Louis Vuitton presented its Spring-Summer 2026 Men’s Collection at the Centre Pompidou in Paris, marking another chapter in Pharrell Williams’ creative direction. The show was staged in collaboration with Binoy Jain’s Studio Mumbai, whose set design transformed the venue into a large-scale version of the traditional Indian board game Snakes and Ladders. The game served both as a visual structure and a symbolic foundation for the collection, touching on ideas of progress, risk, and individual paths.
The collection draws directly from present-day Indian dressing, referencing the colours, materials, and layering often seen across both cities and rural areas. Mr. Williams focused on how fabric responds to weather and light, showing materials such as silk, wool, cashmere blends, and leather with a sun-affected quality. These garments appeared faded, textural, and broken-in, giving them a sense of lived experience.
Tailoring remained central but was handled in a softer, more flexible way. Jackets and trousers were paired in relaxed combinations, sometimes with mismatched patterns and cloths, styled over shirts or shorts made from light, breathable textiles.
Checks were shown in various techniques—metal yarn, boucle, chenille, and denim prints—while stripes appeared as broad, hand-brushed graphics. The collection’s entire colour palette leaned into India’s climate and terrain. Instead of stark black or navy, Pharrell introduced purple-indigo as a replacement. Lighter tones such as camel-like beige, sun-faded pastels, and coffee-brown denim contributed to the collection’s natural warmth.
A key highlight was the reintroduction of a motif Louis Vuitton had originally designed for Wes Anderson’s 2007 film The Darjeeling Limited. This design, featuring cross-continental animals like cheetahs, elephants, and zebras on a semi-tan leather base, had only appeared on luggage in the film. For this show, the motif was used more widely—embroidered on shirting and outerwear, printed on denim and tailoring, and applied to bags and accessories. These bags were tagged with white travel numbers, as seen in the movie, and carried the label “L.V.M.” for Louis Vuitton Malletier.
The idea of travel was visible in several segments of the show, particularly through garments tied to hiking and camping. Pieces like shell jackets, hiking boots, and fleece-inspired blousons were integrated into the overall look, taking cues from India’s connection to the Himalayas. Mr. Pharrell applied this influence without losing the tailoring base, showing how the collection could carry multiple ideas at once—sports, movement, and formalwear.
Footwear showed wear and patina as design elements. The LV Jazz, a no-left-no-right shoe, was introduced in suede, ostrich, and leather, and came in tones ranging from pastels to deeper browns and black. The LV Tilted skate shoe featured gem detailing, while the LV Flip appeared in crocodile leather versions. The LV BUTTERSOFT Sneaker returned with new editions covered in The Darjeeling Limited motif, tying the shoe story back to the rest of the collection.
Bags were presented in various materials and treatments, including aged calfskin, deadstock leather, and vegetable-tanned leather. Several new bag shapes were introduced, such as the Needle bag and updated sizes of the archival Nil bag. The Cruiser Duffle appeared in dyed denim, while packaging bags and structured trunks were made in solid colours, Damier check, and purple acrylic. A standout trunk was covered with pearls and stones, taking cues from older travel chests.
Details were shown up close through pieces that required closer attention. Jackets had beaded trims, shirts had lace collars, and suits were hand-embroidered. A shell suit was woven entirely with metal yarn, and polo shirts came with subtle additions like microbead embroidery. These touches helped blend casual items with a sense of technical finish.
Accessories and jewellery followed the same direction. Socks had Monogram lace, bandanas and scarves featured prints of Snakes and Ladders and scenes from Paris, and belts had hardware styled after vintage closures. Jewellery included bracelets with stones like tiger’s eye and onyx, aged-gold bangles, and silver pieces with guilloché effects.
Sunglasses were built with metal corners inspired by the brand’s trunk design, and were offered in rectangular, pilot, and mask shapes. Lenses were coloured and lightly faded, resembling what happens when things are left in the sun too long. Some models included sculpted temples, and others were frameless for a lighter appearance.
The show was accompanied by a custom soundtrack led by Mr. Williams and performed by Voices of Fire and l’Orchestre du Pont Neuf. The music began with “Miracle Worker,” co-produced by Bishop Ezekiel Williams and J. Drew Sheard, and written by The-Dream. The set also included “Yaara Punjabi,” co-produced by A.R. Rahman, and tracks by Clipse, Doechii, and Tyler the Creator. The sound was designed to reflect cultural layers and contribute to the atmosphere of movement and global connection.
Mr. Pharrell’s Spring-Summer 2026 show focused less on spectacle and more on subtle shifts—materials that change with weather, items that show wear over time, and silhouettes that suggest movement rather than formality. The collaboration with Studio Mumbai gave the show a physical and cultural link to India, but the final message was broader. The collection didn’t try to define Indian fashion or Parisian style. Instead, it showed how different references—film, tradition, music, tailoring, streetwear—can be placed side by side without overstatement. Each detail, from hand-painted logos to faded denim, was used not to impress but to suggest time, distance, and familiarity.
