How Paris Fashion Week put product before virality
Set within a bubble of spring-like freshness, Paris Fashion Week autumn/winter 2026 offered a parallel reality. While the media was filled with images of Israeli-American strikes in Iran, the catwalks presented a different world, one determined to evoke desire. In the face of the violence of war and its economic repercussions, brands abandoned the quest for virality to focus on the essential: the intrinsic strength of the product.
Variations on the Parisienne
A safe bet in times of crisis (but not only then), the image of the Parisienne is a charming asset with infinite commercial power for fashion brands, whether French or not.
To recall its roots and connection with the Parisienne, Courrèges placed the capital's identity at the heart of its collection. The tribute was overt, featuring metro tickets embroidered on a bustier dress. It extended into a wardrobe designed for city life. Nicolas Di Felice did not just create 'image looks'; he also addressed practical issues, aiming to dress women from morning to night. Notable pieces included trousers with press studs that open up to the thigh, allowing for a change of style throughout the day, and zipped items that can be worn in multiple ways.
Other well-considered elements in this collection included tops with openings at the nape of the neck for hair to pass through. The new Shadow bag featured a stretch material, its subtlety sensually revealing the objects placed inside.
Several coats were noteworthy, their chic appeal enhanced by the movement of shawl-scarves attached to the collar. Collars played a central role, serving as both a practical and elegant accessory. They took the form of a bandana buttoned onto a leather jacket or were zipped high under the chin, layered over a jacket collar.
With Burc Akyol, collars also rose very high. However, the French couturier of Turkish origin presented sexier garments. Highlights included the body moulded in a black vinyl dress or dressed in a blazer folded over the lower abdomen like a short dress.
“Sexy” is also the adjective to describe the show by Haider Ackermann for Tom Ford. Focusing primarily on tailoring, the collection targets high-income professionals, its clientele, rather than Gen Z. Here, women wear leather gloves, pencil skirts, pinstripe suits and transparent vinyl skirts. An erotic spirit reminiscent of the style of Tom Ford's long-time muse, Carine Roitfeld, former editor-in-chief of Vogue Paris and the very embodiment of a certain Parisienne archetype.
In a more nonchalant vein, the Parisienne's charm was on full display at the Chanel show, where Matthieu Blazy continued his reinvention of the iconic skirt suit. The iridescent and colourful materials of suits designed for party girls were particularly memorable. Read our dedicated article to learn all about the FW26 Chanel collection.
With a touch of humour
A penchant for fantasy runs through next winter's collections. At Schiaparelli, the solemnity of drapery gave way to strikingly effective trompe-l'œil fur effects. Surrealism was present even in the details: a resin snail crawled on hoop earrings, while a small bag appeared ready to walk away on its golden chicken-like legs, reminiscent of the dreamscapes of Studio Ghibli.
Loewe also had fun. The show, which for the first time featured both men's and women's silhouettes, brought a playful touch to utilitarian pieces. Highlights included large, colourful parkas mimicking the inflatable effect of a buoy; diving slippers worn as shoes; and colourful latex slip dresses.
Flashy colours also appeared at Belgian designer Marie Adam-Leenaerdt's show, where an intense pink dress looked like an adult version of a child's princess costume. The most memorable elements of the show were her reimagined pie bags, silky jogging sets and a bold, reversible oversized coat, Paris Hilton pink on one side and faux fur on the other.
At Julie Kegels, a costume-like spirit was also present. Superhero masks on the models' faces suggested that clothing can have superpowers and it would be a shame not to have fun with it. The collection was an invitation to rediscover childhood desires by donning a superhero cape, wearing an oversized jacket, or another with a pink quilted lining reminiscent of our grandmothers' bedspreads.
Following a very fun but divisive spring/summer 2026 show, Duran Lantink, artistic director of Jean Paul Gaultier, adopted a more sober approach, guided by commercial sense. The designer moved away from trompe-l'œil naked bodies in favour of serious tailoring. A classic JPG pinstripe trouser silhouette caught the eye with its subtle, tonal play of underwear worn on top, barely visible.
Strong pieces, grounded in a certain reality
Under the direction of Jonathan Anderson, Dior presented a wardrobe of incredible luxury, infused with a decidedly aristocratic elegance. Women were enhanced by bustle skirts; Chantilly lace; and metallic jacquard jackets. These pieces possessed a magnetic presence, designed to capture all eyes. Far from being mere objects of desire, these extravagant silhouettes influence the entire market. Long after the show's end, the opulence of ruffled skirts and the majesty of long trains continue to leave a lasting impression.
A similar 18th-century vocabulary was seen at Alain Paul. Like several other brands, the designer added volume to the hips with drapery reminiscent of the recent influence of Pieter Mulier's work at Alaïa. Designed for days when one wants to be chic, the pieces are not delicate and can withstand being creased. A white shirt was presented crumpled without looking out of place, while the compact wool of a long bustier dress gave it a very solid appearance.
At Alaïa, Pieter Mulier's latest show featured an I-line silhouette, highlighting long, form-fitting dresses, sometimes with pockets, much to the delight of women. This offering was as wearable as it was masterfully executed and, like Dior, will continue to influence the upcoming season. Read our dedicated article on the FW26 Alaïa show.
Miu Miu, currently the most coveted brand, closed Paris Fashion Week with a collection that elevated the ordinary through a 'pre-worn' aesthetic. Featuring crumpled dresses, felted cardigans and patinated leathers, the collection embraced a raw realism. The most memorable pieces were the house's signature mini dresses, which young women will undoubtedly rush to find on second-hand fashion platforms.
The Cecilie Bahnsen show was one of the few to feature a cast with a variety of body types. This smart choice was reflected in a collection true to the brand's DNA: delicate floral patterns and airy volumes. This time, however, a sense of robustness emanated from the silhouettes, likely due to the integration of sportswear elements from the collaboration with The North Face.
Details that make all the difference
On the final day of Fashion Week, the giant Louis Vuitton delivered a surprising collection. Aside from the opening looks with shoulders worthy of the highest alpine peaks (the show's theme), the softness of a grey short-sleeved top, with a fluffy down fused into the knit, was particularly memorable.
At Givenchy, the beautiful collection designed by Sarah Burton included an unusual and clever accessory: a head covering made from a T-shirt. “These headpieces are the most natural way to cover your hair,” the show notes explained. “Just a T-shirt. Just a twist. But it's the right T-shirt, with the right twist.”
At Chloé, besides the extra-voluminous muslin dresses, it was a hair accessory that turned the most heads. Twisted around long, loose hair, the small golden accessory echoed the folkloric spirit of a collection presented at the Maison de l'UNESCO.
For his second collection at Mugler, Miguel Castro Freitas chose a bold title: The Commander. In a collection centred around the 1940s war suit – a straight-lined skirt suit – the eye was drawn to the Art Deco geometry of a jewel encrusted on the torso of a dress.
“Something slightly off,” wrote Michael Rider about the collection he designed for Celine. This “little thing that's off” was brilliantly expressed in a multitude of details only visible upon closer inspection of the silhouettes. For example, the layering of two collars created a fun quirk; the shoes appeared to be still covered in a protective dust bag; large bows around the neck hid half the face; and a light seashell necklace was worn with a chic outfit.
As this chapter of Paris Fashion Week FW26 closes, one conclusion is clear: faced with particularly heavy global news, the luxury world has chosen to refocus on its essence. There was less social media buzz and more craftsmanship. Whether it was elevating the daily life of the Parisienne, injecting a dose of humour, or presenting pieces with architectural presence, brands capitalised on the intrinsic desirability of the garment.
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