JACQUEMUS IS GROWING UP — AND SO IS HIS AUDIENCE

Once the darling of fashion’s viral era, Jacquemus has quietly outgrown the algorithm. While the world first fell in love with the brand for its sun-drenched shows, micro bags, and oversized hats - all wrapped in a perfectly French Instagram filter. Simon Porte Jacquemus is now building something slower, deeper, and more permanent.

The recent ‘Le Paysan’ show was the clearest signal yet. Set in The Orangery of Château de Versailles, it was less of a spectacle and more of a return to basics, an homage to his youth and family. The clothes were earth-toned, grounded, and intentionally pared back. Linen suiting, soft tailoring, raw textures. Gone were the stunts. In their place? A kind of quiet poetry.

For those paying attention, this wasn’t new - it was the next chapter in a long story Simon’s been telling since the beginning. His collections have always been steeped in nostalgia, personal memory, and a sense of place. Whether it’s the whitewashed runways of “Le Coup de Soleil” or the terracotta palette of “L’Amour”, Jacquemus doesn’t design for fashion cycles - he designs for his childhood. His village. His mother. His identity.

Lately, this vision has expanded beyond Provence and into something more cinematic. His moodboards pull from cultural classics: the minimalism of French New Wave cinema, the sensuality of Italian romance films, the realism of mid-century rural photography. Each show feels less like a moment, and more like a scene — still, composed, held.

What makes this evolution more striking is that Jacquemus made his name in the exact opposite environment. He was the algorithm’s poster child. He understood fashion as content before it became common strategy. His shows were viral events, his campaigns were Instagram-perfect, and his pieces were made to be seen. But now, he’s resisting that pressure. He’s pivoting from attention to intention.

This isn’t a rejection of what built his brand, it’s a refinement of it. He’s proven he can do marketing. Now he’s asking: what does it look like to create something that lasts? The houses he’s long admired; Prada, Jil Sander, Céline - have all been driven by a consistent world, not a string of viral moments.

And Jacquemus, in his own way, is starting to build that world too. One rooted in emotion, cinema, memory, and a kind of new-age French restraint. It’s not about quiet luxury - it’s about quiet authorship.

There’s still warmth, still fantasy. But the flash is fading. In its place: something honest. Something that might just outlast the trend cycle he once helped define.