Stéphane Rolland Haute Couture SS26

Stéphane Rolland Haute Couture SS26

Mia Macfarlane

A Parade of Elegance at Cirque d’Hiver with Stéphane Rolland

Stéphane Rolland Haute Couture SS26 brought a rare sense of silence and spectacle to Paris. Set in the Cirque d’Hiver, the show was less about fashion trends and more about timeless emotion. Inspired by Picasso’s Parade, Rolland gave us a collection filled with meaning, movement, and memory.

A Show That Moved Like a Ritual

From the first look, it was clear: this was not your usual fashion show. The Stéphane Rolland Haute Couture SS26 collection began like a slow ceremony. Models entered the ring as if stepping into a sacred space. Asymmetrical coats, flowing capes, and sculpted gowns followed one after another. Together, they created a calm yet powerful rhythm.

Instead of bright colors or loud patterns, Rolland focused on shape and structure. The materials: gazars, duchess satin, and crepe felt rich, yet never heavy. They moved with the models, almost like stage curtains caught in a soft wind. Each piece looked like something you could wear, but also something you could stare at, like art.

Stéphane Rolland Haute Couture SS26
Stéphane Rolland Haute Couture SS26

Characters Without Costumes

Interestingly, the clothes hinted at circus characters, such as the clown, the ringmaster, and Pierrot, but didn’t show them directly. Rather than dressing up models in costume, Rolland suggested these roles through shape, contrast, and texture. For example, one black jumpsuit with a high white collar felt like a nod to the ringmaster. A red feathered shoulder recalled a theatrical clown.

This approach gave the show more depth. As a result, each design felt thoughtful. Moreover, the clothes never lost their sense of refinement. Even the boldest shapes remained elegant.

Stéphane Rolland Haute Couture SS26
Stéphane Rolland Haute Couture SS26

Embroidery as Emotion

Throughout the collection, embroidery played a key role. Yet it was never used for decoration alone. Instead, jewels and crystals formed patterns that looked like stars or stage lights. These shimmering touches added light to the darker looks without making them feel flashy.

In addition, Rolland used plexiglass elements, including brooches, accessories, and even headpieces, that brought a modern edge. These pieces felt sculptural, turning each model into part of a living installation.

Stéphane Rolland Haute Couture SS26

The Power of Music and Setting

Not only did the clothes speak, but the setting itself added to the story. The Cirque d’Hiver, with its circular stage and rich history, was the perfect location. Built in 1852, it still echoes with the sounds of trapeze swings and applause. Here, fashion became performance.

Meanwhile, the music guided the mood. Erik Satie’s soft piano created a feeling of stillness. Later, Nino Rota’s melodies brought a touch of melancholy, like a circus after the crowd has gone home. These choices made the show feel more like a dance than a runway.

Stéphane Rolland Haute Couture SS26

Why This Collection Matters

Many fashion shows chase attention. This one did the opposite. Stéphane Rolland Haute Couture SS26 slowed things down. It asked us to look again. To think. To feel.

By using familiar symbols like doves, clowns, and capes in new ways, Rolland reminded us of fashion’s deeper power. Not just to dress, but to move us.

With Stéphane Rolland Haute Couture SS26, we witnessed fashion that honored the past while stepping into the future. Thanks to its mix of beauty, mystery, and meaning, this show will be remembered—not for its trends, but for its soul.

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One day when I was barely two my mom let me push her out of her bedroom. She was curious so she ran outside the house so she could watch me through the window. I climbed up on a chair by her vanity and started putting on her makeup. I loved playing dress up as a kid. Putting on my mom's sequin tube tops and high heeled shoes and then putting on a dance show in the lobby or the restaurant of the hotel/residence we lived in. It was the best childhood ever. Dress-up, dancing, playing with barbies, and drawing were my favorite things to do. I have not changed one bit today. If I am creating I am happy.

Now I am in Paris for the second time in my life and I am having a ball playing with my partner in crime Julien Crouigneau. We founded IRK Magazine together in 2015 and we are proud to collaborate with some amazing artists, and influencers.

We are also a photography duo under the pseudonym French Cowboy. We love to tell stories and create poetic images that are impactful.

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