Each season, Paris poses the same question to fashion in a different voice. For Spring/Summer 2027, five houses replied with remarkable range. A phoenix appeared in electronic paper. The trench coat hardened while the handbag softened. Embroidery became a love letter. Posters for imagined films became dresses. And the hazy light of a 1960s California photographer settled over lace and linen. Together they sketch a season devoted to transformation, where a garment becomes a living surface, a memory, a character, a breath of air. What follows is a walk through all five.
Anrealage: A Second Skin
Photo by KOJI HIRANO, Courtesy of Anrealage.
Photo by KOJI HIRANO, Courtesy of Anrealage.
Kunihiko Morinaga marks his 25th Paris presentation with “SKIN,” a meditation on the surface we shed and renew while the self endures. The Maison de la Radio et de la Musique hosts the show, and Igor Stravinsky‘s 1919 Firebird sounds live beneath the runway. At the center rises the phoenix of Osamu Tezuka‘s Phoenix, a creature of perpetual rebirth. The early silhouettes cling like a second skin. Then the collection mutates. Washi, Ultrasuede scales, and 3D-printed Effective Skin ripple through color as the wearer turns, Op Art in motion. The summit arrives with six armored dresses, each alive with 1,000 to 2,000 E Ink scales. Hues flood in like pigment through cells, fade to ash gray, and bloom again. A network of wires, mapped by AI, spreads beneath like feathers rooted in skin. A final model glows in LED, last season’s light reborn.
Maison Margiela: Hard Meets Soft
Courtesy of Maison Margiela.
Courtesy of Maison Margiela.
Maison Margiela studies a single tension: how the hardness of a garment can flourish while its softness endures. The Parisian ateliers divide their craft between tailoring, which builds structure, and Flou, which releases drape. Here the two finally speak. Trench coats carry hardened panels at the waist or down both flanks, armor stitched into cotton. Jackets fold inward, buttons tucked away, creases fortified so the fold remains for good. Dresses open into chest “balconies,” a corset’s poise worn with ease. One body rises from flattened, molded silverware. Linings, long a Margiela signature, step forward as garments in their own right. Spray-painted cranes and eagles drift across soft jersey. Mark Colle‘s flowers pay homage to Raf Simons‘s 2012 couture debut, as though time has softened their petals. Ghost bags relax into supple leather, and heel-less boots balance on hidden heels.
Chloé: Chemena Kamali’s “Obsession”
Courtesy of CHLOÉ.
Courtesy of CHLOÉ.
Chloé unfolds like a letter written by hand. Chemena Kamali signs hers “Love,” and instinct guides every stitch. She seeks archetypes and finds fresh nuance in their beauty. Broderie anglaise returns from the house’s early robes de jeunes filles, nineteenth-century threadwork translated into fabrics from weightless organza to crisp, heavy cotton. Flowers from 1960s embroidery bloom in three dimensions, couture craft worn with a youthful shrug. This is the Chloé contradiction, held in a single stitch. Heart, bateau, square, and V necklines anchor each figure from the collarbone down. Outerwear gathers the weather: 1970s fishermen’s coats, capes, and sou’wester hats, veiled in smoky transparent vinyl like rain on glass. The scalloped 1972 “Noel” tuxedo ushers in a woman in men’s suiting. Lace, sliced from lingerie, becomes romantic harnesses, graphic and featherlight.
Dries Van Noten: Glamour, Postered and Pasted
Photo by GORUNWAY, courtesy of DRIES VAN NOTEN.
Photo by GORUNWAY, courtesy of DRIES VAN NOTEN.
At Dries Van Noten, Julian Klausner follows an actress as she leaves the set and steps back into the street, a film score still echoing. His question is tender: when do we feel glamorous? A red lip, a brooch, a cinched belt, and the feeling arrives. The house imagines films that exist only on paper and prints their posters across dresses, polos, and T-shirts. Garments are cut and pasted together like a wall of billboards, one image softly overlapping the next. Spray prints scatter stars, flamingos, and martini glasses. Organza turns workwear jackets sheer as breath, while lurex jacquards step into daylight. Color travels from dusty neutrals to cosmetic pinks and mauves, then acid yellow, turquoise, orange, and bright flashes of metal. Costume jewelry gathers in glittering abundance. A wooden-heeled pump keeps the premiere relaxed.
Isabel Marant: Light, Layers, and Los Angeles
Courtesy of ISABEL MARANT.
Courtesy of ISABEL MARANT.
Isabel Marant‘s summer begins in Los Angeles, where creative director Kim Bekker discovers Sam Haskins‘s 1960s photographs of women wrapped in hazy light, tender and strong at once. The collection holds that duet: airy dressing drawn in clear, confident lines. Artisans leave their mark everywhere, with vintage-style embroidery sprinkled in rhinestones and beads that gently weigh fragile silk. Tees and board shorts turn to delicate lace and antique tablecloth linen. Sculpted cotton blazers rest over brooch-pinned swimsuits. Macramé drapes into tubular skirts and a slinky backless dress. Sun-faded florals and paisleys layer into short, floaty dresses that move with the air. A 1930s lingerie mood in coral, pink, and green by day deepens into smoke gray and black at night, with silver-flowered slip dresses that slide on like a tee. Basketweave ankle boots, shell chandeliers, and a woven-thong bucket bag complete the picture.
