The mood in Paris was markedly different. If Milan found clarity through restraint, Paris was more interested in constructing characters than perfecting wardrobes. Designers drew from cinema, literature, travel and personal history, all while using clothes to build identities rather than simply respond to trends. Tailoring remained the common thread, though each house used it to tell a different story. Here's how the week's biggest collections shaped the conversation.
Related article: The ELLE Word: Men's Spring/Summer 2027 At Milan Fashion Week
Saint Laurent
For Anthony Vaccarello, Saint Laurent is closer to a state of mind than to a wardrobe of exciting clothes. This season, that state of mind drifted somewhere between Paris and Marrakech, inside a dimly lit salon where elegance carried just enough menace to remain interesting.
The silhouette was uncompromising, with double-breasted jackets featuring exaggerated shoulders, and generously cut trousers that pooled softly over polished shoes. Silk blouses tied at the neck introduced fluidity without diluting the collection's authority, all rendered in tobacco, espresso and inky black. At a moment when much of menswear is embracing ease, Vaccarello continues to believe in precision. The result felt less nostalgic than timeless, reaffirming that confidence often begins with a jacket that knows exactly where to sit on the body.
Louis Vuitton
Few designers understand spectacle quite like Pharrell Williams. Yet beneath the 30-foot artificial wave crashing across the grounds of the Cité Internationale Universitaire, there was a surprisingly coherent idea at play. This season, Louis Vuitton traded the airport lounge for the beach, reimagining travel through the lens of surf culture.
The sprawling set—a stretch of sand punctuated by a silver camper van and a wave that sent cooling mist across an overheated front row—set the tone for a collection that blurred performance wear with polished tailoring. Double-breasted jackets were paired with denim shorts, monogrammed wetsuits peeked out beneath sharply cut coats and hoodies were deliberately washed to resemble well-loved beach towels. Elsewhere, cowrie-shell-embroidered denim with thick ropes of hand-strung beads weighed down bomber jackets, and logo-emblazoned surfboards became the season's most extravagant accessories.
And while the towering wave was a massive theatrical flex, the real story was how Pharrell turned low-key beach culture into a high-stakes luxury engine. It’s a collection that bets everything on a simple truth: The next generation of luxury buyers doesn't want stiff corporate tailoring—they want expensive, unbothered clothes they can actually skate and surf in.
Dior
Jonathan Anderson used his spring/summer 2027 showcase to prove his party is only just getting started. Staged down the stairs at the Musée Nissim de Camondo, Anderson conducted a brilliant, albeit slightly chaotic, character study of party attendees leaving the venue the morning after.
The collection relied heavily on optical illusion and material substitution. Classic house codes like the Bar jacket were completely unravelled, fraying at the edges as if dissolving in real time, while houndstooth motifs were playfully printed on fabrics rather than woven. The opening looks—a trio of translucent suits with dropped lapels—revealed crisp, slightly messy white shirts underneath, styled alongside askew silver bow ties and colourful, overnight knit bags. One year in, Anderson has successfully excavated the Dior archive, filtering its rigid history through a romantic, beautifully unstudied lens.
Feng Chen Wang
Feng Chen Wang continues to occupy a singular place in Paris. While many designers reference heritage, she prefers taking it apart to understand how it works. This season centred on unravelling. Denim jackets appeared partially dismantled, trench coats unfolded into asymmetric constructions, and exposed seams became part of the design rather than something to conceal. Knitwear, dyed in soft gradients reminiscent of ink wash paintings, dissolved effortlessly into technical fabrics. Overall, there is always intellectual rigour behind Wang's collections, and this season it never came at the expense of emotion.
Celine
Fashion moves in cycles, and at Celine, the Hedi Slimane era is officially in the rearview mirror. For his highly anticipated standalone menswear showcase for spring/summer 2027, newly appointed creative director Michael Rider delivered an unpretentious, hyper-individualised masterclass in what he described backstage as a "fashion jam session.”
Rider brilliantly toyed with proportions by leaning into sharp contrasts. The signature, razor-thin cigarette trousers of the past were juxtaposed against an entirely fresh volume: slouchy, open "boyfriend" blazers, high-sitting pleated trousers, and dramatic, billowing harem pants. He playfully upended menswear staples, sending out whacky cummerbund-and-sweater combinations alongside hyper-shrunken pea coats that fit like shirts. But the absolute talking point of the runway was the historic debut of Celine's first-ever sneaker collaboration with Reebok. We suppose it sets the tone for the new era of Celine—one where luxury is defined not by rigid rock-and-roll uniforms, but by an open-minded, effortlessly wearable sense of cool.
Dries Van Noten
While the immediate shock of Dries Van Noten's retirement has settled, the expectations placed on his successor, Julian Klausner, remain sky-high. For spring/summer 2027, Klausner delivered his most confident and accomplished collection yet, taking inspiration from Stéphane Mallarmé’s pastoral poem L'après-midi d'un faune.
Print and texture remained proudly central to the narrative. Rich, romantic florals collided with sharp British checks, while burnt orange, midnight blue, and metallic knits created the unexpected, slightly bruised colour harmonies that have long defined the Belgian house. Long silk coats drifted over generous trousers, preserving the easy, bohemian romance that has always distinguished Dries from its peers. Indeed, Klausner is proving that the complex design language Van Noten built is fully capable of singing new songs under a fresh conductor.
Hermès
The spring/summer 2027 presentation marked a historic, bittersweet milestone for Hermès. Following the departure of legendary menswear artistic director Véronique Nichanian, this transitional collection was designed entirely by the house’s in-house studio team. It serves as a beautifully executed, final love letter to Nichanian’s multi-decade legacy before Grace Wales Bonner officially takes the creative reins next January.
The result was a celebration of high-luxury restraint and organic warmth. Instead of clinical perfection, the studio leaned into soft, texturally rich fabrics, fluid tailoring, and perfectly slouchy tracking trousers paired with structured overcoats. Sun-drenched, unexpected colour pairings brought a relaxed, contemporary rhythm to the runway. For a collection born out of transition, there was remarkably little anxiety as the studio reminded the world that the French Maison’s codes of quiet, impeccable luxury remain entirely untouchable.
Amiri
Mike Amiri has spent years refining the language of West Coast luxury. This season, it spoke a little more softly. Streetwear receded in favour of fluid tailoring, silky suiting and beautifully cut outerwear that borrowed more from old Hollywood than contemporary Los Angeles. Bouclé jackets, buttery leather coats and sheer knit layers introduced texture without overwhelming the silhouette, while the palette drifted between faded pastels and warm neutrals. Relaxed dressing has become something of a luxury in itself, and Amiri understands that perhaps better than most.