Jacquemus Fall Winter 2026-27 Fashion Show

The grand, storied halls of the Picasso Museum were reimagined as a lavish private mansion, setting a theatrical stage for Simon Porte Jacquemus to unleash his latest vision: "Le Palmier." Named after the iconic, gravity-defying "palm-tree" hairstyle of the 1980s, the narrative for Fall Winter 2026-2027 felt like an exuberant ticket into the most exclusive Paris house parties of forty years ago. The storytelling followed a cast of characters who embodied the "go-go decade," blending the fierce style of icons like Paloma Picasso with the socialite armor of the Ivana Trump era. It was a tale of deliberate excess, where the designer challenged the fashion world to stop taking itself so seriously and embrace the sheer, unadulterated joy of "the costume."

Traversing the visual journey of this co-ed collection, the narrative arc leaned heavily into a festive, almost cinematic atmosphere. Jacquemus moved through a series of vignettes, from structured "luncheon suits" to feathery evening finery that pushed the boundaries of traditional silhouettes. The mood board—anchored by a famous Helmut Newton photograph—was brought to life in a cheeky finale where a one-shoulder dress was held in place by a strategically positioned wine glass. Even with a front row boasting global icons from Elton John to the designer's beloved grandmother Liline, the true protagonist was the spirit of high-energy nostalgia, proving that for Jacquemus, the "party" is a serious business of fun.

Delving into the construction and material choices of the season, the designer explored the exaggerated volumes and sharp lines synonymous with 80s power dressing. We saw the use of internal scaffolding to support "batwing" coats and sculptural cocktail dresses that maintained their rigid, flared shapes even in motion. The tailoring featured skirts engineered to hug the frame tightly before erupting into dramatic ruffles past the knee, a technical feat achieved through layered tulle understructures. In the menswear category, the focus was on vibrant "Play-doh" saturated pigments applied to crisp wools, alongside a deconstruction of traditional tuxedo elements. Additionally, the house’s signature jersey was draped and gathered with meticulous tension to create "dance dresses" that combined ease of movement with a high-fashion, Greco-Roman finish.

In our view, we have to admit that "Le Palmier" was a masterclass in branding and atmosphere, even if the sartorial execution was occasionally uneven. We must say that while the theatricality was infectious, several of the fits were surprisingly unforgiving, sacrificing the wearer's natural silhouette for the sake of a sculptural statement. To be honest, some looks drifted dangerously close to pastiche, but the sheer charisma of the presentation makes it hard to be overly cynical. From our perspective, the menswear remains a highly technical and successful pillar of the brand, offering a playful yet precise alternative to the more costume-heavy women's pieces.

We have the impression that Jacquemus is successfully positioning himself as a lifestyle architect rather than just a garment maker. We believe that his obsession with "fun" and family—exemplified by Liline's role as ambassador—creates a unique emotional connection that transcends the clothes themselves. It seems to us that as the brand prepares for its Miami expansion, this unapologetic embrace of 80s kitsch and high-society flair will serve as a potent bridge to the American market. Ultimately, even if not every piece was a hit of tailoring, the show succeeded in its core mission: making the fashion world smile again.