Fursac Spring-Summer 2026

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Fursac Spring-Summer 2026

Fursac’s spring-summer 2026 collection is rooted in a singular landscape: the heart of inland Provence, far from the clichés of the French Riviera. This season, the silhouettes imagined by Gauthier Borsarello explore a more authentic South-East—where dusty trails meet dry heat that calls for a midday nap, where the air is scented with lavender, garrigue, and citrus, and village squares echo with the clinking of pétanque balls and glasses of pastis at sundown. A world that evokes the suspended time of Pagnol’s Provence—raw, sincere emotions in a landscape that is both rugged and radiant.

The collection unfolds with a sense of lightness and freshness, drawing its palette from this vivid, sensorial environment: muted earth browns, soft greens, and light sky blues punctuated by vibrant flashes of orange. The silhouettes symbolize an intergenerational dialogue, like a shared game of pétanque—where older men in cropped polos and wide trousers meet younger figures in flared pants and high-cut tops. A wardrobe that sets the tone for a summer free of pretenses, where style becomes a matter of character.

Styled by Imruh Asha, the collection plays a refined score between tailored classicism, controlled volumes, and a thoughtful exploration of materials and textures. Linen, cold wool, light knits, and viscose gently drape the body, perfectly suited to the dry Southern heat.

The suit, a cornerstone of the Maison’s heritage, remains its defining element—reimagined this season with greater freedom. The double-breasted version, an iconic staple of the masculine wardrobe, sculpts the silhouette with poise and purpose. This tailoring essential asserts itself either as a full look or paired with white denim, the jacket transformed into a pea coat over a lightweight printed viscose shirt or knitwear.
Tailoring gradually deconstructs throughout the collection, embracing a new ease while staying true to its essence. This philosophy materializes in the introduction of a lightweight cotton t-shirt with a silky feel—available in several hues—designed to be worn under a suit when a shirt isn’t required. Alongside those reinterpretations of staple pieces, the collection boldly introduces inspired Provence and Cypress prints, featured on short-sleeve viscose shirts, swimwear, flared five-pocket trousers, striped club ties, and scarves casually knotted at the waist, nodding to the traditional cummerbund.
Shirts appear in brown suede, striped viscose, or colorful patterns, while outerwear is declined in a wide range.
For special occasions, the collection unveils a variation of tuxedos—tone-on-tone black leopard-print velvet for audacious elegance or pristine white shawl collars and breezy satin sage versions for a fresh take on formalwear.
Summer essentials are also part of the story, with matching short-sleeve shirts and shorts in navy seersucker, or a bi-color sage and ecru polo fully buttoned, subtly evoking the ever-present bouliste spirit. A taupe travel set in wool and cotton reflects the Maison’s deep attachment to a refined lifestyle—one that elevates everyday moments as much as grand occasions, through attention to detail and timeless design.

Les boulistes

I’ve been drawing all my my life but I began oil-painting two years ago. It came out of nowhere and felt like something that had always been there, asleep inside of me. I jumped in pretty full-on, acquiring a studio and spending as much time as I could there without neglecting my day job or family life (to mixed results if you ask my boss or my wife).

It started with still life, and slowly expanded. I was advised to” fail a lot,” to “get a lot of bad paintings out to get to the good ones”. Occasionally, I would post one of the good ones to Instagram. This is where I once received a message from Gauthier Borsarello — someone whose taste I have always respected—saying he loved my paintings. I felt proud.

Looking back, diving head-first into painting was a reaction to life becoming overwhelming. My job seemed to require more ‘always-on’ communication, my anxiety about the state of the world was increasing, and I had a phone addiction that routinely distracted me from spending time with people and doing things I loved. I wanted something simple. Something that I could actively pour into, and get better at. And maybe more importantly, a place where I could turn down the sound of the world—and my phone—and get lost in honest, hard work. And that became my little studio on the Eastside of Los Angeles.

I stop short of calling painting an escape. I very much like my life, but it has become necessary to balance out our modern world way of living. When I’m in my studio, working on a painting, I feel the most present. My mind is singular and focused. My thoughts disappear. I feel at ease in the moment.

That longing for simplicity also comes to the fore in what I choose to paint. I gravitate toward objects and scenes that represent simpler times, often pre-phone, often very personal: A basketball, an emblem of the sport I picked up when I was six years old and have loved ever since; cowboy boots, which representing my dad’s love for country music (an odd thing in a European country); a hat that I got as a gift from my uncle who was traveling to America for business, back before I’d ever taken my first flight.

When Gautier Borsarello first told me about his collection, inspired by imagery of Les Boulistes—the old men in the town square, their faded pants, tanned skin, wrinkled, worn-in clothes—it resonated with me immediately. Not only for style, but also for what it represents: the simplicity of coming together, playing a game, and spending time in good company. Lives void of results or distractions or emails. They are focused solely on getting close to the cochonette.

I have vivid memories of seeing these scenes play out in real life when my parents took me on vacation in the south of France. Borsarello’s work gave me the opportunity to connect with those memories and translate them into a series of paintings for Fursac's collection. It was easy to be transported to that world upon seeing them and I couldn’t wait to get in the studio.

If I had to articulate why my work is special, I would start with the fact that I have found something that lets me find quiet in an overwhelming world. How lucky I am to have that. To be able to create images that inspire feelings and to know that as I grow, as a man and an artist, so does my practice, and my ability to showcase what’s important to me. If the studio is my peace, then what comes from it is the best of me. And the time I spend there will always be worth more than the time spent scrolling on my phone.