Jacquemus Spring-Summer 2027 bags arrived in Corsica on a Monday morning, on a sand-and-stone path leading to the Phare de la Pietra in L’Île-Rousse, with the Mediterranean doing most of the set design. Guests sat under rows of white umbrellas along the cliff edge; the runway itself was the coastal walk, models emerging from behind the rocks as the wind moved through their clothes in real time.
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Simon Porte Jacquemus titled the show “Le Bonheur” — happiness — and described it as an attempt to bottle a particular kind of summer feeling: sun, color, lightness, the pleasure of simple things. A flotilla of small sailboats spelling out the brand’s name across the bay, visible from the clifftop, set the tone before a single look came down the path.
“I imagined this collection like the summer itself. The sun, the colours, the beauty of simple things, the feeling of lightness. For me, this is happiness… le bonheur.”
— Simon Porte Jacquemus
Le Bonheur: Jacquemus Stages Spring-Summer 2027 on the Corsican Coast
The location did real editorial work here. L’Île-Rousse sits on Corsica’s northwest coast, and the lighthouse path — exposed, rocky, lined with wild fennel and chamomile — gave the collection a backdrop no studio could fake.
Sporty silhouettes ran through the show: tank tops cut from paper-thin leather or bonded crêpe, some bordered in organza manipulated through shibori dyeing. The palette read like a painter’s, not a stylist’s — soft pastels punctuated by hard color: a silk-wool trench doused entirely in yellow, a green shirt cutting through a wool-melange jacket, an orange line marking the hem of a pair of trousers, an aquamarine crêpe tube dress catching the light. Against that backdrop, the bags didn’t need to compete for attention. They had it.
The Valérie Returns — and It Looks Like Summer
The Valérie has been part of the Jacquemus vocabulary long enough to qualify as a house signature, but Spring-Summer 2027 brings it back in forms that feel genuinely new. The silhouette stays true to its origin: a compact, structured top-handle bag with flat leather handles joined by a single gold ring hardware detail — minimal, architectural, immediately recognizable. What changes is everything around that structure.
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On the Corsica runway, the Valérie appeared in yellow leather paired with a cut-out white cotton dress; in pale mint, carried alongside a voluminous balloon skirt.
The gold ring at the handle junction, polished and rounded, reads as jewelry rather than closure hardware. Across every colorway – and the range this season extends into butter yellow, dusty rose, and deep pale mint – the construction principle stays consistent: structured body, soft leather, flat handles, no external logo.
Le Tote Pietra: The New Bag Named After the Lighthouse
The real news from “Le Bonheur” is the Le Tote Pietra — a new bag debuting this season, named directly after the lighthouse that anchored the show’s setting. The structure is specific enough to describe precisely: an open-top tote with wide, angular side panels that splay outward at the top and taper inward toward a compressed, calisson-shaped base — that oval, elongated almond form borrowed from the Provençal confection.
The result is something that looks flat and graphic from the front but fully three-dimensional when worn, the leather panels folding and shifting with the movement of whoever is carrying it. There is no metal hardware anywhere on the bag. Closure is through a single knotted leather drawstring cord tucked into a corner seam, with a small woven knot charm as the only decorative detail. The shoulder strap is flat, cut from the same leather, no buckle, no adjustment rings. In the lookbook image shot from behind, the bag in orange-red leather shows this architecture clearly: wide at the shoulder, gathered at the calisson base, the whole form somewhere between a fisherman’s sack and something much more considered.
The Le Tote Pietra appeared across the runway in at least two sizes — an oversized version that dominates the silhouette of whoever carries it, and a medium version with more contained proportions and a top-handle option.
The large version came in saffron-yellow with an ostrich-embossed finish, a flat shoulder strap, and a miniature woven straw hat attached to the strap in what is the show’s single most photographed accessory detail.
The same oversized scale appeared in smooth cognac, in cream leather photographed from the back against open sky, in dark chocolate with the knotted cord hanging loose, and in a two-tone version — navy leather body, gold/yellow calisson base — that offered the collection’s most architectural color break.
And for those tracking Jacquemus’s capacity for runway-only gestures: one version of the Le Tote Pietra appeared in deep crimson red leather with the body cut into dozens of layered blade-like petals, the structure entirely reworked into something closer to a piece of armor than a handbag.
Another shape was a roomy shoulder tote in cream-and-navy striped canvas, structured with a curved leather base — the one genuinely classic, season-spanning piece in an otherwise theatrical lineup.
