New stories and clear statements at Paris Fashion Week Men's

While the mood in Milan seemed subdued, designers in the French capital went all out, undeterred by the ongoing consumer slump. A notable trend was the convergence of streetwear and classic menswear.

Dreamers

One example is the collection by Emeric Tchatchoua, creative director of the streetwear brand 3.Paradis. The collection showcased casual silhouettes of outerwear and wide shorts alongside formal looks. Asymmetrical cuts of tailored jackets and playful details, such as a multitude of watches hanging from a long coat, bridged the gap between the more casual pieces.

Time, or rather the illusion of it, was also the theme of Tchatchoua’s collection “Steps to Nowhere”. This was visualised by the vast, silent, and endless desert, according to 3.Paradis on Instagram. The main character, “The Little Prince”, from the eponymous work by French author Antoine de Saint-Exupéry, also appears on various pieces in the collection.

Kidsuper founder Colm Dillane invited his guests to dream. His collection, shown at the Musée des Arts Décoratifs of the Louvre, visualised the children's book "The Boy Who Jumped to the Moon". The imaginative and colourful collection was about the inquisitive optimism of youth and the elegant naivety of those who dare to dream big, according to the show notes. Dillane seemed to be thinking big. He not only integrated the moon and stars theme around the book, but also collaborated with German car manufacturer Mercedes, fast food chain Papa John’s, and German sportswear brand Puma. These individual capsules appeared together like an overwhelming, yet coherent, "fever dream".

Walter Van Beirendonck, meanwhile, winked at us with "bright eyes". He presented a playful collection, typical of the Belgian designer, with many floral prints. Instead of fictitious boys, a black and white photograph of several children ran through the looks. Asymmetrical cuts, cut-outs, and a mix of different patterns, such as camouflage, stripes, and polka dots, reinforced his colourful world. Recurring buttons with peace signs made it clear that this can only be so colourful with peaceful coexistence.

Political statements

Other collections addressed real-world problems in a much more pronounced way, making clear statements. Jeanne Friot, with her sporty-chic and, at the same time, revealing collection, took a stand against war and in support of transgender people, as could be read on several T-shirts. She underscored this message with the colour combination of light blue, pink, and white stripes – the colours of the trans flag. Of course, the buckle details typical of the designer were also present in this collection.

US-born Willy Chavarria, meanwhile, opened his presentation with a protest. Several tattooed men knelt in white T-shirts and shorts. The posture and clothing were reminiscent of the inmates of the Salvadoran maximum security prison Centro de Confinamiento del Terrorismo, which includes more than 250 Venezuelans deported from the US. Salvadoran President Nayib Bukele subsequently criticised the portrayal on the short message platform X, accusing the fashion week of "glorifying criminals".

The collection, entitled "Huron" – a tribute to Chavarria’s hometown in California – is an expression of joy and resistance, the Mexican-born designer wrote on Instagram, dedicating it to undocumented people and their human dignity. A wide range of looks were on display, ranging from loose-fitting 1980s pinstripe suits with open shirts to various workwear pieces and an urban look with wide shorts and T-shirts. The collection was rounded off by colourful suits and flamboyant dresses, underscoring the designer's versatile talent.

A$AP Rocky, meanwhile, mixed streetwear, business looks, and uniforms for AWGE. The American rapper and designer, whose real name is Rakim Mayers, transformed the catwalk of his second show in Paris into an American courtroom. He sketched various participants in a hearing and sent the models through a metal detector. Mayers himself recently stood trial for assault but was acquitted in February. "Not Guilty" was also written on several tops.

Cultural influences

Louis Vuitton, meanwhile, took a cultural trip to India. Pharrell Williams highlighted the influence of modern Indian tailoring on the global contemporary wardrobe, reflecting it in dandyism, according to the show notes. The menswear design chief also experimented with the influences of nature and how the sun affects clothing. Garments and accessories took on a tactile and worn character, as if they had experienced the effects of weather and wear. Silk, leather, and fine wool appeared sun-bleached in their texture, while cashmere mixed with silk, llama, or vicuña was treated to resemble raw textures. In a nod to India's proximity to the Himalayas in the north of the country, Williams also incorporated outerwear influences decorated with traditional patterns and opulent embellishments.

Self-taught designer Daquisiline Gomis transformed Jahjah – an Afro-vegan restaurant in Paris – into a brand "rooted in a diasporic, Rastafarian, and Pan-African vision of the present", according to the show notes. For spring/summer 2026, he found inspiration in West African men of the 1970s; tailored suits worn as dignified armour on construction sites; and Rasta prophets and craftsmen. Tailoring meets patchwork and do-it-yourself elements.

The colours of the Pan-African flag – red, black, and green – and those of the Jamaican Rastafarian movement – green, yellow, and red – are an important part of the collection. Various motifs, such as the "Lion of Judah" – often a symbol of the Rastafarian flag – and several jukeboxes, were also seen on shirts created in collaboration with Comme des Garçons. In addition to the Paris-based Japanese brand, sportswear brands Salomon and Adidas are among the collaborators for SS26.

Egonlab founders Florentin Glémarec and Kévin Nompeix recalled the rich history of Breton clothing in their SS26 collection. As a tribute to their grandfather, they conducted extensive research in the archives of the French region. Pointed collars were reminiscent of Breton costumes, while wide, folded lapels were inspired by traditional Breton men's shirts. The highlight was a static porcelain shirt created in collaboration with artist Flávio Juán Núñez.

Simon Porte Jacquemus referenced his ancestors and, with a show in the Orangery of the Palace of Versailles, recalled the rural heritage of his fruit- and vegetable-farming family. He combined simplicity and elegance. A long, fitted dress exemplified this symbiosis: the grey fabric, together with a matching headscarf, was reminiscent of a simple peasant woman, yet appeared graceful due to the refinement of the silhouette. Various techniques, such as the craftsmanship of "tulle bobbin lace" and embellishments such as bespoke tassels, highlighted the French designer's attention to detail. Jacquemus’ menswear impressed with its simplicity. The looks consisted mainly of short jackets and wide-cut trousers, reminiscent of various craft professions.

Anderson celebrates Dior debut

The absolute highlight of Paris Men's Fashion Week was arguably the debut of Jonathan Anderson as the new creative director of Dior. It was the first collection the Northern Irish designer presented for the French fashion house after his appointment in June, or in April as head of menswear. The show was eagerly awaited, with even uninvited guests gathering to watch the livestream together. Digital fashion critic 'Lyas', as he is known on Instagram, invited people to a watch party at Le Saint Denis bar in Paris, which resulted in a rush of like-minded people.

For his debut, Anderson delved into the fashion house's extensive archives and followed founder Christian Dior's interest in English culture. Tailcoats with large buttons and bow ties were reminiscent of the 18th century, which, through modern cuts and fabrics, were placed alongside preppy looks from elite schools with stand-up collars, knitted jumpers thrown over the shoulders, waistcoats, and details such as bow ties. These were contrasted with wide cargo trousers, various denim pieces, and casual shirts styled loosely over the trousers. These apparent opposites also met repeatedly in the individual looks, giving the more formal pieces a contemporary touch.