Design, fashion and métiers d’art: the City of Paris has unveiled the 2026 winners of its Grands Prix de la Création, a ceremony that has been identifying since 1993 the creators called to shape the uses of tomorrow.
There is a form of loyalty, in the Parisian cultural landscape, to those events that do not need to reinvent themselves every year to remain relevant. Since 1993, the Grands Prix de la Création have fulfilled this discreet but essential role: detecting, before the market takes over, emerging talents in design, fashion and métiers d’art. The 2026 ceremony, held at the Hôtel de Ville de Paris on Wednesday 23 September, unveiled the list of winners.
Eight laureates share the awards, divided between the Prix Révélation — conceived as an accelerator for promising, creative projects with prospects for development — and the Prix Engagement, which recognises a research, innovation or entrepreneurial approach already under way and capable of providing solutions to contemporary challenges. To these are added a Prix Accessoires Mode, run in partnership with the ADC and devoted to leather goods, shoes, gloves and belts, as well as a Prix Accessoires Bijoux, in collaboration with Francéclat, open to jewellery and fine jewellery projects.
In design, the duo Behaghel Foiny wins the Prix Révélation, while Marie Cornil and Alexandre Willaume take the Prix Engagement. In fashion, Anthony Calydon receives the Prix Révélation and the studio Collectivo the Prix Engagement, alongside 10.03.53, led by Luca Colosimo, for the Prix Accessoires Mode, and Sarah Madeleine Bru for the Prix Accessoires Bijoux. In métiers d’art, finally, Chloé Valorso receives the Prix Révélation and Les Ateliers Victor Bert the Prix Engagement, thus completing a list of winners that covers all the disciplines of Parisian creation.
Three figures of Parisian creation chaired the juries of this edition: the designer Ionna Vautrin for design, the stylist Lisa Gachet for fashion and the glass artisan Jeremy Maxwell Wintrebert for métiers d’art — a choice that says enough about the wish of the Bureau du Design, de la Mode et des Métiers d’Art (BDMMA) to have tomorrow’s creators judged by today’s, rather than by purely institutional bodies disconnected from the field.
This link between symbolic recognition and concrete support sets the Grands Prix de la Création apart from a simple trophy ceremony: the prize is never an end in itself, but the entry point to a follow-up scheme that can extend over several years. It is this continuity, rare in the landscape of creative awards, that no doubt explains the initiative’s longevity of more than thirty years.
Beyond the ceremony, these prizes are part of a broader scheme carried by the City of Paris since 2006, comprising the incubator at the Ateliers de Paris — where project leaders are hosted and supported for two years —, professional training in management and marketing strategy, and the Fabriqué à Paris label, deployed since 2017 to highlight shopkeepers, artisans and creators producing in the Paris area. A way of recalling that creation, to survive the market, first needs an ecosystem — and that Paris, in its own measure, continues to be one.
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