Lazoschmidl presents Spring Summer 2026 as a personal confession and a challenge to form. Titled Rendezvous, the collection unpacks desire, performance, and dressing as ritual. Inspired by long-distance intimacy and the liminal space between work and fantasy, the show abandons the runway format for a slow, unfolding installation.
The show opens with a lyric: “California skies, Paris nights. Baby, we can leave tonight.” That line sets the tone, longing filtered through time zones, love across datelines, and getting dressed in the in-between. Rendezvous rethinks daily performance: the clothes we put on to function, the ones we put on to want. Banker stripes meet Manga prints, officewear dissolves into glitter, and each look plays with exposure and self-mythology. A typical work outfit appears on one model, interrupted minutes later by digitally printed mesh or a glitter-soaked motif.
Across the collection, Lazoschmidl draws from their own lives. London Nu Rave surfaces in bold colors and ironic surfaces. Frankfurt academia echoes in references to Japanese pop literature. The designers revisit past material, like fanzine images once printed in Unpublished Material, and bring them back as DIY iron-ons or recontextualized mesh designs.
The presentation takes place in a sunlit courtyard in Paris, not a traditional venue, but a site of viewing and being viewed. Ten male models shift through translucent mobile cabins. Over the course of two and a half hours, they undress, redress, and reinvent themselves in public. These aren’t dressing rooms, they’re performance containers. Each cabin moves, revealing just enough. The process becomes the point. The models change from one identity to the next without interruption. Nothing gets cut, nothing hides behind post-production. The GRWM (Get Ready With Me) format lives and breathes in real time, stripped of editing.
The audience becomes part of the tension, observing without the buffer of a screen. Each viewer confronts their own position: what they see, what they expect to see, and what they project. Visibility, in this context, becomes a negotiation. The models choose what to show. The audience decides how to look.
The designers speak of rituals. The kind that happen alone before a first date. A glance in the mirror, a second shirt, maybe a different one. A moment of doubt or excitement. “We wanted to take this daily moment of performance and make it visible – make it art,” they explain. That art leans into contrast. The color palette drifts between corporate and chaotic: washed-out blues, soft pinks, and sudden punches of bleached yellow. Banker greys meet hyperreal reds. The collection performs ambiguity with intent.
Lazoschmidl doesn’t reference icons lightly. Their inspiration ranges from Haruki Murakami’s dream logic to Wolfgang Tillmans’ quiet documentation of queer youth. Miley Cyrus surfaces not as an aesthetic, but as a force: unfiltered, direct, unafraid. These influences shape a collection that stays raw even in its most polished form.
The motto, they say, is simple: Taste the forbidden fruit. That temptation powers the whole production. Each look dares the audience to feel something outside comfort. Spring Summer 2026 offers access. A look, a change, a reflection. One minute banker, the next, dreamer. Lazoschmidl keeps that door open.
