Paris has won the battle for men’s fashion, at least for now. While New York and London no longer host men’s fashion weeks and Milan struggles to fill its schedule, the French capital has established itself as the only city still able to attract brands of various origins and sizes. For the spring-summer 2026 season, 70 events are on the calendar – 40 runway shows and 30 presentations – between June 24 and 29. The most anticipated moment of this packed edition is undoubtedly Jonathan Anderson’s first show for Dior, set for June 27.
Meanwhile, the opening day set a high bar, with shows from Saint Laurent and Louis Vuitton. The two rival brands, owned by Kering and LVMH respectively, are used to opening or closing fashion week, a privileged position reserved for the major houses, but rarely share the same day. This time, however, Saint Laurent had no choice but to hold its show on Tuesday, the day the Bourse de Commerce museum is closed to the public, as it hosted the event. And Louis Vuitton did not give up its traditional opening slot.
The Saint Laurent collection was presented on June 24 in the late afternoon, beneath the rotunda of the building where François Pinault, founder of Kering, exhibits his art collection. The space, bathed in light from its glass dome, is currently occupied by “Clinamen,” an installation by Céleste Boursier-Mougenot. In the 18-meter-wide basin, dozens of white porcelain bowls drift.
Usually, designer Anthony Vaccarello prefers nocturnal atmospheres to stage his elegant, enigmatic men who seem to step out of a movie. This time, he drew inspiration from the 1970s, when creative gay communities gathered on Fire Island off the coast of New York state. Among them were painters Billy Sullivan and Larry Stanton, both known for their vibrant use of color.
“I didn’t want to lock myself into the darkness of previous seasons,” the Belgian designer explained. “I knew there would be color in this collection, and that it would be enhanced by the natural light. Plus, it works well with the installation.” Indeed, the basin’s swimming pool-blue water, held within the gray concrete walls of the rotunda, echoed the looks on display.
As usual, Vaccarello kept a sharp focus. His 42 looks hammered home a single idea. Shirts, polos and jackets with shoulder pads created a broad-shouldered silhouette that contrasted with the fluidity of the materials – silk, nylon and cupro. Wool trousers, pleated, belted and slightly cropped, added a formal touch. The tops, in flamboyant shades – bronze, violet, cognac – contrasted with the understated, often black, bottoms. The collection’s consistency also allowed for a few surprises, such as a translucent vermilion trench, a striped pajama shirt and fluid duchess satin trousers. It was a perfect balance between shapes and materials, amplified by an impeccable color palette.
Inspiration from India
A few hours later and just 500 meters from the Bourse de Commerce, Louis Vuitton took over Place Georges-Pompidou, in front of the cultural center of the same name. While Saint Laurent has been crafting increasingly exclusive events – with barely 200 guests, many of them film directors and actors, as the house now produces films – Louis Vuitton opted for grandeur.
An enormous structure occupied the plaza outside the Centre Pompidou, with protective fencing, bleachers for the 1,223 guests and a stage whose wooden floor recreated a snakes and ladders game board, designed by Indian architect Bijoy Jain of Studio Mumbai. The venue opened an hour and a half before the show and quickly filled with journalists, influencers, athletes and LVMH executives. At precisely 9:30 pm, just before the runway show began, Beyoncé and Jay-Z settled into the front row next to Bernard Arnault, CEO of LVMH. An orchestra and gospel choir performed the soundtrack, composed by Pharrell Williams, musician and creative director for Louis Vuitton’s men’s collections.
In fashion history, brands have sometimes used spectacular set designs to distract from lackluster clothing. Here, however, the India-inspired collection was as precise as it was appealing. “It’s not about referencing the traditional silhouettes of India, but instead, the environment itself: the colour palette, the way buildings are painted, the way clothes are worn,” explained the American designer, who earlier this year visited workshops, palaces and bazaars in Mumbai, Jaipur and New Delhi with his team.
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Dressed in indigo suits or slightly flared Prince of Wales checks, the Vuitton models wore shirts with beaded collars and flip-flops. Their leather jackets were as soft as butter and beautifully patinated. Pajama-style pants (again!) added a relaxed touch to double cashmere coats.
The luxurious, slightly nostalgic silhouette evoked the films of Wes Anderson, especially The Darjeeling Limited, set in India, for which Louis Vuitton created retro trunks with animal prints. Elephants, giraffes and zebras reappeared here on garments and leather goods, items with undeniable commercial appeal. “I’m not usually the guy that likes to go back in time and do things from a heritage point of view – I feel like my mission is to innovate – but being able to reach back and do something that related to one of the cardinal figures who shaped my taste buds was next level!” declared the designer. He would be wrong to miss the opportunity, for the American filmmaker brings out the best in Williams: more dandy, less bling.
