For Spring-Summer 2026, Guillaume Henry adds a bold streak to Patou’s wardrobe. The collection, named Joy in tribute to the house’s iconic fragrance, is a playful showcase where lace, polka dots, and daringly short cuts take center stage. A closer look at this stylish statement.
A historic house with a modern spirit
Since 2018, Guillaume Henry has been shaping Patou in his own image. After making his mark at Carven and Nina Ricci, the artistic director has built a reputation for revitalizing heritage houses with a fresh, modern edge, while always respecting their legacy. At Patou, founded in 1914 and brought into the LVMH fold the same year he joined, he has successfully developed a couture-inspired ready-to-wear line. The result: refined, structured yet wearable pieces that breathe new life into a timeless vision of French chic.



Presented at the Maison de la Chimie, the Joy collection nods directly to the fragrance of the same name, launched by Jean Patou in 1929 and once hailed as “the costliest perfume in the world.” Born during the Great Depression, the scent marked a turning point as the house looked to expand into New York. Ahead of the show, Henry shared a quote from the founder dated June 1929: “Outdoor living and sunbathing are now part of modern life’s routine.” A radiant note of intent for a luminous collection.
A wardrobe for a free-spirited, self-assured Patou woman
Short, shorter, shortest, Spring-Summer 2026 opens with ultra-mini silhouettes. Tailored sets occasionally gain a few centimeters but never lose their edge: styled with black lace tights or accented with a blush-pink lace collar. These early details set the tone for what’s to come, with looks fully draped in airy lace. Pants are nowhere to be seen, save for a second-skin black lace jumpsuit. Stripes multiply, intersect, and converse, vertical, horizontal, layered with precision to create a visual rhythm that links one look to the next. A precise, coherent visual language, unfolding like a story look after look.



Then come the polka dots: first discreetly on a pump, then blown up to XXL on a strapless dress with bold, sculpted hips. Guillaume Henry takes his flair for prints even further, blending patterns as dots collide with florals. A special mention goes to the daring mini bra: an audacious detail and to the final, theatrical silhouettes, reminiscent of the Christian Lacroix era, where maximalism brings this sun-soaked fashion reverie to a close.
Guillaume Henry: a signature style that stands out
Since arriving at Patou, Guillaume Henry has created a silhouette that’s both couture-inspired and accessible. He’s mainly behind the now-iconic bubble skirt, one of the house’s signature pieces, which quickly took the fashion world by storm and was even embraced by mainstream retailers. A success that perfectly captures our times, where a standout piece can go viral in a matter of days.


With Joy, he continues to explore a multifaceted vision of femininity, one that blends elegance and French craftsmanship with a spirited sense of freedom. Creative yet strategic, Henry strikes a careful balance between bold, couture-inspired pieces and more branded, accessible items designed to appeal to a new audience. It’s a finely tuned equilibrium that allows Patou to stay in step with the times without losing its soul, opening the doors of a storied heritage to a new generation.
With Joy, Guillaume Henry rekindles the founding spirit of the house: a luminous kind of luxury, conceived as an antidote to gloom. Like the 1929 fragrance, the collection reads like a manifesto, reminding us that even in uncertain times, beauty has its place. And sometimes, it starts with a perfectly cut skirt.