Amidst spectacular shows focused on high-impact visuals, Paris Men’s Fashion Week continues to present collections that emphasize subtle sophistication and daily wearability without compromising on creativity. This balance was beautifully exemplified on Wednesday by Bianca Saunders, who offered a reimagined take on menswear with Caribbean influences, and Lemaire, renowned for its elegant and practical fashion.
 

Returning to the Paris runway after a three-season hiatus, Bianca Saunders unveiled a delicate and refreshing collection titled ‘The Hotel’, celebrating Jamaica through the eyes of a visitor.

“This time, I adopted the perspective of a tourist, capturing what immediately captivates them upon arriving on the island—the fishermen, drivers, hotel staff, and the vibrant colors,” explained Saunders, a British designer of Jamaican heritage, drawing inspiration from 1940s photographs by photojournalist Bradley Smith.

Saunders described the 1940s as an era of elegance, a sentiment she infused into her collection through feminine drapes and meticulous tailoring. Silk scarves gracefully wrapped around the neck, blending seamlessly with the tops. Playful ties adorned with whimsical patterns echoed the designs of the shirts, adding a touch of charm. Recently honored with the Designer Fashion Fund by the British Fashion Council, Saunders also experimented with fine, wavy stripes that created a subtly psychedelic optical effect across several pieces. She worked with various textiles, including crinkled fine cottons, utilizing dormant fabrics from Nona Source.
 
Her collection masterfully blended local influences with tourist and summer attire. Models wore knitwear and wool-cotton trousers tucked into vibrant boots—a collaboration with Apiccaps, the Portuguese association of footwear manufacturers and designers, and Valuni, Saunders’ partner. The ensembles alternated between simple satin joggers, form-fitting knits, wide, fluid bermuda shorts, and open-knit tops reminiscent of fishing nets, complemented by matching tote bags. One standout piece was a long, sea-colored net tunic, continuing the nautical theme.

Elsewhere, the hotel bellboy-inspired look featured black trousers and a fitted white shirt paired with green shoes. Shorts and tank tops in the colors of the Rastafarian and Jamaican flags, along with sleeveless jerseys emblazoned with typical Rastafarian expressions like “Who God bless, no man curse,” added a vibrant, cultural touch.
 

Lemaire hosted its show once again at its headquarters in Place des Vosges, in the heart of the Marais, showcasing a collection of essential, timeless pieces designed for easy mixing and matching. Suitable for both hot summers and cooler climates, the collection featured versatile overcoats that could be worn draped over the shoulder like a bag.

The collection’s practicality was enhanced by its unisex nature, with both men and women borrowing freely from each other’s wardrobes. The neutral and classic color palette—black, white, beige, navy—facilitated effortless combinations. The garments were crafted from ultra-light Japanese nylons, cotton, sturdy canvas, and silk.
 
Lemaire’s multi-layered looks allowed for creative freedom, combining various pieces and materials to create new silhouettes with each ensemble. The collection featured suits, denim sets, flowing shirts paired with wide, billowy bermuda shorts, leather jackets layered over anoraks, and cardigans worn with pleated trousers. Accessories like keys hanging on chains around the neck added a touch of practicality. The overall aesthetic was one of relaxed comfort, with generous, almost billowing trousers cinched at the calves.

Tailoring and outerwear were harmoniously integrated, often in monochrome looks that eschewed unnecessary embellishments. Subtle exceptions included faded prints on bags and shirts, and a silk apron layered over a basic feminine outfit to add a dynamic element.

In an unexpected twist, Christophe Lemaire and Sarah-Linh Tran envisioned a particularly sensual and sophisticated woman for the next summer, featuring numerous pieces in fine knitwear that clung like a second skin. This included long, sinuous dresses and even woolen leg warmers held up by garters, paired with a tight mini skirt in a soft green hue, and harnesses made of large pearls.