Maison Joakim’s Le Dîner 1987

Maison Joakim recently unveiled its SS26 collection, Le Dîner 1987. Small but mighty, the collection features just four pieces, emphasizing material quality and wearability. During Montreal Fashion Week, they took over a former art gallery to present the collection. Joakim Etienne-Martel, the house’s founder, was on hand to speak with customers and curious passersby.

Photograph by Sullylux

With texture and fabric at the forefront of the collection, Joakim wanted to allow visitors to experience the pieces firsthand, exploring their feel and fit. This emphasis on the physical experience of clothing reflects the philosophy behind Maison Joakim.

 

Founded in Montreal in 2025, the house draws inspiration from the elegance of city life and the ease of the Mediterranean coast, bringing together two seemingly contrasting approaches to dressing. At the centre of the brand is an appreciation for clothing you can live in, rather than simply admire. Designed in Montreal and produced in small batches in Europe, its pieces reflect a preference for thoughtful construction, quality fabrics, and silhouettes that resist passing trends. It’s an approach that places longevity and versatility above the constant pursuit of something new.

Photograph by Sullylux

This philosophy extended beyond the clothing itself. At the former gallery, garments were displayed alongside curated vintage furniture. Speaking with Joakim during the presentation, he explained his ambition to eventually offer both clothing and vintage furniture under the Maison Joakim name. To him, the two naturally complement one another: both are objects meant to be lived in, appreciated, and used. The vintage furnishings were more than decorative elements; they offered a glimpse into the broader vision behind the house.

Photograph by Sullylux

That same appreciation for timeless design is evident in the four pieces that make up Le Dîner 1987.

 

The Cléo White Shirt offers a contemporary interpretation of a classic wardrobe staple. Made from 100% Italian cotton poplin, its relaxed silhouette contrasts with the structured, upright collar, bringing a subtle sophistication to an otherwise understated piece. A concealed button placket keeps the design clean and uninterrupted, allowing the shirt’s shape and drape to take centre stage. The result is a piece that feels equally suited to casual and more formal settings, reflecting Maison Joakim’s emphasis on versatility.

Photograph by Marceau Coiffard

While the Cléo offers a contemporary take on everyday shirting, Léon Shirt leans into more traditional tailoring. Crafted from Italian Balmoral Silk, a blend of silk, cotton, and wool, it features subtle vertical stripes in muted grey. French cuffs and a concealed placket with mother-of-pearl buttons add sophistication, while the relaxed fit maintains ease.

Photograph by Marceau Coiffard

The Giverny Trouser continues the collection’s balance of structure and ease. Cut from lightweight Italian tropical wool, its straight-leg silhouette falls loosely, while the turned-up hems add a subtle tailored finish. The muted olive colour makes the trousers an understated complement to the collection’s shirting.

Photograph by Marceau Coiffard

The Noé Trouser rounds out the collection with a softer approach to tailoring. Like the Giverny, it is crafted from Italian tropical wool, but its generous cut and clean, ankle-length hem create a more relaxed silhouette. Finished in neutral beige, the trousers emphasize the collection’s understated elegance, letting the fabric and fit speak for themselves.

Photograph by Marceau Coiffard

With Le Dîner 1987, Maison Joakim demonstrates that a collection doesn’t need to be extensive to make an impression. Across just four pieces, the house maintains a clear focus on quality, versatility, and thoughtful design. Like the vintage furniture displayed alongside them, these garments are meant to be lived in and appreciated over time. For Maison Joakim, the goal isn’t simply to create something new, but something worth keeping.

 

By Sarah Rodrigues

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