A quiet season with loud implications—on silhouette, storytelling, and the new leadership shaping the future of menswear.
By Angela Baidoo
The 10-day tour across Europe, ie. the June Edition of men’s fashion week led by Milan and Paris, brought about an unexpected focus on ease and eclecticism, as a nod to the chaotic times we are currently living through as a collective. And with each season that passes the luxury fashion industry is aware that it does not exist in a vacuum and needs to reflect the shift in consumer sentiment. Whether that’s a desire for joy-induced sartorial options or an elevated take on everyday dressing which mixes in a dose of the eclectic.
Overall, the season felt like a recalibration of the traditional calendar, a shift which focused on the presentation format. With Milan presenting over a truncated four days, and Paris providing a more manageable week, both emerging and established designers who chose the static format were given the breathing room to connect with buyers and editors and talk through their collections in a relaxed environment that is sure to benefit all over the long-term. Alongside the on-schedule presentations there was also a retrospective of Demna’s tenure at Balenciaga (before he takes on his new role at Gucci), staged at the brands head office, it was a comprehensive round-up of the creative directors greatest hits and provided a much-needed reminder of his impact on the literal shape of the luxury fashion industry today.
Spring 2026 also felt like a season of storytelling, with social media teasers from Jonathan Anderson at Dior and Anthony Vacarello at Saint Laurent drawing us into their world and revealing their broad depth of influences – from the archives to the art world – it was a form of emotional expression that resonated. A sense of individuality also returned as vibrant colour palettes were seen at Willy Chavarria, Prada, Craig Green, and Dries Van Noten, and a weightlessness could be felt across the runways with fluid silhouettes in lightweight linens and technical nylons. The desire for escapism is always at the forefront of any spring season, and 2026 will be no different. Travel by plane, boat, and train were all considered, as childhood memories of summer holidays provided the inspiration for the ultimate capsule wardrobes from Prada to Auralee.
And the most talked about debut of the week did not disappoint, with Jonathan Anderson finally revealing his new narrative for Dior, starting with a revival of the archives, merged with familiar preppy codes and updated with a few subversive nods. Guests in attendance also provided a glimpse of what was to come next season with his womenswear debut. But it was Julian Klausner’s Dries Van Noten whose joyful collection of hyperbolic colours and hothouse prints that garnered the longest round of applause for the season, proving that the legacy of the house is in safe hands, and optimism will once again return to the runways.
Key Takeaways
• Escapism Reimagined: This wasn’t about fleeing reality but reshaping it. Designers leaned into dopamine-fuelled colour and narrative charm, with storytelling rooted in personal history and cultural heritage. From Walter Van Beirendonck’s boyhood photos to KidSuper’s life-sized storybook set, and Craig Green’s psychedelic florals, joy was filtered through memory. Even escapist looks at Prada and Saint Laurent felt grounded — packing list essentials for a real vacation, not a fantasy island.
• Lightening the Load: As climate anxiety and geopolitical unrest loom large, designers responded with a collective exhale — offering clothes that floated rather than forced a silhouette. Whether in featherweight linens, tech-nylons, or see-through sheers, collections from Setchu to Saint Laurent proposed a uniform of comfort without compromise. Browns, pastels and sun-bleached tones complimented summer brights, and tailoring took a softer stance. In short: lightness, both literal and emotional, became a subtle form of resistance.
• Pyjama Dressing Gets Serious: Sleep — or the lack thereof — has entered the fashion chat. In a season where real-world events infiltrated design thinking, the pyjama set became both symbol and solution. Dolce & Gabbana led the charge with multiple variations on loungewear-as-outerwear, while Dior, Amiri, and Officine Générale brought piping, stripes, and soft tailoring to the forefront. Sets to slumber in have became aspirational, and a crisp cotton co-ord now signals not just comfort, but control.
• A Tale of Two Debuts: Dior and Dries Van Noten Set the Bar: Jonathan Anderson’s first outing for Dior was less a revolution, more a revisiting of the archives — laying the groundwork for what is set to become a cross-category pivoting of the house. It was restrained, yet assured with subversive flourishes that we hope will be expanded upon in his women’s collection. Meanwhile, Julian Klausner’s men’s debut at Dries Van Noten delivered the week’s most joyful jolt: bold colour, elegant embellishment, and feminine-inspired shapes that nodded to house codes while pushing silhouettes forward. If there were any doubts, they have been dispelled as this new guard isn’t tentative, it’s ready.
Index
- Freedom and Light
- Joy to the World Meets Eclectic Escapism
- Slumber Time
- Defiant Debuts
- Honourable Mention: All Eyes on India
Freedom and Light
Whether it was in reaction to the weather or the weight of global events, there was a weightlessness to the fabrics used for the collections on numerous runways which made them look as light as air. Suits (in the only appropriate fabric to combat 100-degree heat) conveyed a non-chalance and ease that could only come from donning the lightest of linens and cottons. Many carried a rustic appeal with browns and beiges becoming the new black, and textured stripes forgoing the perfection of the typical summer-facing oxford stripe.
At Satoshi Kuwata’s Setchu and Yushan Li and Jun Zhou’s Pronounce the clothes felt like they could almost take flight. With the latter’s designs using parachute silks inspired by traditional Chinese Kites in pastels to meet the moment (weather-wise). Setchu on the other hand harnessed lightweight shirting split up the seams and aerated woven basket techniques to propose a new creative direction for summer styling. Suiting that was not-so-serious, but performed ,was made from soft tech-nylons at Saul Nash, and at Wales Bonner and Saint Laurent romantic sheers in tie-neck blouses spelt freedom from gender norms.
Joy to the World Meets Eclectic Escapism
Real world events will always remain top of mind, as the industry is increasingly aware that it does not exist in a bubble, and while intentional political messaging was few and far between this season (aside from Willy Chavarria’s powerful performance-cum-show highlighting the plight of immigrants in America due to ICE raids, and Yohji Yamamoto’s ‘No More Wars’ slogan, which was honestly a blink-and-you-could-miss-it moment) there was an acknowledgement that creativity through fashion (rather than fantasy) can foster joy, at a time when it feels hard to find.
There was a sense of levity that was felt at both the Milan and Paris shows with brands dialling up the dopamine with a vibrancy not seen for a few seasons. At Willy Chavarria the designer used colour as a defiant celebration of the glamour and poise of the men and women of his community – think bubblegum pink, lipstick red, butter yellow, and turquoise. At Andreas Kronthaler’s Vivienne Westwood the collection felt fun once again, and Walter Van Beirendonck, and KidSuper took a childlike approach to storytelling through clothes, with the former using actual photographs from his boyhood and the latter creating a physical storybook gifted to guests, that was also blown-up to life-size proportions to become the shows set. Prada and Craig Green’s 60s-style florals, inspired by psychedelia, was a welcome update to the highly-stylised or digital florals we have become accustomed to.
The desire to escape via air, sea, or train was also on the agenda for next season as Prada took to us to an imaginary seaside idyll with handdrawn shirts and short shorts, windswept woven hats and open-necked tunics, perfect to throw on post-swim. And Anthony Vaccarello at Saint Laurent was enamoured with the hedonistic freedom of summers spent on Fire Island manifested in a rich sunset palette and glossy sheers, but which held back on fully exploring what his Saint Laurent man would actually wear on a luxe vacation.
Slumber Time
With our minds in a state of constant activity, as we feel the need to be ‘On’ 24/7, sleep deprivation is one theme not to be slept on for spring 2026. As solutions to our sleepless nights range from AI-powered smart rooms, layered lighting, weighted blankets, and even sleep tourism, as “91% of frequent travellers [will] pay up to 10% more for sleep-enhancing accommodations” according to a survey by the GWI Sleep Initiative and Serta Simmons Hospitality Bedding, designers offered the cosiest solution of all – staying primed for slumber in premium pyjamas.
As we see the pulling back of ‘Work from Home’ privileges which allowed for a relaxed attitude to meetings that took place from the waist up in elevated loungewear, a return to the smarter solution of the woven pyjama makes sartorial sense. As its simultaneous ease and formal crispness, especially when adding a smoking jacket, makes it a day-to-night dream. It also helps that it can act as a canvas for bold stripes, spots, or florals. Dolce & Gabbana produced close to 100 ways with the sleep-inducing set, interpreted as short sets or with open-weave knits for St. Tropez, under leopard outerwear for the morning milk run, or slightly more structured with a tie for a hybrid office look. And, their finale parade of heavily embroidered stripe sets in a range of pastel colours is sure to make their first red carpet appearance at the next available opportunity. The ever-polished Dunhill and Amiri men dabbled in the smoking jacket, pinstripes and piping were favoured at Dior and Officine Générale, while natural textures and fluid fabrics in loose fits were to be found at Emporio Armani and Ziggy Chen.
Defiant Debuts
This was a season where two of the most anticipated debuts delivered, with Jonathan Anderson at Dior undoubtedly proving to be the weeks hottest ticket.
Choosing to scale down the typically theatre-style format of previous Dior shows (stadium seating would often allow room for up to five rows) Anderson chose an intimate setting for his debut men’s collection, which would give the world a first look at how the recently appointed creative director is set to shape the visual narrative of the historic fashion house – across mens, womens and couture. And from the first look to the last a focus on heritage was played into with a reimagining of the Bar Jacket, preppy tropes of the sweater, shirt, and tie, as well as 18th century military outerwear. It was a mash-up of messages which could only have been streamlined for a brand as important as Dior in Andersons hands although there was a sense of restraint for this first outing, knowing the creative arsenal he has in his back catalogue the anticipation for a further push into the subversive for his women’s collection is only set grow.
Having shown his first womenswear collection in march – and won over the fearful faithful – the pressure was less intense for Julian Klausner’s Dries Van Noten men’s debut, but the unexpected jolt of pure joy produced by his collection was welcomed and felt authentically aligned with the moment. As a focus on everyday dressing took hold of the season, with brands taking sure bets on what retail buyers would be seeking, Klausner leaned into the legacy of Dries Van Noten and wowed with a show-stopping collection of megawatt colour combinations, elegantly encrusted embellishments, and the utilisation of feminine construction techniques to bring sleeveless tops closer to the body and introduce new proposals for men’s silhouettes. This menswear debut was a daringly different way to dress up, yet was reassuringly true to the brands house codes, and if the extended ovation at the end of the show was any indication, in just two collections the new creative director has made a solid start to his tenure.
Honourable Mention:
All Eyes on India
The Global South, specifically India, is experiencing exciting growth due to an emerging affluent consumer base. The increased visibility of Indian stars and designers on the world stage (Gaurav Gupta showing as part of the official couture calendar and Priyanka Chopra co-leading one of Amazon’s Top 10 action series of 2023, Citadel) as well as the Gateway to India in Mumbai providing a dramatic backdrop for both Vivienne Westwood (whose collection was created using fabric from khadi and chanderi, as well as partnering with Viz Fashion School Pvt Ltd) and Dior who hosted destination shows in 2025 and 2023. French department store Galeries Lafayette has plans to expand into the region, announcing a Mumbai store (delayed, but touted to open late 2025) as well as New Delhi (schedule for 2026). And with a lucrative wedding and occasion market (according to Wright Research $1.2 billion is spent annually on wedding clothing and $7.2 billion on gold and jewellery), now makes business sense to invest in the region as luxury spending slows in the West.
And it was on the runways that we saw a courting of both Indian brands and key sartorial influences from the region expanded upon. The most surprising was at Louis Vuitton (although creative director Pharrell Williams has been on a world tour of late (Japan, the Mid-West, and Hawaii for pre-fall 2024) where a show titled ‘Paris to India’ paid homage to ‘modern Indian sartorialism on the global contemporary wardrobe’. This was inspiration done the right way as Williams teamed with Studio Mumbai for the snakes and ladders set, produced music from Indian composer A.R. Rahmanm, and scouted models Saurang Deepak, Deepak Gupta, and Jainil Nawariya from, among others, Indian agency Anon Model Agency. There was even a nod to the 2007 film The Darjeeling Limited with animal motifs from the film embroidered across accessories and bags. The much-buzzed about Kartik Research made their runway debut as a love story to collected craft, with the looks styled to give a feeling that was ‘instinctive’ and lived in, something the designer has been ‘chasing’ since the inception of the brand. The tonal embroidery a particular highlight, it was used across relaxed tailoring, utility outerwear, and soft shirts. Though not of Indian origin, sarongs are widely worn in the southern region by mens as part of their everyday wardrobe, popular due to their suitability for hot and humid climates, and designers who took the same cue during the week’s sweltering temperatures were Julian Klausner at Dries Van Noten and Junya Watanabe.
