Paris Fashion Week Spring 2027 Ready-to-Wear Presentations

Marine Serre

Marine Serre wants to put a little sparkle into spring. Her collection, titled “The Deep Shine,” focused on surface effects, from a glossy ’80s-inspired black leather jacket with a matching buckled miniskirt to clingy dresses flocked with her signature crescent-moon print and covered in fish-scale sequins.

Absent from the runways for the last three seasons, the designer went into receivership in July and is seeking an investor as it maps its next steps. On the fashion front, it was business as usual, with Serre distilling the essence of her label, which is known for its “eco-futuristic” aesthetic and commitment to upcycling.

Though condensed into 33 looks, the collection covered a lot of bases, with puffy athletic jackets that were dressed up with a tweed skirt or dressed down with billowing track pants; patchwork designs reworked from old T-shirts and silk scarves, and curve-hugging mesh dresses, modeled by actress and TV personality Stef Roitman in the look book.

“I’m a woman designing for women,” Serre said. “When you do a show, you have to tell a story, whereas now, my focus is on making wearable clothes.”

Yoshita 1967

On the heels of Yoshita 1967 winning two awards — the European leg of the Circular Design Challenge, and the Savoir-Faire Prize at the 2026 LVMH Prize for Young Designers — Anil Padia took over the orangerie on Istituto Marangoni’s Paris campus for intimate showings of his spring 2027 collection.

His mirror-embellished dresses and halterneck tops dappled the walls with sunlight, while the myriad bells created their own soothing soundtrack. But they didn’t distract from the brand’s broadening vocabulary, which included fuller volumes, fringing, corsetry-inspired structures, seashells and pony-hair tailored items.

“I want to show that we can push towards a more sober conversation, more about volume and less about embellishment,” he told WWD.

One minidress had ruffles so compact they required several meters of yarn just to finish the very edge of the dress, jutting out almost horizontally. Meanwhile, a top had no less than three colors of cord in its gradient.

August Barron

Diamonds may be a girl’s best friend, but rhinestones were the stars of August Barron’s spring collection, which read as a commentary on Hollywood’s hunger for stardom. Bror August Vestbø and Benjamin Barron looked to characters on their road to fame — and only time to change on the go.

The design duo’s cinematic take was expressed in clothing that came layered and undone, with unzipped bustier dresses revealing bejeweled bodysuits, and satin dresses thrown over cutesy shorts. Movement was figured as layers that progressively came off, such as a chiffon gown worn over a silk dress, itself peeling down to reveal a satin slip.

Jaunty scarves were immortalized mid-flutter, while models teetered on vertiginous heels. One took a tumble, with her recovery saluted by deafening applause and encouragement.

The collision of Playboy-adjacent bunny ears with tiaras read like an oblique commentary on how easily young seduction can be reframed as sweet or knowing, served by a sharp eye for construction that explained their spot at the 2025 LVMH prize finals.

Abra

Abraham Ortuño Perez went down the rabbit hole for Abra’s spring 2027 collection, influenced by Studio Ghibli’s “Arrietty” animated film and Alice in Wonderland. Silhouettes took cues from both tales’ play on scale, and the latter’s topsy-turvy world.

Out came surreal silhouettes where up was down — an apple green tank top and pleated skirt were worn flipped around — or where the inner layer came to the fore, like frilly slipdresses applied as trompe-l’oeil to coats. Elsewhere, buttons turned XXL, while pockets and collars came multiplied.

The designer, who was appointed global creative director of Camper and its CamperLab brand in March, also soft-launched his new role as a collaboration. “I couldn’t wait until January [for] my Camper collection to go out,” he confessed. “I thought to myself it would be great to already show something.”

He took the distinctive Pelotas silhouette, with its rounded sole and multiball outsole, and turned it into a whimsical high-top sneaker with leaves growing from the tongues, organic textures and an overall psychedelic flair. It is signed with Abra’s distinctive flat bow.

Alexandra Golovanoff

For her first presentation on the official Paris Fashion Week calendar, Alexandra Golovanoff staged a mini-happening on the pavement in front of her boutique, where models lounged at café tables in a nod to her recently launched collaboration with Hôtel Costes.

The label, which this year celebrates its 10th anniversary, is expanding rapidly beyond its roots as a cashmere brand, with a growing offer across tailoring, denim and accessories, including a cute new padded leather drawstring bag.

In addition to her signature sweaters in an array of mouthwatering colors, Golovanoff offered lightweight lambskin leather pieces, like a midi dress with batwing sleeves, or a snap-button jacket with ruffle trims.

But she is also adapting to the new reality of endless summers, with twinsets in ultra-lightweight viscose, and crisp striped cotton poplin shirts, shorts and dresses that offered a timeless take on French girl style.

Georg Lux

“Everyone is welcome in my house,” said Georg Lux at his brand’s three-floor headquarters in Paris’ 8th arrondissement. The German designer launched the label in January after leaving Leonard. That open-door spirit carried into a gender-flexible wardrobe.

Silhouettes included a sculptural, long-sleeve technical-knit minidress, silk-viscose blouses and a floor-length style with a scoop back. Historical portraits and 1940s shoulders informed the clothes, but the collection centered on the vareuse, a square-cut overshirt traditionally worn by sailors.

Developed in various materials including denim, crease-resistant poplin and wool gabardine, it lent its features to a smart black blouson and epitomized Lux’s idea of “couture utility.” Another example was the ample jacket with leather details and corozo, also known as vegetable ivory. Slim-leg jeans featured L-shaped pocket openings and looked flattering on women and men, including Lux’s cofounder Thomas Pennequin.

Lux also showed graphic-cutout bodysuits and briefs, joking that the latter were a nod to social media algorithms. Pennequin said production was entirely European, with its farthest atelier in Venice.

Ain Amor

British designer Sophia Lewis, who worked at the side of Jil Sander before joining denim brand Closed, as well as Candiani and Everest, launched Ain Amor in late 2025 in partnership with Romanian manufacturer Texdata.

Rooted in what she bills as “design discipline” — a trait she learned from Sander — and sustainability, the spring collection was intentionally genderless and transseasonal, infused with a materially expressive sensibility reminiscent of Arte Povera, clean silhouettes in a neutral palette, and rich in versatile outerwear, including handsome crinkly trenchcoats in fabrics from Italy and Japan.

“I think there is a moment now where the customer is almost crying out for… great product at a [fair] price,” Lewis said. “Ain Amor [offers] a flexible wardrobe, which also increases the amount of use you can get out of a garment and the length of time you can love it.”

Priced in the contemporary brand segment, Ain Amor is sold at over 20 doors across the U.K., DACH (Germany, Austria and Switzerland) area, and Japan through a partnership with Toyoda Trading. Starting from fall, it will also land in the U.S. with ICOT.

Christère

After 20 years in Milan and Berlin, Christère founder Lucas Leclère said his return to Paris with his label began with a simple question: what do people want to wear? At the Saint-Germain-des-Prés outpost of Sant Ambroeus, his second collection offered an answer filled with natural fibers. They are “the most luxurious thing we can have today,” the designer pointed out, noting that they also befitted his approach of “everyday wear” and clothes that “feel good at all times.”

There were sleeveless tiered handkerchief dresses in silk crepe, blazers made in jacquards developed from Leclère’s paintings, and natty suits worn by a fictional band called The Polycules, in a tongue-in-cheek nod to his gender-irrelevant approach.

Made in Italian ateliers, the pieces were a love letter to specialized craftsmanship, with jackets that look substantial yet feel light — suitable to be worn “on planes, bicycles and [in the] evening,” he quipped. “Luxurious but not precious.”

Retail prices start in the 700- to 900-euro range for trousers, and go up to 3,300 euros for jackets cut from custom-designed tweed made by craftspeople in France.

Co

With summers getting ever hotter, fans of oversize clothes are facing a new conundrum: how to maintain their poise while swathed in acres of fabric?

Even Stephanie Danan, whose label Co is rooted in oversize silhouettes, has been forced to go back to the drawing board. This season she lightened her fabrics with sheer tailored separates in silk voile, worn in peekaboo layers. For evening, there were cool organza pieces tufted with feathers, and draped gowns in superfine jersey knits.

“It’s a super slim, kind of ’90s vibe,” she said. “Everything was this idea of featherweight, so that you don’t feel it on your body.”

Danan also reined in her tailoring proportions, introducing cropped jackets and curved pants cut above the ankle — though she glammed up her athleticwear with billowing skirts in techno fabrics. “I want to be thoughtful, not design in a bubble,” she said.

Léonard

Between designers since Georg Lux left the label last December, and with the arrival of a new creative head set to be revealed in the coming months, it was Léonard’s studio team that was in charge of crafting the colorful brand’s spring collection, presented in the grounds of its opulent headquarters in the 16th arrondissement.

For this collection referencing Rio de Janeiro, the team found inspiration in Leonard’s extensive archives, rustling up reinventions of floral prints galore for a collection of 19 looks, ranging from silk caftans and dresses in regal purple and white to pale tropical prints worked into bias-cut frocks evoking movement.

Alongside the ample maxidresses to retro-style shifts, there was a new denim selection to demonstrate how the brand is expanding its vocabulary to more contemporary silhouettes and techniques, with laser-printed floral motifs on jeans with tuxedo stripes and a paper-bag waist, gold-buttoned jacket and cute sleeveless jumpsuit.

La Petite Mort

Medellin-based designers Andrés Durán and Jonathan Cortez landed in Paris with their nine-year-old “tailoring studio” as part of the Colombiamoda showcase. Its name is a French euphemism describing the female orgasm, owing to the duo’s desire to make “orgasmic clothing,” they quipped.

In their suitcases was a collection inspired by old photographs of life in their homeland, rife with handcrafts and fabrics that riffed on the idea of heirlooms.

Cue slimline jackets zhuzhed up with embroideries based on traditional doors, dress shorts edged with geometric embroideries, and a loose-weave jacket studded with iraca palm fronds that create a sculptural equivalent to marabout feathers — all in a palette of black, ivory and butter tones that nodded to how photographic paper of yesteryear ages.

Aurora Dù

“Clothing is the boundary each of us chooses between ourselves and society,” believes designer Aurora Dù, a Parsons- and Central Saint Martins-trained designer who studied luxury management at Institut Français de la Mode before launching her brand last year.

For her fourth collection, titled “The Lining,” that liminal space was the home, where we transition between the private and outside spheres. Parisian interiors were duly transcribed in cloth form, with frosted glass becoming custom prints on silk, wool and cashmere, while Belgian linen jacquard, usually used for upholstery, became layered straight skirts.

Dù favored simple silhouettes but leaned on details such as V-neck collars that showed the back, roomy sheer shirts with floor-length skirts, and waistbands that folded back to reveal silk linings.

Ssense ‘Salon des Refusés’ Showcase

Ssense took its love of emerging designers offline during the week, bringing seven indie labels together under one roof for its first Paris pop-up. Inspired by the Salon des Refusés, the 1863 exhibition that gave artists rejected by the Establishment a platform of their own, the showcase put a modern-day spin on the idea of championing talent outside the mainstream.

The lineup included Kanika Agarwal, Laura Andraschko, Merrma, LVMH prize-nominee Petra Fagerström, Rescha and Seconda, alongside established milliner Stephen Jones, with styles spanning everything from intricate Indian craftsmanship to Berlin punk to feminine sequined dresses.

And it wasn’t just an exhibit. For Ssense, it was also a chance to bring its online discovery platform to the fashion week crowd IRL.

The showcase transformed into a retail space, so visitors could try and buy the designers’ work — turning visibility into actual sales for smaller brands — followed by a cocktail party with a set from DJ Memphy and a performance by Smerz.

Turn

Paris-based Turn launched its first full collection, marking a new era for the young brand, which began as a vintage store and curation project.

Cofounded by Alix Darcy and Clara Hofer-Maire, Turn launched its first small capsule earlier this year. That collection was picked up by Japanese retailer United Arrows. For the 60-piece spring collection, the brand has grown from one wholesale account to 15, including Printemps Haussmann and Ssense, across Europe, North America, Japan and Korea.

Hofer-Maire leads the creative direction, and her vintage background is the core of the label. The collection builds on the language established in the first capsule, with gauzy layers, transparency and playful details, while also expanding into bags and jewelry through an historic collaboration with French glassmaker Biot.

Hofer-Maire, who was born in Budapest, approaches Paris with an outsider’s eye and a wink to the city’s “after hours” nightlife. Shirts were dappled with spilled-sugar motifs, alongside sweet slipdresses, short trenchcoats and T-shirts that revealed cutouts at the back.