SANDRO SS2027: In Paris, Fashion Entwines With The Architecture Of Form

Paris, during Fashion Week, has a particular way of making the everyday feel cinematic. Inside the monumental galleries of the Cité de l’Architecture et du Patrimoine, beneath the vast cultural memory of the Palais de Chaillot and with the Eiffel Tower beyond, SANDRO’s Spring/Summer 2027 collection appeared almost as though it had been drawn into existence from the surrounding architecture. 

From the model of a building to the prototype of a jacket. From the structure of a building to the construction of a dress. From a window to a cut-out. From volume to silhouette. From a blueprint to a pattern. Different words, describing gestures that share the same language.

It is an inspired setting because fashion and architecture are, fundamentally, disciplines of inhabitation. A building gives the body space; clothing gives the body form. Both depend upon proportion, tension, balance, structure and material. 

At the Cité, where architectural models, plaster casts and structures preserve centuries of French architectural thinking, SANDRO’s clothes became almost living fragments of that history. 

The location is particularly meaningful to Evelyne and Ilan Chetrite, whose relationship with architecture and design has long informed SANDRO’s visual vocabulary. Yet this season, architecture is not merely a backdrop. It becomes a method of thinking.

For SANDRO Woman, SS2027 travels imaginatively towards Florida, the seaside and the exuberance of Latin-Caribbean culture, passing through the polished ease of Palm Springs and the metropolitan energy of New York. 

The resulting wardrobe is sunlit but never frivolous: spontaneous, sensual and distinctly Parisian in its refusal to surrender sophistication.

Traditional tailoring is loosened. Bomber jackets assume the authority once reserved for tailored jackets, while satin parkas acquire rhinestones; leather becomes surprisingly transseasonal; tweed is softened by chains and jewellery-like embellishment. 

1The silhouette is deliberately unsettled through peplum flares that redraw the waist and balloon trousers that expand the lower body into sculptural volumes.

Architecture becomes particularly visible in the construction. Men’s shirts are borrowed and transformed through bib fronts and spread collars; piping draws precise lines across the body; tailoring is dismantled and recomposed with Bermuda shorts, occasionally punctuated by a flower at the lapel. Stripes change rhythm across knitwear, while fringes, braids and piping follow movement like lines traced across a façade.

The materials amplify the sensation of heat and movement: satin catches sunlight; lace exposes flashes of skin; checked shirts meet bandana-inspired broderie anglaise; rhinestone-studded Western denim injects a little nocturnal glamour. The palette is correspondingly vivid, allowing intense colour to behave almost like architectural cladding against the body.

For SANDRO Homme, the journey begins in the city and gradually reaches the Mediterranean. Precision gives way to release. 

Graphic seams, embroidered flowers and tactile surfaces establish an urban discipline before washed linen, lightweight silk, textured cotton and fluid fabrics soften the architecture of the male silhouette.

Chocolate, olive and metallic blue establish the opening vocabulary, gradually yielding to faded pastels, mineral shades and luminous white. Then comes the Mediterranean: Aegean blue, warm sand, terracotta and sun-yellow evoke whitewashed architecture, sun-baked stone and the deep chromatic pull of the sea. 

Tone-on-tone jacquards, textile interlacings, crafted knits and stripes provide tactile depth without unnecessary ornament.

The accessories complete this architecture of movement: multi-pocket bags, totes and leather belt bags introduce utility; jewelled flip-flops inject irreverence; and the Light Wave extends SANDRO’s increasingly recognisable dialogue between urban functionality and effortless polish.

What makes this collection particularly compelling, however, is the larger conversation it opens about architecture and fashion. Architecture does not merely inspire the shape of clothes. It informs the very act of making them. 

A pattern is, in essence, a blueprint. A seam is a structural line. Darts manipulate volume. Pleats create expansion and compression. Tailoring negotiates the relationship between a rigid exterior and a moving body. Finishing determines how that construction ultimately behaves.

Fashion cannot escape architecture because clothing itself is a portable structure. It must accommodate movement, distribute tension, create volume and negotiate gravity. The most convincing garments therefore do not merely look architectural; they are architecturally conceived.

That sensibility has deep roots at SANDRO. Founded in Paris in 1984 by Evelyne and Didier Chetrite, the house began with a distinctly Parisian proposition; Ilan Chetrite subsequently launched SANDRO Homme in 2008, establishing the men’s universe that has become an integral pillar of the house. Today, SANDRO operates internationally while retaining its Parisian identity. 

And perhaps this is where SANDRO’s particular appeal lies. It has made the elusive codes of French dressing considerably less remote without stripping them of their sophistication. Its clothes propose that Parisian je ne sais quoi need not depend upon theatrical exclusivity. 

Instead, it can reside in proportion, restraint, fabrication, contrast, detail and an almost instinctive understanding of how a garment should inhabit its wearer.

That distinction matters. The value of a SANDRO garment is not simply the name stitched into it, nor the transient excitement surrounding a seasonal trend. It lies in the accumulated intelligence of construction: the cut, the material, the finishing, the balance between masculine and feminine, understatement and sophistication. 

SANDRO itself describes this philosophy as a wardrobe rooted in tailoring and craftsmanship while remaining responsive to contemporary life. 

SS2027 makes that proposition unusually visible. At the Cité de l’Architecture et du Patrimoine, SANDRO does not simply dress the body; it studies how the body occupies space.

And perhaps that is the most seductive idea of all: the finest fashion is architecture made intimate — a structure that moves, breathes, bends, seduces and ultimately becomes part of the person who inhabits it.

SANDRO SS2027 Men and Women collection will be available in SANDRO boutiques worldwide, as early as the end of the final quarter of 2026. 

*Photos courtesy of SANDRO.