Paris Fashion Week: Jeanne Friot and 3.Paradis brave the heat

While the temperature in Paris has risen a notch, so have the designers. On the second day of Paris Men’s Fashion Week Spring/Summer 2027, the heat showed no signs of letting up in the capital. As Paris experienced one of its hottest June days in decades, designers once again competed to outdo each other in creativity to capture the attention of an audience seeking more than just clothes.

Jeanne Friot revives the “hysterical” at the Palais de Tokyo

At the Palais de Tokyo, in Paris’s 16th arrondissement, Jeanne Friot unveiled her Spring/Summer 2027 collection through a runway show structured as a narrative of liberation. Presented in the same venue as the shows by Yohji Yamamoto and Songzio during Paris Fashion Week, the collection revolved around a radical contrast: white followed by black, two colors used as successive chapters of a single story.

The show opened with a spectacular silhouette. As a soundtrack of screams echoed through the space, a woman burst onto the scene, running in an imposing white dress whose voluminous silhouette evoked that of a wedding gown. The scene resembled an escape. The straps, fasteners, and structural elements that ran throughout the garment accentuated this sense of movement and liberation. At the end of the show, when asked about this opening, Jeanne Friot, founder and creative director, simply summed up the scene: “She’s the first one to run away.”

This opening set the tone for a sequence dominated by white. Over the course of the first 17 looks, Jeanne Friot presented a series of dresses, corsets, and structured ensembles in which metal buckles, straps, and fastening systems became aesthetic elements in their own right. A second-skin dress crisscrossed by wide white bands and multiple buckles particularly illustrated this approach, transforming symbols traditionally associated with constraint into tools of self-assertion.

A few silhouettes marked by black inscriptions then disrupted this apparent monochromatic scheme before black gradually took over. The final eight looks plunged the collection into a darker atmosphere. Among them, a short dress entirely covered in textured elements reminiscent of feathers or scales particularly caught the eye. Worn with white contact lenses that gave the eyes an almost unreal quality, it marked the culmination of this transformation.

Once the show was over, the founder reflected on the origins of this collection and the figures who inspired it.

“The idea was to subvert the term ‘hysterical’—often used as an insult—and turn it into something positive. It’s about highlighting artists who were confined because they were different. I’m thinking in particular of Camille Claudel, Marie Moïse, and other women whose symbols appear in the collection. The idea is to celebrate them today and to say that they have finally emerged from the asylum—and that’s a good thing.”

3.Paradis brings cinema and fashion together in a dialogue about Peace

At the Max Linder Panorama cinema in Paris’s 9th arrondissement, 3.Paradis chose to begin its Spring/Summer 2027 fashion show in the darkness of a screening room. Even before the first models appeared, guests were treated to a short fictional film exploring the themes running through the collection. On screen, the protagonists were already wearing several of the season’s looks, setting the stage for the story to come.

Moments after the screening, the models emerged in turn and continued the story in the real world. Titled “Peacemakers,” the collection explored how peace can be imagined, built, and transmitted collectively. More than just a prelude, the film served as a narrative introduction, with the runway show acting as its physical extension.

On the runway, this concept took the form of a wardrobe rich in contrasts and references. The first look clearly evoked several different worlds. The red tartan pants referenced a Scottish aesthetic, while the highly graphic motorcycle jacket—dominated by green, yellow, and red—left room for interpretation. Was it a nod to motorsports, a reference to Jamaican colors, or simply a play on contrasts? This unexpected convergence of styles set the tone for a collection open to diverse influences.

Further on, a look more in line with 3.Paradis’s usual aesthetic paired a black jacket adorned with the brand’s iconic white doves with loose-fitting pants worn over a red printed shirt. True to the identity the brand has cultivated since its inception, this symbol reappeared throughout the collection alongside graphic and ornamental prints that enrich the collection’s fluid, relaxed lines. A double-breasted suit entirely covered in a green and blue pattern also underscored the importance placed on prints this season.

It was perhaps no coincidence that visual codes drawn from different worlds were found in a collection that explored peace and living together. Without ever veering into the overtly demonstrative, the brand crafted a wardrobe where these references seem to engage in a dialogue with one another, extending into the garments the message of openness conveyed by the narrative conceived for “Peacemakers.”

In an international context marked by numerous tensions, the designer thus continues to pursue the humanistic dimension that characterizes his work. By bringing together cinematic fiction and a fashion presentation, 3.Paradis transformed the runway into a space for reflection and posed a question that resonates far beyond clothing: “If conflicts can be organized, why couldn’t peace be as well?”