Emeric Tchatchoua presented 3.Paradis’s Spring/Summer 2027 collection not as a traditional runway show but as a documentary screening and a wardrobe installation, a format that suited the collection’s central argument: that clothing can function as a peace treaty between the wearer and the world. Titled “A Wardrobe for Peace,” the presentation unfolded at a gallery in the 3rd arrondissement, where guests watched a short film exploring a fictional pacifist society before walking through racks of the actual garments.
Tchatchoua’s training in industrial design showed in the collection’s hardware. Buttons were cast in a matte bronze alloy and engraved with a peace symbol small enough to be missed at first glance. Buckles were designed to be adjusted with one hand, a detail the designer said was inspired by watching his father, a veteran, struggle with standard military-issue closures after an injury. The fastenings became a subtle symbol of the collection’s thesis: that dress should accommodate, not constrain.
3.Paradis has grown steadily since its founding in 2018, moving from a streetwear-adjacent proposition to something more expansive and philosophical. SS27 felt like the collection where that expansion fully crystallised. The commercial prospects are strongest for the outerwear — those field jackets and the cloaks, which buyers at the presentation were already photographing — but the collection’s quieter pieces, particularly the jersey knit separates and the wide-leg trousers, suggest a brand that is thinking beyond the statement coat and into a complete wardrobe.
The palette was restrained — sand, khaki, charcoal, and a single deep indigo that appeared in a jacquard-knit cardigan embroidered with a pattern of olive branches. The restraint served to foreground the tactile qualities of the fabrics: a double-faced cotton that was stiff on one side and brushed-soft on the other, a linen-cotton canvas that felt pre-worn from the first touch, a wool-mohair blend used in an overcoat that seemed to float over the body rather than weigh it down.
The film, directed by Tchatchoua himself, followed a protagonist navigating a world in conflict — the imagery was deliberately allegorical, referencing both contemporary geopolitical tensions and the more intimate wars people wage with themselves. The collection that followed translated the film’s themes into a wardrobe of protective yet gentle pieces: oversized field jackets in double-faced cotton, trousers cut with a dropped crotch and elastic hem that referenced both military fatigue pants and infant wear, and hooded cloaks in raw-edged linen that felt like camouflage for a different kind of battle.
