Men's Fashion Week Spring/Summer 2027

For decades, Miuccia Prada has demonstrated that complexity does not necessarily require greater embellishment. For Spring/Summer 2027, she and Raf Simons elevate apparent simplicity to a new level, proposing that radicality can emerge from something as familiar as a pair of jeans, a T-shirt and a denim jacket. The collection is, in essence, a distillation of the male wardrobe, albeit with the presence of womenswear looks throughout. The Fondazione Prada provided the perfect setting, illuminated by fluorescent tubes beneath a transparent runway that cast a bright, almost clinical white light across the space.

The starting point is denim, a garment worn by everyone from sailors to industrial workers for centuries. Cropped Canadian tuxedo jackets appeared beneath Prada's signature blazers. Miuccia Prada, who has often admitted that she has never worn jeans herself, chooses them precisely for that reason: because they remain somewhat distant from certain circles within the fashion industry. From there, transformation occurs through silhouette. Everything becomes shorter and closer to the body, with an almost severe precision. Headlines and Instagram posts quickly proclaimed, "Prada brings back skinny jeans." Yet the formal quality of these Canadian tuxedos suggests something rather different. Something distinctly Prada. Technical fabrics and translucent nylon emerge in place of traditional blue denim.

Colour appears in unmistakably Miuccia fashion: anise green, Pepto-Bismol pink, neon yellow and unfathomable shades of purple punctuate the collection as visual anchors. If one element particularly captured the audience's attention, however, it was Prada's asymmetric sunglasses. The frames combine two distinct silhouettes into a single object. Speaking to WWD, Simons summarised the approach through an apt analogy: "pasta pomodoro". The finest ingredients, the greatest simplicity, and the most refined technique, without unnecessary embellishment. At a moment defined by information overload, Prada suggests that novelty emerges not from invention, but from seeing familiar things differently.

Ten years after arriving at Saint Laurent, Anthony Vaccarello knows exactly what he is doing. His Spring/Summer 2027 collection does not propose anything radically new in the conventional sense; instead, it proposes less. The Bourse de Commerce, the setting for the house's recent menswear presentations, was enveloped in the dense mist of Fujiko Nakaya's Cloud #07156 installation. The forty looks emerged from and dissolved back into the haze, as though the clothes existed before the bodies that wore them.

This season, Vaccarello builds the collection around an idea articulated clearly in the show notes: restraint as seduction. What remains unseen generates more desire than what is openly displayed. The references underpinning the collection convey precisely this sensibility: Marguerite Duras, Tina Chow and the fictional Ripley, figures from popular culture defined as much by what they conceal as by what they choose to reveal.

In the garments, this philosophy translates into high-cut three-button tailoring, flat-front trousers and waistcoats worn directly against bare skin. The Saint Laurent menswear silhouette, characterised by pronounced shoulders, a gently fitted torso and a sharp leg, appears here in its most distilled form. Gold buttons applied directly onto bare skin, inspired by Tina Chow, function almost as jewellery. A silk foulard tied around the neck, an unmistakably Parisian gesture, reappears as a choker, introducing a quietly sensual tension.

Golden embellishments and metallic details closed the collection with a particularly significant gesture. A belted trench coat and a double-breasted suit rendered in a liquid metallic finish transformed formal dressing into something entirely different, elevating classic tailoring into a more elusive and seductive territory.

Shakespeare once wrote that all the world's a stage, and we are merely players upon it. This season, Jonny Johansson explores the archetypes that inhabit the workplace in Acne Studios. Johansson himself admits that he never wears suits, only jeans and a T-shirt, every single day. Yet that has not stopped him from turning the office uniform into the season's most entertaining territory.

For Spring/Summer 2027, Acne Studios builds its collection around an apparently trivial observation: what happens when people look at one another in a working environment. Johansson describes it as an everyday social experiment, with the clothes emerging simply as its outcome.

The starting point is a cast of imagined characters: Billy the golfer, rendered in vivid colours; the office creative, whose doodles on scraps of paper become T-shirts printed with hand-drawn pockets and ties. None of these figures takes themselves too seriously, yet none relinquishes their identity either. That is the central thesis of Johansson's experiment: the office is not a place of uniformity, but a stage where dress codes are constantly negotiated and subverted.

Throughout the collection, this negotiation materialises through deliberate collisions. Acne Studios' classic 1996 and 1979 denim fits return in slimmer proportions, alongside pleated jeans that recall 1980s office trousers. Denim jackets coexist with rockabilly-inspired studded denim. A preppy blazer is paired with Madras shorts and exaggerated pointed shoes. Footwear, always a statement in the Acne universe, arrives in oversized cowboy boots and Cuban-heeled ankle boots in smooth or embossed leather.

The Camero bags, crafted in gradient-painted leather and finished with fringed details, complete a collection that takes pleasure in something as ordinary as going to work.