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Runway Magazine, 23/25 Rue Jean Jacques Rousseau, Paris (2026)

14/10/2026

2026 Capsule Collection Campaign. Photographed by Julien Martinez Leclerc, the campaign stars models Elodie Guipaud, Feng Jiao Long, and Lia Marie Mielke. Snowy days, in CHANEL. Story : https://runwaymagazines.com/chanel-coco-neige-2026/

Glacial Playfulness at High Altitude
Skiwear in luxury houses often suffers from an acute lack of humor. For decades, winter capsules have veered between two predictable poles: either the stiff, hyper-technical neon armor of Olympic athletes or the gilded, heavy-handed faux-fur decadence favored by oligarchs in Courchevel. Chanel has long held a different key to the slopes. With its Coco Neige 2026 capsule, the house steps onto the powdered summit with a playful, retro-tinged wink, photographed by Julien Martinez Leclerc against towering snowdrifts, frosted spruce pines, and traditional timber chalets.

Accessories close out the campaign with pure levity. The iconic quilted flap bag is translated into glossy scarlet down-filled nylon, topped with silver chain straps and resting proudly like an aristocratic hat atop a giant sculpted snowman, whose eyes and nose are composed of enamel penguin and polar bear brooches.

Chanel proves that true luxury at three thousand meters does not require self-important brooding. By blending technical warmth with vintage boyish tailoring and an unapologetic sense of humor, Coco Neige 2026 delivers winter style that feels fresh, warm, and thoroughly alive.

07/10/2026

Spring Summer 2027 “ERGONOMIE”. Story by Editor-in-Chief of https://runwaymagazines.com/louis-vuitton-spring-summer-2027/

The Velocity of Aerodynamic Silk
Nicolas Ghesquière’s thesis challenges the traditional architecture of Parisian couture: what occurs when clothing stops imposing its own sculptural armor and surrenders entirely to the biomechanics of the moving body? While the show notes pontificate heavily on “physiques in locomotion” and “physiological ease,” what actually marched down the zebra crossings was an unapologetic, hyper-athletic tour de force. By stripping away interlinings, shoulder pads, and boning, Ghesquière converts luxury tailoring into high-performance windbreaker gear. It is an exploration of velocity where fabrics behave like aerodynamic membranes—proving that the highest form of travel style in the twenty-first century is not aristocratic luggage, but the speed at which one can sprint through a terminal.

Even the futuristic set reflected this technical calculus. At the crossroads of classical architecture and an imagined future, hovering concept cars adorned with color-blocked stripes and Damier motifs offered a surreal evocation of the house’s Art of Travel within the Cour Carrée du Louvre. Yet beneath the sci-fi illusion lay a pragmatic discipline aligned with the house’s Regeneration 2030 roadmap: 83% of the scenography materials were rented, guest seating was carved from responsibly managed timber, and recycled content was engineered into the runway track. Partnering with specialized recovery networks, 95% of the installation was routed for circular reuse, destined for second lives in artistic programs and agriculture rather than industrial waste.

understands that modern luxury is no longer about static grandeur or stiff ceremonial uniforms. By grounding ERGONOMIE in the physics of speed, airflow, and technical textiles, he gives the Louis Vuitton woman a wardrobe built for pure momentum. In an industry often stuck in nostalgic reverie, this collection strides ahead into the future—running shoes laced, visors lowered, and fabrics flying behind.

06/10/2026

Spring Summer 2027 “Happy Days”. Story by , Editor-in-Chief of : https://runwaymagazines.com/bonpoint-spring-summer-2027/

The Whispering Cherries of La Cerisaie
In the vast theater of Paris Fashion Week, where adult runways frequently collapse under their own pretensions, adult neuroses, and convoluted philosophical manifestos, true sophistication often requires looking through smaller eyes. For half a century, Bonpoint has operated not as a manufacturer of miniature clothes, but as a guardian of French savoir-faire applied to early youth. Founded in 1975, the maison anchored its identity in a legendary family estate nestled among cherry orchards in Aix-en-Provence: La Cerisaie. Those twin red cherries—the iconic emblem stamped on tissue paper, engraved on buttons, and stitched onto heirloom hems—symbolize an unspoken French art de vivre where childhood is never treated as a costume party, but as a territory of uncompromised elegance.

For Spring/Summer 2027, Bonpoint presents Happy Days, transforming the runway into a sunlit coastal escape flanked by billowy, graphic sails. The collection does not mimic street-style noise or turn children into walking commercial logos. Instead, it captures the fleeting summer holiday: long afternoons by the shore, morning regattas, and the golden nostalgia of vacations suspended between sea mist and pine needles. The presentation proves that high craftsmanship—hand-smocking, Calais openwork embroidery, and precise tailoring—belongs just as naturally on a barefoot child sprinting toward the tide as on any grand avenue.

These garments are engineered to move without restraint: wide armholes, weightless linings, and soft hems that refuse to prick or bind, allowing an eight-year-old girl to climb an ancient fig tree five minutes after attending a family wedding.

06/10/2026

Spring Summer 2027 “The Flight of the Swallows”. Story by Editor-in-Chief of https://runwaymagazines.com/chanel-spring-summer-2027/

The Exquisite Co**se Under the Glass Nave
Under the restored glass barrel-vault of the Grand Palais, a flock of illuminated wooden swallows soared against the dark Parisian evening, circling a colossal glowing moon suspended high above the runway. It was not a setting designed for polite nostalgia. For Spring Summer 2027, staged La Conversation – Part Three – Different Faces of the Same Coin, confronting the myth of Gabrielle Chanel not as a static museum archive, but as an ever-shifting psychological continuum.

Invoking the French surrealist game of the cadavre exquis, where one hand draws a fragment that another blindly completes, Blazy approached Chanel as an assembly of multiple selves. The premise was articulated with clinical intellectual clarity: Gabrielle was never a single monolith. By opening the presentation with Gabrielle Chanel’s personal 2.55 handbag brought directly from the Patrimoine archives, carried by Dyanira Hurbuscher, Blazy linked the beginning of the myth to its latest incarnation.

The Translucent Clouds of Daybreak and Nightfall
The formal climax arrived when tailoring yielded completely to weightless flou. Blazy developed layered silk mousselines printed to mimic the time-lapse of sky formations, charting the transition between morning mist and nocturnal velvet.

Matthieu Blazy understands that honoring Chanel does not mean embalming its founder in pearls and gold chains. By unraveling the suit down to its knitwear origins and allowing it to take flight as smocked tweed and weightless organza, he accomplished what Gabrielle herself fought for: setting the body free to move, to breathe, and to fly like a bird.

05/10/2026

Spring Summer 2027 “Antibiblioteca”. Story by Editor-in-Chief of https://runwaymagazines.com/valentino-spring-summer-2027/

Few things in contemporary fashion are as thoroughly amusing as watching a design director attempt to justify a barrage of commercial merchandising through the heavy philosophical artillery of Umberto Eco. To stage his Spring/Summer 2027 collection for Valentino, commandeered the vaulted reading room of the historic Bibliothèque Sainte-Geneviève in Paris.

Throughout the presentation, the was inundated with loud clashes of poisoned kelly green, garish chartreuse, and screaming fuchsia pink. The press machinery was quick to frame these dissonant pairings as quintessential Valentino codes, but anyone familiar with the archive of Valentino Garavani knows the historic house was founded on Roman restraint: the pristine purity of the 1968 White Collection, the singular nobility of poppy-red, and midnight crepes cut with aristocratic reserve.

Garavani never assembled ensembles that looked like a carnival stall overturned in a storm. Yet Michele insists on dragging the house into a bizarre early-twentieth-century delirium, crossbred with retro thrift-store nostalgia.

The juxtaposition was comical: beneath historic vaulted ceilings containing centuries of human wisdom, models shuffled past in baseball hats, satin cross-front halter tops that bared the midriff, and slouchy purple metallic-striped track trousers.

Alessandro Michele wants us to believe that piling discordant ideas onto a single figure mimics the vast, untapped potential of Umberto Eco’s thirty-thousand-book library. But buying a library of books you never read does not make you a philosopher, just as piling marabou feathers onto an archive dress does not make you a couturier. Antibiblioteca certainly proved Taleb’s point: the garments left on the shelves, entirely unactualized and unmade, were infinitely superior to the ones that made it into print.

04/10/2026

Ready-to-Wear Spring Summer 2027 “Fleur de Peau” (Flower of Skin). Story by : https://runwaymagazines.com/elie-saab-ready-to-wear-spring-summer-2027/

Jean Harlow in the Greenhouse
Groundbreaking concepts in luxury fashion occasionally arrive with the force of an architectural earthquake. Other times, they arrive as a press release breathlessly announcing that flowers have, once again, bloomed for spring. For Spring/Summer 2027, Elie Saab presents À Fleur de Peau, invoking the platinum-blonde ghost of Jean Harlow and promising an intoxicating study in timeless Hollywood allure. The set was practically choking on botanicals: rolling mounds of wild heather, dried baby’s breath, and potted greenery lining a terracotta runway, while models floated past with literal silk petals and faux morning dewdrops glued onto their temples.

The ready-to-wear premise hinges on the fantasy that the modern woman longs to roll out of bed in silk satin, toss a light trench or a pair of trousers over her nightgown, and step into the boardroom. Tailoring is repeatedly sacrificed at the altar of the camisole.

Elie Saab knows his clientele will buy these floating dresses for Galas in Dubai, Cannes, and Bel Air without hesitation. But in a season where designers are dismantling tailoring, interrogating scale, and rethinking what clothing means, serving another tray of sheer embroidered nightgowns feels like the ultimate sartorial nap. Jean Harlow had audacity, bite, and humor; À Fleur de Peau simply gives us lovely underwear.

04/10/2026

Spring Summer 2027 “The Aerodynamics of Savoir-Faire”. Story by : https://runwaymagazines.com/hermes-spring-summer-2027/

To sculpt leather is, by definition, to manipulate density. Since Thierry Hermès established his equestrian harness atelier in 1837, the house’s mythological prestige has been tethered to substance: hand-stitched saddle hides, weighted silks, and hardware forged with sovereign permanence. For Spring/Summer 2027, artistic director Nadège Vanhée poses an intellectual challenge to that legacy: what happens when leather surrenders its gravity to the air?

Titled The Shape of Air, the presentation unfolds in a clinical, luminous white space where clothes move not like armor, but like aerodynamic sails. Rather than treating weightlessness as an absence of material, Vanhée treats air as an active structural collaborator. A hem lifts, a vent opens, and a sleeve billows with the passing draft. It is an exploration of modular lightness that bypasses fragile diaphanous clichés. At Hermès, lightness is engineered through precise slits, perforated vents, and supple hides pared down until they behave with the ease of parachute silk.

has accomplished something remarkable: she has removed the weight from luxury without sacrificing an ounce of its prestige. In a landscape often cluttered by decorative noise, Hermès delivers an architectural lesson in restraint. By letting the wind carve its own path through leather, silk, and knit, the house proves that the highest form of craftsmanship is not about locking form in place—it is about setting it free.

04/10/2026

Summer 2027 by “The Village People on the Left Bank”. Story by Editor-in-Chief of : https://runwaymagazines.com/givenchy-spring-summer-2027/

The Patrolman’s Armor and the Misogyny Excuse
When a fashion house decides to justify an entire of leather bo***ge gear and utilitarian enforcement uniforms by invoking female empowerment against a misogynist society, an eyebrow must be raised. Sarah Burton’s Summer 2027 collection for Givenchy arrived wrapped in sociological defense: we were told women are mistreated in a patriarchal culture, and that slipping into an armored black leather sheath with zippers peeling down the flanks to flash neon bumblebee-yellow linings might make us feel stronger, formidable, or somehow ready for battle.

What actually materialized on the Parisian runway, however, did not evoke an emancipated feminist vanguard. It looked like an audition for a precinct of Swedish traffic police, or worse, an elaborate costume party staged like the Village People.
Open Zippers and the Rick Owens Echo.
The styling doubled down on heavy-handed patrol gear. One look featured high-cut leather hot pants with horizontal zip pockets, worn with an unbuttoned white shirt and those gaping Owens-esque knee boots. Beside it, an all-leather motorcycle bodysuit—complete with storm flaps, epaulets, and heavy silver zippers—was accessorized with oversized dark visor shields and gauntlet gloves, marching down the pristine path like a highway patrol officer reporting for duty.

One had to ask: how does a Swedish highway officer in zip-up leather hot pants resolve into an embroidered Japanese ceremonial kimono? The collection functioned like the Village People themselves: plucking uniforms from disconnected subcultures—the cop, the biker, the geisha—and stitching them together under the banner of modern womanhood. Hubert de Givenchy gave women elegance that freed them from vulgarity; Sarah Burton gave them an identity crisis dressed for a costume party.

03/10/2026

Spring Summer 2027 “The Modern Equation of Jeanne’s Line”. Story by Editor-in-Chief of : https://runwaymagazines.com/lanvin-spring-summer-2027/

The Archeology of the Oldest Atelier
Reviving the oldest continuously operating couture house in Paris is not an assignment for the faint of heart. When Jeanne Lanvin established her hat business on Rue du Faubourg Saint-Honoré in 1889, before registering her historic patents and trademark sketches, she did not build a fashion house on transient buzz. She constructed an empire of graphic clarity, artisanal embroidery, medievalist purity, and the iconic robe de style. Over the past decade, that delicate heritage had drifted into a fog of revolving creative directorships and confused brand repositioning.

With Peter Copping taking command, the conversation shifts from desperate reinvention to historical literacy. Operating without loud manifestos, the British designer did what serious couturiers must do: he entered the archives, bypassed the superficial logos, and excavated Jeanne Lanvin’s core formal language. The result is a clean, contemporary calibration—translating early 20th century decorative discipline into modern ease for the 21st century.

Lanvin does not need to chase trends to survive; it simply needed a designer literate enough to turn the pages of its history and let its original genius speak clearly to the present.

03/10/2026

Spring Summer 2027 “The Modern Equation of Jeanne’s Line”. Story by Editor-in-Chief of : https://runwaymagazines.com/lanvin-spring-summer-2027/

The Archeology of the Oldest Atelier
Reviving the oldest continuously operating couture house in Paris is not an assignment for the faint of heart. When Jeanne Lanvin established her hat business on Rue du Faubourg Saint-Honoré in 1889, before registering her historic patents and trademark sketches, she did not build a fashion house on transient buzz. She constructed an empire of graphic clarity, artisanal embroidery, medievalist purity, and the iconic robe de style. Over the past decade, that delicate heritage had drifted into a fog of revolving creative directorships and confused brand repositioning.

With Peter Copping taking command, the conversation shifts from desperate reinvention to historical literacy. Operating without loud manifestos, the British designer did what serious couturiers must do: he entered the archives, bypassed the superficial logos, and excavated Jeanne Lanvin’s core formal language. The result is a clean, contemporary calibration—translating early 20th century decorative discipline into modern ease for the 21st century.

Lanvin does not need to chase trends to survive; it simply needed a designer literate enough to turn the pages of its history and let its original genius speak clearly to the present.

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