KICKSTARTING the Spring/ Summer 2026 menswear season, Pharrell Williams orchestrated a cultural odyssey with his Louis Vuitton collection. Taking place behind the Centre Pompidou in Paris, he reimagined the urban sprawl as a portal to the Indian subcontinent. Think maximalist tailoring, historic symbolism and a runway painted like a snakes-and-ladders board – an ode to a country where the game originated.
The show’s location was purposefully chosen for its stark brutalism that would collide with the ornamentation in a calculated spatial contrast. Indian architect Bijoy Jain of Studio Mumbai built the set: a grid of ladders and steps, evoking childhood games and a karmic ascent that would highlight the relationship between man and nature.
Deepening the sonic dimension of the show, the original soundtrack was composed and produced by Williams himself with the voices of Fire and l’Orchestre du Pont Neu that sang renditions of classic Punjabi tracks and fluctuated to collaborations featuring Doechii and Tyler, the Creator. The global mix of sounds seems like a natural thing for the creative director to implement, highlighting his role as a storyteller and the brand’s ethos of travel.
But SS26 was more than the parts of its set, it was a collection that proposed a wearable ability to cross borders – looks where East and West don’t just collide, but converse. Cricket-striped suiting with safari jackets that were embellished with elephants – the animal illustrations were lifted from original designs of Eric Anderson. Slim, khaki trousers were paired with airy polos and boxy, poplin coats, and small touches include bags encrusted in pearls and stones, leather flip-flop sandals and a chipped logo that evokes city signage in Indian cities: a provocatively global display of how to mix and match.
This season also saw a sharper precision in the designer’s ability to continually reimagine the House’s codes. With this being the year it seems that Louis Vuitton is spearheading revivals – notably the Murakami collaboration that is now in its second chapter – it seems to have continued with the expansion of the 2007 Marc Jacobs luggage that he designed for Wes Anderson’s film, The Darjeeling Limited.
Now, it’s been given Pharrell’s twist. Trunks bore mandala motifs, monograms peeked through lattice hand-embroidery and striped ties gave a fashionable nod to India’s national sport of cricket.
It feels like Pharrell may have finally found his footing. He was triumphantly able to cultural reference without it looking like costume play – no small feat. He’s also pivoted towards pushing forward more accessible pieces like pleated trousers, striped workwear and light outerwear: these pieces are made for movement, for real life and not just a picture opportunity.
SS26 was a bold act of cultural stitching that saw him walk the tightrope between homage and innovation proving luxury can be grounded and heritages can be hybrid.
by Imogen Clark