By Eva Répessé
At the Salon de l’Hôtel de Ville in Paris, Yohji Yamamoto presented his Spring/Summer 2026 collection. Yamamoto designed a collection that offered drama, emotion, and quiet reflection, elements that have defined his work for decades. This season, he stayed true to his philosophy and rejected the constraints of fleeting trends. Instead, he favored designs that are both timeless and poetic. It is this refusal to follow fashion’s cycles that gives Yamamoto the status of one of the most avant garde voices in contemporary design.
The Front Row Scene In the front row, Mia Khalifa leaned fully into Yamamoto’s spirit, a long black flowy skirt with leather details at the waist and a wild deconstructed and voluminous hairstyle that amplified the edgy look. Next to her, singer and performer Nathy Pelusoappeared in a black draped mini dress with loose folds. Contrasting their dark look, the Italian singer Mahmood, wore a striking white suit with matching turban style headpiece.
**A reflection on temporality **In contrast to an era of overconsumption where trends are fast, the collection embraced slowness. Models walked without haste, moving to slow and intense soundtracks that allowed the clothing to speak for itself. In true Yamamoto fashion we saw a multitude of unfinished hems, asymmetrical dresses, and sheer layers. (Look 15, 47) The color story revolved around endless shades of black, the usual palette of the designer. Against this depth, tartan prints, and sudden flashes of white created striking moments of contrast. (Look 24, 27) Hair and makeup extended the dialogue of the clothes. Faces were marked with sharp graphic lines, hair was spiked into eccentric shapes or slicked into sculptural waves. Each detail of the clothing and accessories unfolded as a dialogue with the wearer.
In memory of Giorgio Armani Towards the end of the show, two looks from the runway were particularly striking and emotional as they paid homage Giorgio Armani. Both pieces respected Yamamoto’s usual designs; two black dresses with asymmetrical and fluid silhouettes. The front of the first dress was modest with its white Japanese calligraphy. The back appeared as a direct homage with an image of the 1998 Giorgio Armani campaign featuring Shalom Harlow. Yamamoto chose not to place Armani’s own image but instead projected his legacy and aesthetic through a portrait that reflects the power of his work. The second dress was a loose black silhouette, printed with the words of Armani in a letter to Yamamoto. It read like a message between two old friends, one legend to another, acknowledging fifty years of work and the weight of longevity in fashion. (Look 32, 33)
A theatrical ending The finale of the show was truly theatrical. After many looks dominated by black and sometimes white, the stage was suddenly filled with models in long red garments. The models took off these red drapings and trailed them across the floor, like brushstrokes of paint. Underneath they revealed black dresses with white calligraphy, like the first looks that appeared in the show. (Look 43, 44, 45, 46, 47)
Eva Répessé