From Dior to Rick Owens, menswear SS26 gets the hip-hop treatment—a fresh look at the most talked-about shows of Paris Fashion Week
Paris Fashion Week Men’s Spring-Summer 2026 just ended, and the usual wave of reviews has already covered every look in detail. But instead of adding to the noise, we decided to take a different approach. What if we looked at the week through the lens of hip-hop? It may seem unexpected, but somehow, it fits. This offers a fresh way to break down the biggest shows with a different rhythm—the kind that’s been flooding TikTok comments from creative, music-addicted users.
Jonathan Anderson’s Dior Debut at Paris Fashion Week SS26 – A Personal Take Linked to Kanye West’s “Graduation” (2007)
After 11 years as the creative director at the Spanish fashion house Loewe, Jonathan Anderson entered a new chapter with his menswear debut at Dior, and it was anything but timid. In a subtle yet striking subversion of tradition, Anderson brought a minimalist-maximalist perspective to Dior. Collars told two stories at once: crisp and buttoned on one side, casually popped on the other, while trousers fluidly shifted between relaxed comfort and precise tailoring. It was a remix, not a rejection—proof that innovation can sit comfortably within heritage.
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Highlights from Jonathan Anderson's Debut at Dior during Paris Fashion Week
The timing and the tone of the show felt like a personal turning point, mirroring the essence of Kanye West’s “Graduation.” Released in 2007, this album marked Kanye’s leap into a grander vision after two albums that had already solidified his status in hip-hop: not just respected, but visionary. In a genre often constrained by rigid formulas, Kanye broke away with forward-thinking production, exemplified by tracks like the four-on-the-floor pulse of “Flashing Lights” and the electronic sampling in “Stronger”. Yet, like Jonathan Anderson at Dior, he didn’t abandon the fundamentals. Songs like “Can’t Tell Me Nothing” and “Barry Bonds” grounded the album with sharp lyricism and classic sampling, proving that reinvention doesn’t mean forgetting your roots; rather, it’s about knowing them well enough to move beyond them.
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Released in 2007, Graduation is Kanye West’s third album and one of fans’ favorites
Pharrell Williams at Louis Vuitton and Drake’s “Views” Era (2016) – A Hip-Hop Parallel in Menswear Spring-Summer 2026
Paris Fashion Week Men’s SS26 was not only an occasion for unveiling the first wave of this year’s director shakeups but also a moment that solidified key figures within the menswear landscape. Pharrell Williams is undeniably one of them. Appointed as Men’s Creative Director at Louis Vuitton in 2023, the multi-talented artist didn’t shake the room with radical design, but delivered something just as essential: proof of his sharp business acumen.
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Key moments at the Louis Vuitton Show during Paris Fashion Week
While the collection remained largely on commercially safe ground, it still featured standout details such as shimmering jackets and animal motifs (remember the pattern Marc Jacobs designed for The Darjeeling Limited by Wes Anderson back in 2007? It’s making a comeback—and now you can actually buy it).
To achieve his commercial goals, Pharrell heavily drew from Indian imagery and contemporary Indian fashion. Fans of Drake might find this arc familiar: think back to 2015–2016. After cementing his spot at the top with “If You’re Reading This It’s Too Late” and “What a Time to Be Alive”, Drake shifted gears with “Views”, aiming to expand his reach within the mainstream music scene. The strategy? A softer sound, smoother melodies, and unexpected influences like dancehall and afrobeats, which marked a notable pivot for an artist primarily associated with rap. This move represented a new chapter for Drake in the pop world, positioning him as a connector of cultures and global experiences, much like Louis Vuitton—a brand that has been synonymous with travel and cultural fusion for decades.
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Debuting at number one on the US Billboard 200, Views by Drake has been widely regarded as the most heterogeneous and innovative work from the Canadian artist
Willy Chavarria’s Politically Charged SS26 Show – Seen Through Kendrick Lamar’s “To Pimp a Butterfly” (2015)
Although often perceived as politically neutral ground, Paris Fashion Week Men’s SS26 has evolved into a platform for strong, socially engaged creative statements. Willy Chavaria’s “HURON” show at the Salle Pleyel was a bold and emotionally charged tribute to identity, resilience, and the dignity of immigrants. The collection, which combined political commentary with refined craftsmanship, opened with a powerful statement supported by the ACLU: 35 men in white tees, symbolising systemic injustice. The Impeccable tailoring, oversized silhouettes and rebellious colours expressed a luxury rooted in personal truth rather than privilege. Inspired by filmmakers like Pedro Almodóvar and Wong Kar-Wai, Willy Chavarria celebrated characters who dress for self-expression, reimagining traditional silhouettes with a blend of softness, structure, and soul.
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Recap from Willy Chavarria SS2026 presented during PFW
Raised in the same region, Kendrick Lamar has long used artistry as a means of political commentary. His 2015 Grammy-winning album “To Pimp a Butterfly” stands as one of hip-hop’s most profound explorations of this dual role. Featuring a lush, genre-blending soundscape influenced by gospel, soul, and jazz, the project showcases Kendrick’s sharp lyricism as he addresses themes of inequality and systemic racism in songs like “Blacker the Berry” and “Alright”. Additionally, he unpacks personal struggles with fame, depression, and money in tracks such as “Wesley’s Theory”. Like Willy Chavarria, Lamar employs precision, craft, and cultural fluency not just to create art but to reflect on reality; he, like Chavarria, relies on fine artistry as a vessel for truth.
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Praised as one his best works, To Pimp A Butterfly by Kendrick Lamar stood out from the crowd for his sharp commentary on both social and political issues
Rick Owens’ SS26 Show Mirrors Clipse’s Bold Comeback (2025) at Paris Fashion Week
Paris Fashion Week Men’s Spring-Summer 2026 showcased both debuts and confirmations but also ventured into the realm of myth-making. Enter Rick Owens: part designer, part legend, and once again the architect of a moment destined to live rent-free in fashion memory. His SS26 show, which preceded his retrospective “Temple of Love”, completely broke runway conventions. Guests stood around a monumental fountain as models appeared on a raised platform before descending into the water itself. The garments soaked and clung to the models’ bodies in a procession that felt more like a ritual than a typical runway show. This striking and unconventional presentation embodied Owens’ signature brutalist style, which wisely balances sophistication and rawness.
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Temple of Love is the exhibition dedicated to Rick Owens held at Palais Galliera, celebrating the crucial role played by the designer in contemporary fashion
It’s the kind of performance that ignites debate. Some might even call it “culturally inappropriate,” echoing the bold tagline from another duo that expertly combines sophistication with a sharp edge: Clipse.
The legendary duo has recently announced their comeback, aiming not just for relevance but also for a lasting legacy, much like Rick Owens. And the hype is real. Their first two singles prove they haven’t lost their touch, delivering sharp bars over carefully crafted production. “Ace of Trumpets” pulses with heavy electronic synths, while “So Be It” flips an obscure Egyptian sample by Talal Madah into something haunting and hypnotic. Similar to Owens’ fashion show, their return expertly fuses blunt lyrics that juxtapose raw street life with fierce materialism and elevated artistry, highlighting that true staying power comes from mastering contrasts.
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With a new album set to be published, legendary duo Clipse are about to make one of the most memorable comebacks in hiphop history
Paris Fashion Week SS26: Menswear’s Key Moments Interpreted Through Hip-Hop’s Defining Moments
This season in Paris felt less like a series of shows and more like a mixtape reflecting intent, identity, and influence. Through the lens of hip-hop, each collection revealed its own rhythm—some disruptive, some refined—all contributing to a larger cultural conversation. Whether testing new ground or reinforcing heritage, these moments proved that fashion, like music, is at its best when it reflects the world around it and is bold enough to challenge the rules.
Edoardo Passacantando
Editor, Milan