The first thing that made me smile about Jacquemus’s new collection wasn’t the sequins or the turquoise—it was the tie fastened in the back. It’s a perfect example of how the brand masterfully plays with (and breaks) the rules.
The first thing that made me smile about Jacquemus’s new collection wasn’t the sequins or the turquoise—it was the tie fastened in the back. It’s a perfect example of how the brand masterfully plays with (and breaks) the rules.
The high-pitched squeal I let out when I saw the recap of Jacquemus’s latest show… it’s a genuine reaction. Whether it’s a social media campaign or the newest collection, this brand’s creative universe has a singular effect: it makes you smile. It delivers a spark of playful intelligence that makes you see the everyday differently.
The Fall-Winter 2026 collection, Le Palmier, presented at the storied Picasso Museum in Paris, was a masterclass in this sensation. It was a celebration of the house’s own archives, rendered with geometric precision, and then lit up with moments of pure, joyous rule-breaking. This is the magic of Simon Porte Jacquemus: a world where discipline and daydreaming coexist, and where the most exciting question is always, “What if?”
The first things that jump out are the gorgeously precise elements: the geometric tulip waists, the wide hats, the sparkle of sequins, rainbow polka dots, and bold turquoise.
But what made me smile were the details that danced just outside the lines. The tie fastened neatly in the back. The single earring. The bag carried not by its top handle, but on its side, giving it a casually defiant tilt.
These are not mere styling tricks; they are creative acts of joyful defiance. They immediately brought to mind a passage from Rick Rubin’s The Creative Act, which argues that the most interesting work is often the one that defies a newly established convention. He writes of the “invisible and unquestioned” standards in any medium—the stretched canvas for a painter, the three-act structure for a filmmaker—noting that “based solely on the tools selected, you’ve already exponentially narrowed what’s possible.”
Jacquemus understands this intimately. He has mastered the rules of silhouette, construction, and desire so completely that he can see past them. He doesn’t disregard the format; he playfully interrogates it. The result isn’t rebellion for its own sake, but the revelation of a more charming, more human possibility waiting just beside the convention. It’s creativity that feels both intelligent and wonderfully infectious.
While the brand has masterfully created branded worlds like the iconic yellow-and-white stripe universe of the Jacquemus Beach Club Monte-Carlo or the curated partnership with the Four Seasons in the Bahamas, these are ephemeral. We can’t help but imagine what a permanent Jacquemus home would be like. It would probably turn the concept of branded residences on its head. We can imagine, but only Simon Porte Jacquemus knows what that might look like.
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