There are easier ways to do Paris Fashion Week than flying its spirit 4,500 miles west and staging it in an Inter Miami stadium during the World Cup.

Paris has the rooms, the rituals, the front-row regulars and the general sense that fashion’s natural habitat is somewhere with bad traffic and an even worse guest list. Colm Dillane’s KidSuper, naturally, did it anyway.

On June 25, he took his brand took over the Nu Stadium in Miami for its Spring/Summer 2027 show: a one-night detour from the Paris schedule that Dillane has called a “Paris Fashion Week off-site show”.

It was held between two World Cup fixtures in the city, with Scotland playing Brazil the night before and Colombia facing Portugal two days later. But it was not a show that simply borrowed football’s timing, then added a shirt or two for effect.

The tournament was the point, the clearest image of which arriving at the end. As the finale unfolded, kids came out wearing the jerseys of the 48 nations competing at this summer’s World Cup.

It was a simple staging decision, but one that did a lot of work. In a stadium built for a club whose identity has become part football team, part global cultural event, Dillane made the competition visible as something larger than its star players and host cities: a collection of homes, family histories, accents, colours and inherited loyalties.

That has long been the substance of KidSuper’s relationship with football. Dillane grew up playing in New York, in teams full of children from different countries and communities. He has since built a rooftop pitch at KidSuper’s Brooklyn HQ, started teams, staged games and brought actual football figures into his fashion universe.

He has not discovered the sport because fashion has decided it is useful again. It has been there from the beginning, stitched into the way he works. The Miami move made that obvious. This was not Paris being abandoned; it was Paris being temporarily relocated to the place where the world’s attention had shifted.

For the first time in decades, the United States is hosting football’s biggest tournament, alongside Canada and Mexico, and the country is currently operating at a different cultural speed because of it.

Cities are full of fans, teams and travelling supporters. Brands are trying to find their place inside it. Fashion, inevitably, is too. Dillane’s answer was not to make the World Cup look more luxurious, but to treat it as a reason for people to gather.

While the collection itself was less about football and the ongoing World Cup, and more about his penchant for flamboyant, luxe sportswear, the capsule was still shaped by genuine heritage. In fact, KidSuper’s best work has always been less interested in a sterile idea of “global culture” than in the people who make it real: the friend of a friend, the local five-a-side player, the family member who brings a story with them.

His work with PUMA has placed that instinct directly on the pitch. In May, Christian Pulisic unveiled a KidSuper-designed PUMA ULTRA 6 for the World Cup: a white speed boot scattered with hand-drawn blue stars, with “I BELIEVE” worked into the laces and tongue.

It is a proper performance product, but it reads like a personal object too: part American iconography, part player diary, part Colm Dillane sketchbook.

That has been KidSuper’s role around this World Cup. Not just making football-fashion product, but making the tournament feel human-sized again. A boot for the United States captain. A stadium catwalk in Miami. Children in every competing nation’s shirt.

Again, yes, the clothes still carried Dillane’s usual mix of sportswear, colour and irreverence. But in Miami, all of it was given a wider frame. The World Cup was not just the backdrop, it was the show’s emotional engine, in a way.