Paris Fashion Week once again unveiled compelling collections for Spring/Summer 2026 on Thursday, with designers offering markedly contrasting visions: Rabanne‘s high-octane show, Carven‘s elegant and sensual outing, and Gauchere’s fashion in motion.

At Rabanne, it clinked, it moved, it sparkled with abandon, in an explosion of styles, patterns, materials and colours. Models strode out to an electrifying soundtrack in one of UNESCO’s vast glass-walled halls. Creative director Julien Dossena revelled in concocting mix-and-match outfits for young, eccentric women who want to have fun and make the most of summer. 

In their suitcases, they packed a line-up of pastel-hued summer looks, along with flip-flops, neoprene trousers and diving goggles. The bikini or bra top tool the starring role in most looks, supersized and by turns lacy, embroidered, draped or adorned with stones, rendered in technical fabric, cotton or leather. It was all the more eye-catching thanks to the designer’s porthole cut-outs this season, at the chest and beyond, appearing in dresses and in neat, rounded little jackets.

The collection comprised a host of seemingly disparate pieces that slot together with ease, inviting one to deconstruct and reconstruct a look ad infinitum, indulging in joyful clashes. A battered XXL leather gilet with a bad-boy vibe or a striped polo shirt was paired with a gold miniskirt; a cropped tartan shirt teamed with a crystal-studded mini.

Everything was in motion and vibrated in this baroque collection, strewn with bows, lace, ribbons, flouncy ruffles, appliqués and, above all, oversized metallic flowers that thread through like garlands. Think a satin pencil skirt embroidered with pearls and finished with a giant belt buckle. Excess and joy look set to be next summer’s watchwords.

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A series of all-white looks opened the Carven show, like a blank page on which to write a new chapter under Mark Thomas. “It’s actually the second chapter of the new vision,” explained the 49-year-old British designer, who was already at the house and took the helm in March, following the departure of Louise Trotter to Bottega Veneta. 

He continued the thread and direction set in recent seasons: a minimalist, sophisticated and wearable wardrobe, but with a freer, more relaxed spirit. A camisole was nonchalantly layered over a vest top, the strap of a silk jumpsuit slips off the shoulder, a shirt dress buttoned up at the back. Most of the dresses, in fact, were left part-open at the upper back to reveal the skin.

The inspiration for next summer’s collection is “a woman in Paris in July”, said Thomas in the courtyard of Carven’s headquarters at the Rond-Point des Champs-Élysées, where the show was held.

Everything was light and comfortable, radiating natural elegance. A neutral palette of ecru, black and grey dominates the collection, enlivened only by a pink blouse.

Tops, skirts and strapless dresses looked as if they’ve been cut from old cotton sheets. Jogger-style trousers were fashioned from grey moiré or silky satin, which instantly elevated them. Sheer organza skirts embroidered with tiny flowers were worn with unexpected parkas. Several black vinyl pieces and men’s tailoring also added muscle to this delicate wardrobe.  

The brand, owned by the Chinese group ICCF (Icicle Carven China France), has two boutiques in Paris and two in Shanghai, as well as around 50 multibrand stockists, including Harrods in London, Printemps in New York and Antonia in Milan.

This season, Gauchere eschewed the catwalk for a more intimate, emotional format. Welcoming guests to the brand’s headquarters on Rue de Rivoli, founder and designer Marie-Christine Statz dressed five dancers in her clothes to perform choreography by Benjamin Millepied, with whom she has previously collaborated on costumes for various productions.

It’s a smart way to showcase the functionality of her designs, built on modular, mutable garments that can be adapted and reinvented with each wear. Tailoring was soft with loose, deconstructed blazers that change shape depending on how they’re buttoned. Hybrid jersey tank tops doubled up, multiplying straps that criss-crossed or fell down the sides in mirrored fashion.

Skirts and tops composed of panels and a row of press studs could be adjusted in multiple ways, creating all kinds of volume and movement on the body. The materials, too, brought notable flexibility: recycled grey nylon with a glossy, plastic-like finish for shorts and bralettes; soft, stretchy faux leather; silk–viscose for trousers; and Japanese marbled denim used for pleated, draped jeans with a matching bralette.

“Everything plays out between construction and deconstruction, creating a shift in the silhouette. A bit like what happened in the choreography, which was performed in turn by one, then three and then five people. I wanted to go further, with a presentation different from the traditional runway show, to offer something that moves you, where you can see the garment from different angles,” explained the designer at the end of the show.