Pauline Dujancourt ‘I am the seagull… No, that’s not it’

During the conception of Pauline Dujancourt’s Spring 2026 collection, a close friend of hers unexpectedly passed away. In turn, Pauline found herself drawn towards a familiar character for comfort: Nina, from Anton Chekhov’s “The Seagull”, a part she once played as a theatre student many years ago in Paris. Dujancourt was particularly enamoured by Nina’s closing monologue, where the character finds strength and solitude — even when consumed by grief — in her creative expression, finding that “life doesn’t hurt so much anymore.”

If you ask about a designer’s technical inspiration when it comes to their collection, it’ll usually be based around something they’ve always loved — but that’s not the case here. Born in France but based in London now for over eleven years, Dujancourt turned to two knitwear customs that she’s never been drawn to before: Argyle knit sweaters and the granny square pattern. But with her intricate technique, combining the former elements with fine strips of tulle and ribbon — you’d never have guessed these are archetypes that the designer usually steers clear of; clearly conveying her craftsmanship as well as her time studying fashion at the prestigious École Duperré in Paris, and an MA at Central Saint Martins.

The collection’s alternating colours represent, in her own words, “the nuances and shades of life that you explore.” They reflect different walks of life: royal blue exuding power, pale azure portraying a sense of calm, black symbolic of grief, etc. Dujancourt has always had an edge to her designs, and there’s equal parts a coquettish delicacy and roughness to this collection — perhaps reminiscent of the things we each have to conquer in our lives. Lace socks speak to the hyper feminine, while the looks’ raw finishes and hems are almost battle scar-like.

One look features an imperial blue midi dress, but paired with the frayed, rugged finish of the bodice and the withered plants looming in the dim background of the venue — there’s an unsettling feeling that arises. Another standout look features a knee-length black dress paired with a tulle veil, a thoughtful juxtaposition to the cinematic final look, an ode to Dujancourt’s mother’s swan-like wedding dress — both sides of one’s life: “pain and joy”, as she puts it.

Back in March, attendees could enjoy Billie Eilish’s “Wildflower” echoing throughout the Strand as the models walked — this time, it’s the singer’s perhaps even sadder track, “Everything I Wanted”. She focuses on a specific lyric: If I knew it all then would I do it again? Dujancourt, despite her grief, had to carry on, she had a collection to finish and people counting on her. Everyone was greeted with a crocheted bird brooch, of which she made over 450, an ode to her late friend.

An excerpt from Jonathan Safran Foer’s “Extremely Loud & Incredibly Close” was placed upon translucent paper over the show notes, a passage that Dujancourt claims gave her the ability to let go.