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| Backstage at Uma Wang's show in Paris where the collection's subtle palette melded with the beautiful backdrop of the Musée des Arts et Métiers. Photograph (above) and cover by Jay Zoo for DAM |
Presented at the historic Musée des Arts et Métiers in Paris, Uma Wang’s Spring/Summer 2026 collection marked a quiet yet assured progression in her ongoing dialogue between history and modernity. Referencing the draped elegance of Renaissance sculpture, Wang reimagined classical form through soft tailoring, elongated lines, and textured neutrals that echoed aged stone. Along with the opening of her newly expanded flagship store in Shanghai, the collection reflected a period of evolution and confidence, refining her signature balance of structure and fluidity. Story by Jeanne-Marie Cilento. Photographs by Jay Zoo
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Uma Wang's exquisite textiles are sourced and made in Italy. |
THE conceptual foundation for Uma Wang's new collection was based on the designer's study of Renaissance sculpture, particularly the statues housed in the Loggia di David at the Palazzo del Te in Mantua. Those works, depicting allegorical virtues draped in marble, became a reference point for understanding how fabric can embody both weight and lightness
The evocative tonal variations of the ancient walls and stones of the Musée des Arts et Métiers reflected the palette of the collection. The Arts and Crafts museum was once the medieval Priory of Saint-Martin-des-Champ, an influential monastery completed during the 13th century by Pierre de Montreuil. The surviving parts of the monastic complex became the home of museum in 1802.The hues of Wang's beautiful textiles, which echoed the weathered surfaces of the former priory, included ochre, cream, sienna, and malachite offset by the glimmer of bronze or silver. The subtle colours created a continuity across the collection, underscoring the designer's interest in material evolution rather than seasonal novelty.
"The collection is an exploration of fluidity, with just a hint of structure to keep it all together," the designer explained. "Tailoring and liquidity were inspired by looking at the Virtues that populate the Loggia di David in Palazzo del Te, Mantua: aged statues featuring magnificent marble drapings, some veiling the faces. And it was an inquiry into fabric that falls down, with both stiffness and fluidity. The colours of antique marble, and cravatteria motifs are a rhythmic counterpoint."
The hues of Wang's beautiful textiles echoed the weathered surfaces of the former priory, in tones of ochre, cream, sienna, and malachite offset by the dull glimmer of bronze or silver
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This subtlety-hued ensemble exemplifies the designer's masterful skill creating softness with fluid structure. |
Marking a quiet shift from the controlled tailoring of her previous work, Wang’s silhouettes were softened, the waistlines eased, and the shoulders allowed to return to their natural line. The result was a body of work that appeared both effortless and composed.
"This collection is a reaction to the one that came right before," Wang said. "The bows are now untied, the waist is liberated, hips and backs are deflated, shoulders are almost natural, elongation is still there. The silhouette is a cascade of lines; everything twists, turns, bends, drapes around the body."
On the runway, the designs followed the body with sculptural grace, gentle folds moving with the wearer. Layered dresses curved and twisted gently at the hip, while coats and tunics featured panels that spiraled or draped. Every piece appeared to have been cut to express movement in an elegant way.
"The collection is an exploration of fluidity, with just a hint of structure to keep it all together, the tailoring inspired by the Virtues at the Palazzo Te: aged statues with magnificent marble drapery"
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Different textures added another layer of complexity to seemingly elegant and simple designs. |
There were subtle gestures of experimentation: a series of asymmetrical tops with knotted drapes; fluid skirts anchored by internal panels; and garments revealing intricate construction when viewed from behind.
Each look contained a controlled tension between precision and ease. Wang’s handling of proportion, narrow shoulders paired with lengthened hems, elongated tunics over wide trousers, reinforced the impression of movement extending beyond the body.
Even the sharpest tailoring was tempered by imperfection, an aesthetic that aligns with the designer’s long-standing preference for the tactile and the timeworn
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The subdued atmosphere of the show reflected the ethos of the collection. |
In an environment where fashion frequently turns to exaggeration for attention, Wang’s restraint felt contemporary. Her clothes possess a kind of realism that appeals to a clientele who seek individual distinction and also longevity. While the collection’s mood drew on classical art, its practicality and proportion made it firmly contemporary.
During the last fifteen years, Uma Wang has established herself as one of the most internationally recognised figures in Chinese fashion. Trained at Donghua University in Shanghai and Central Saint Martins in London, she has built a vocabulary grounded in exquisite fabrics and meticulous design.
Since joining the official Paris Fashion Week schedule in 2017, she has maintained a reputation for integrity. Her collections, entirely produced in Italy for the past eight years, reflect a consistent partnership between Asian sensibility and European technique.
This season also coincides with a new chapter in the designer’s broader practice. In Shanghai, the recently expanded Maison Uma Wang consolidates her work across design, art, and craft. The four-storey space includes retail, gallery, and studio areas, underscoring her interest in creating environments as considered as her garments. The development demonstrates the brand’s continued growth within China and its position as a bridge between Eastern artistry and global luxury markets.
Scroll down to see more highlights from Uma Wang's SS26 collection and backstage in Paris.
