Paris delivered one of its busiest days of the Spring/Summer 2027 season on Thursday, with Balenciaga, Chloé, Schiaparelli and Isabel Marant among the major houses showing new collections, while Roger Vivier opened the doors of its Maison for its latest presentation. Here are the highlights.

Balenciaga

Pierpaolo Piccioli continued to define his vision for Balenciaga with a collection that brought couture thinking into a far more everyday wardrobe. Colour was an immediate talking point, particularly the sorbet shades used across long, fluid dresses, but the real interest lay in construction and proportion. Utilitarian outerwear came with dramatically enlarged collars, tailoring softened around the body, and denim offered a relaxed counterpoint to the house’s architectural volumes. Couture techniques filtered into ready-to-wear without making the clothes feel overly precious. Styled with familiar pieces including the Rodeo bag, it was recognisably Balenciaga but increasingly recognisable as Piccioli’s Balenciaga too.

Chloé

Chemena Kamali called Chloé’s Summer 2027 offering The Obsession Collection, looking to the details, techniques and silhouettes she repeatedly finds herself drawn back to within the house. Early Chloé dresses informed intricate broderie anglaise pieces, while three-dimensional floral embroidery recalled the workmanship of its 1960s collections. Elsewhere, lace was sliced into delicate harness-like forms and seventies-inspired fishermen’s coats and capes provided a tougher layer over the romance beneath. The contrast between transparency and utility was particularly strong, with smoky vinyl rainwear appearing alongside organza, cotton, and intricate needlework. A scalloped interpretation of the archival “Noël” tuxedo added sharper tailoring.

Schiaparelli

Daniel Roseberry’s Spring/Summer 2027 ready-to-wear collection continued his exploration of how Schiaparelli’s couture vocabulary can translate into clothes designed for a broader wardrobe. This season, much of the answer came through separates. Familiar house proportions and dramatic necklines were broken into tops, skirts and jackets, allowing significantly more freedom in how they were worn. The palette centred on black, bone and butter with sharper hits of colour, while ruffles in leather and linen softened otherwise precise silhouettes. Embroidery retained Roseberry’s characteristic humour, with vegetables and feathers decorating sheer shirts, while knitwear and broderie anglaise added further texture. “Mix it, match it, make it your own,” was his instruction.

Roger Vivier

At Roger Vivier, Gherardo Felloni used the house archive as a starting point rather than something to preserve untouched. Presented inside the Paris Maison, Vivier en Fleur explored how familiar Vivier codes could shift through proportion, fabrication and context while remaining immediately identifiable. The idea of something “in bloom” provided the framework, though Felloni focused less on literal florals and more on transformation. Established shapes were reconsidered, recognisable details appeared in unexpected places and familiar signatures were adjusted for a contemporary wardrobe. It is a sensible approach for a house with such a distinctive design language. Felloni continues to find considered ways to update Vivier’s femininity, wit, and decorative instincts without losing the identity that makes its pieces immediately recognisable.

Isabel Marant

For Spring/Summer 2027, Kim Bekker took Isabel Marant west, looking to 1960s Los Angeles and the hazy, sensual photography of Sam Haskins. The result was a sun-soaked collection built around ease, skin and the slightly undone attitude that has long defined the house. Board shorts appeared with crochet tops, embroidered linen mini dresses were layered over swimwear and loose shirts sat alongside leather halters and sheer chiffon. Faded floral prints referenced the Spring/Summer 2013 archive, reproduced across light fabrics as though bleached by the sun, while low-slung denim and cropped jackets kept the styling grounded. Evening brought sequins into the mix without losing that nonchalance. Under Bekker, the Marant woman remains recognisable, but the proportions feel looser, lighter and increasingly assured.