection halfway otherworldly and halfway made for our street style dreams. A welcome return to the runway: Matisse Di Maggio’s fantastical rubber pieces. The collection was as Rick as ever. Powerful, and on another level, literally.

And at the heart of it all, Palais de Tokyo’s fountain and its Rick Steel Temple. Brutalist, haunting, ritualistic. Adding another layer to his museum of Collections: The “Temple of Love” retrospective is now open at the Musée Palais Galliera.