Voices Of Spring: The Stories of Spring 2026 Fashion

Since his rise to global recognition, Simon Porte Jacquemus has established himself as a master storyteller. His ability to evoke emotion and transport us to idyllic landscapes through his imagery has taken him from a small emerging label to an independent maison with a turnover of 280 million euros in 2023.

With Le Paysan, he immerses us fully in his childhood memories. The collection draws from his upbringing in the south of France, from a life shaped by working the land, by slower rhythms and by a daily reality where the extraordinary was found in the simplest gestures, harvesting, dressing for a Sunday gathering, sharing a meal. These memories and sensations are translated through linen, cotton and soft embroideries that recall tablecloths and domestic textiles.

The choice of venue, the L’Orangerie at Versailles, introduces a compelling contrast. Originally designed to protect citrus crops during winter in the south wing of the palace, its monumentality stands in opposition to the delicacy of the garments. Jacquemus plays with this tension: the figure of the “paysan”, detached from traditional notions of luxury, is transplanted into the very heart of French opulence.

The fabrics and embroideries weave this narrative without becoming literal. Tablecloths are transformed into dresses, linen carries a lived-in quality, and volumes echo workwear silhouettes. Yet it would not be a Jacquemus show without moments of playful creativity.

Vegetables harvested from the field are reimagined as jewellery, while certain bags appear as if they were seasonal fruits, moving between reality and imagination.

Amy Smilovic has been building something very precise at Tibi over recent seasons. She does not conceive a closed or rigid aesthetic, but rather a more philosophical approach to its evolution. A way of thinking about the wardrobe, and about our own personal evolution alongside it.

In Tibi Spring/Summer 2026, that idea takes on a clear form. The collection emerges from a personal question posed by Smilovic: what changes, what remains, and where does the impulse to change come from. From the centre of that quiet tension comes a proposal where opposites depend on each other to exist. “Soft but strong” becomes a way of being, shaped by her observations of Brutalist architecture in contrast with the Bauhaus school.

These references help frame the tension. Known for their opposing perspectives yet shared functionality, their influence appears through structure and material transparency. At the same time, the work of Ursula Sax and her Geometric Balletis reflected in volumes that suggest fixed, almost sculptural positions. Between these disciplines, textile and architecture, Smilovic introduces a dialogue: the transition between the rigid and the fluid, between technical precision and emotional value. Tibi Spring/Summer 2026 maintains its descriptive, almost inquisitive approach, rather than a prescriptive one.

This concept materialises in the garments. Tibi’s signature dropped-shoulder blazers occasionally release their rigidity, while skirts and trousers emphasise volume. There is a constant search for a balance that remains intentionally elusive. Smilovic and her team sustain a human and authentic rhythm, one that embraces contradiction as an essential part of life.

Colour reinforces the architectural references. Neutrals are punctuated by accents of blue, chartreuse and carefully measured contrasts that sharpen the concept.

The Tibi woman is not defined by a single idea. She can be practical and sophisticated, formal and relaxed, precise yet fluid. Smilovic expresses it directly: many things can be true at once. In this sense, Tibi echoes a thought often associated with filmmaker Rodrigo Cortés: “why do we tend to oppose ideas, when we can hold both at the same time.”

Miuccia Prada has long held a fascination with the idea of uniform. Through utilitarianism, form and function, she has built her career around a consistent reflection on workwear. In Miu Miu Spring/Summer 2026, this becomes a direct, almost uncomfortable question: what does it mean to work as a woman?

In an industry often centred on glamour, the collection shifts its focus toward the invisible. Styled by Lotta Volkova, the looks narrate the internal lives of domestic labour. At Work is a proposal that turns inward, into the home and into the fabric of everyday life.

The collection begins with an observation: women’s labour is repeatedly undervalued, even when it sustains entire structures, familial, social and economic. Miuccia, with her unwavering feminist perspective, does not seek to romanticise this role, but to make it visible.

To express this, she turns to a universal device: the apron. An object, a uniform, a symbol of effort, care and protection. Above all, a symbol of a historical identity that connects generations. The apron unfolds in multiple variations, shifting constantly between contexts, domestic, industrial, even clinical. In some looks, it is layered over swimwear, while in others it is reinforced with more rigid garments. This mutability becomes the central thread of the collection, a single piece capable of containing multiple meanings, much like the labour it represents.

The documentary photography of Dorothea Lange and Helga Paris introduces a direct perspective on women’s working lives. Their portraits of women entering the workforce serve as a visual foundation for the collection.

In terms of identity, the Miu Miu woman moves away from traditional aspirational archetypes. Like Miuccia herself, she is active, resilient and complex. She can be strong and delicate without contradiction. Heavier materials coexist with elements traditionally associated with femininity, such as ruffles and lace. In this way, Miuccia Prada proposes a renewed reading of the history of the working woman.