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The City of Light is ready for the spotlight. Amidst all the talk of luxury fashion’s slowdown, Paris Fashion Week still holds an exalted place on the style calendar, and each season is a reminder of why. Its combination of buzzy new voices and heritage heavyweights manages to cut The City of Light is ready for the spotlight. Amidst all the talk of luxury fashion’s slowdown, Paris Fashion Week still holds an exalted place on the style calendar, and each season is a reminder of why. Its combination of buzzy new voices and heritage heavyweights manages to cut through the noise like nowhere else—and Spring/Summer 2027 is proving to be a dazzling season of glitter, gold, and airiness.
At Dior, Jonathan Anderson staged a show where air was treated as a material language, bringing lightness and ease to familiar codes. As stars like Blackpink’s Jisoo and Rihanna watched on, Anderson reinterpreted his very own Dior signatures in weightless materials like silk mousseline, Chantilly lace, and translucent gauze. Later that same day, Anthony Vaccarello staged an emotionally charged show amongst swirling rumours of his imminent departure from Saint Laurent. On a runway backlit by the Eiffel Tower, his latest collection was a shimmering parade of solid gold brocade and lamé, broken up only by classic Saint Laurent black.
Later in the week, we can expect shows from the who’s who of French fashion—Matthieu Blazy at Chanel, Nicolas Ghesquière at Louis Vuitton—as well as more inventive takes on the craft from names like Acne Studios and Loewe. Below, see our highlights of the Paris Fashion Week Spring/Summer 2027 runways.
Loewe
“It’s an old-world—new-world conversation,” said Jack McCollough and Lazaro Hernandez of their latest collection for Loewe. The old world in question refers to the 170-year heritage of Loewe—encompassing the mastery of leather, Baroque drama, and sun-baked, Spanish ease. For Spring/Summer 2027, the pair explored this weighty legacy through ruffled skirts, draped dresses, and a saturated palette of bright oranges and yellows. Meanwhile, the voice of the new world was equally as distinct. Hernandez and McCollough’s New England youth made itself known through preppy influences, sleek boat shoes, and breezy knits that gave the collection a sporty ease. “What we’re putting forward here is a proposition for dressing,” the pair wrote. “The ease of American pragmatism, and nods to Spanish drama, ritual, history.”
Schiaparelli
The key challenge for Schiaparelli creative director Daniel Roseberry this season was articulating a raison d’être for the maison’s ready-to-wear—and to move beyond buzzwords and jargon, the designer returned to the very building blocks of their Haute Couture. “We get so hung up on these empty buzz phrases that we can forget what the real point and attraction of ready-to-wear is,” he wrote in his collection notes. “Distillation. Essence. The power of consistency in a world in which reliable, clear messages seem to be in short supply.”
The message was indeed clear and simple: go back to the basics. The result was a classically Schiaparelli collection of tailored black separates, sensual silhouettes, and witty house codes. A series of little black cocktail dresses gave us the maison’s take on “revenge dressing”, while eight versions of the iconic “Schiap jacket” brought a sense of structure. Though the palette was pared-down—rarely straying from white, buttery beige, or black—a sense of playfulness arose through asymmetrical ruffles, sheer knitwear, and intricate vegetal embroidery. “The ruffles are inspired by the curtains that lined the windows of the Place Vendôme atelier during Elsa Schiaparelli’s time,” explained Roseberry’s collection notes.
Acne Studios
If Renaissance grunge wasn’t already a thing, Acne Studios is making it one. The label’s Spring/Summer 2027 offering put historical dress codes through a grimy, sepia-toned filter, pairing them with faded denim and aged leather.
The most obvious allusions to Romantic-era dressing came in puffy, duvet-like skirts bearing quaint floral and rinceau patterns—but even these weren’t shown in their natural form. They came cropped and twisted, often with faded edges that looked as though they had been dragged through muddy fields. Their intricate, porcelain-like patterns also migrated onto the collection’s other primary medium: denim. Patterned jeans and jackets were shown with shining lacquer coatings and acid-washed treatments, bringing an edge of modernity to the collection’s more romantic impulses. The contrast was intended as a “counter-narrative”, explained the show notes—“in which historical attire interacts with the most ubiquitous thing we wear.”
Saint Laurent
It was all glitter and gold at Saint Laurent’s Spring/Summer 2027 show—and not only because of the immense chandelier dangling above the runway, or even the twinkling lights of the Eiffel Tower in the background. Creative director Anthony Vaccarello presented a collection that looked as though it had been carved from precious metals, with regal brocade suits shown alongside voluminous jackets in crinkly, reflective fabrics. Despite the ornate, stiff materials on offer, there was a typically Saint Laurent sensuality to the affair. Bronzed guipure lace offered peeks of bare skin underneath, while cropped and dropped-waist dresses brought ease to the season. It was an emotionally charged collection, coming amidst swirling speculation that Vaccarello’s tenure at the maison is nearing its end. So when the collection neared its finale, and he finally deviated from his Midas palette for a series of dramatic black gowns in velvet and gauze, it felt as poignant a curtain call as any.
Dior
Dior’s set for Spring/Summer 2027 gave us the first clue about Jonathan Anderson’s vision for the season. The venue was the very same Bassin Octogonal where the maison found themselves for Fall/Winter—but now stripped of its lotuses and lilies, with a fine mist curling over the lake’s surface. The collection gave Anderson’s Dior signatures the same weightless treatment, asking what happens when the adornment falls away, and air itself becomes a material.
If the show gave you a sense of déja vu, that was perhaps the point. It was a collection that avoided spectacle for spectacle’s sake, deliberately taking a second look at familiar codes. Asymmetrical, gathered skirts; cropped Bar jackets; dropped-waist dresses in swingy chiffon—all offerings we’ve seen before from Anderson’s Dior, but now rendered in translucent, barely-there construction. Hems rippled in the breeze, and previously sturdy garments felt light as air. The effect moved Anderson’s whimsical, feminine take on Dior into uncharted territory, where the maison’s classic codes felt a little more sensual and undone.
This article first appeared on GRAZIA Singapore and has been republished here with permission.
