Paris Fashion Week has officially wrapped—and we’re feeling reflective on Spring 2026’s latest designs and debuts! Below, our chic correspondent Sofia Achaval de Montaigu shares her observations from the headline-making shows of the season.
Saint Laurent
Anthony Vaccarello presented its Spring Summer 26 collection for Yves Saint Laurent at the Trocadéro, a proposal that took clear inspiration from the 80s and adapted it to the present. With the Eiffel Tower lit up in the background, the trend for this collection was sharp silhouettes, big shoulders, straight skirts and tight waists, reinforcing the empowering aesthetic from that decade. White shirts with wide necklines and bows were some of the most clear signs to the brand’s archive, while oversized blazers and structured sleeves brought strength to the runway. Accessories followed that same line, they were oversized and had earrings and necklaces as their main characters. We also saw dark sunglasses and knee-high boots with sculptural heels completed those retro vibe looks. Vaccarello surprised by benching the black, a YSL trademark, to give a main character role to earthy hues and neutrals: ochres, olive greens, browns and deep oranges. This decision was fresh and brought the 80s to modernity without being repetitive. The second part of the show brought forward more dramatic pieces: vaporous dresses, long capes, balloon sleeves and multi layered skirts. Those were my favorite looks, especially the one worn by Bella Hadid made of a top with shoulderpads combined with a cinched-waist skirt, black stockings and big sunglasses that completed the star outfit. It was followed by an ochre gauze dress that stood out due to its big voluminous sleeves and a waterfall of pleats that went all the way to the floor. The proposal pulled away from the initial stiffness to show a lighter, more ethereal side. Fabrics oscillated between noble materials like wool and velvet and more fluid ones like organza and gauze. Sitting first row were celebrities like Madonna with her daughter Lourdes Leon -who kissed in front of the paparazzi, both wearing black dresses to the knees-, Zoe Kravitz, Charli XCX, Carla Bruni and Kate and Lila Moss, who witnessed this reaffirming vision of Vaccarello’s: that one revisiting the 80s legacy with a fresher look and one where strength and femininity balance each other in modernity.
Saint Laurent Spring 2026
Stella McCartney
Stella McCartney presented its SS26 collection at the Centre Pompidou with a show that reaffirmed her compromise with sustainable fashion and experimenting with volumes. The opening was in charge of Helen Mirren, who recited The Beatles’ Come Together, reinforcing the idea of unity and environmental conscience that is present in the designer’s proposal. The collection’s focus was on this trend: oversized silhouettes and jackets with big shoulders crossed paths with dresses inspired by the ballet and minimalist strapless pieces. McCartney played with the structured and the ethereal, with sculptural coats on the one hand and fluid capes on the other. Denim was one of the most important parts of the line, reintroduced with a sustainable approach. Oversize shirt dresses, wide trousers and recycled patchwork tops offered an urban vision, conscious and functional. Cargo pants and masculine overshirts completed this practical side of the collection. The color palette reinforced the duality of the show. Soft tones like lavender, pink and beige appeared alongside intense blacks in XL coats and satin knitted pieces. Strikes of vibrant colors like turquoise, fuschia, red and brown added energy and created a break from the initial softness. Accessories and shoes went along with the stated narrative: XL vegan bags, rigid clutches and mini bags added variety of use, while red stilettos and white pointy shoes supported the contrast between strength and daintiness. Alex Consani was the star of the finale with a purple feathered dress, a piece that summarized the proposal: sustainable fashion with a contemporary focus, characterized by the tension between lightness and drama. Sitting first row were Anitta, Ice Spice, Cara Delevingne and Dame Helen Mirren. There was also Paris Jackson dressed in crimson red with a deep cut, Robin Wright and Jenna Coleman.
Dior
Jonathan Anderson’s debut in Dior made for one of the most anticipated shows in Paris Fashion Week. The presentation made at the Jardin des Tuileries not only marked the beginning of a new era for the maison, but also the reaffirmation of its legacy through a conscious archival work and a modern reinterpretation. The setting included an inverted gray pyramid in the middle of the runway over which many historical images from the brand -from Christian Dior, Yves Saint Laurent, Marc Bohan, Raf Simons, Kim Jones, Maria Grazia Chiuri and Galliano- were projected. The collection’s trend turned around the reinvention of the New Look, an iconic silhouette from 1947. Anderson played with volumes, transparencies and capes that revisited the original vibe while adding an experimental touch. The opening look, a minimalist white dress, worked as a blank slate for pleated dresses, crinoline structured skirts and bar jackets in multiple versions: cropped, with little structured or unexpected volumes in the back. One of the key pieces was the mini skirt: we saw it in sailcloth, frayed denim and wide pleats, combined with silk shirts, long jackets and capes. Bows acted as a conductive thread, present in necks or integrated into americanas and hats. The color palette went from neutrals like blacks, whites and grays, to hints of blue, orange and soft pastels. Lace and transparencies added some sensuality, while hats consolidated themselves as the main accessory. We saw them made in origami and also as a reinterpretation of Napoleon’s bicorn hat. Shoes with massive flowers were my favorite, although the classic stilettos with the brand's initials on each one were also present. Handbags came in different shapes and colors, and my favorite was without a doubt the Suede Shopper, a functional and trendy item with a firm base and a thick strap with a “DIOR” charm. Sitting first row were celebrities like Rosalía, Jennifer Lawrence, Charlize Theron, Anya Taylor-Joy and Jenna Ortega, while Brigitte Macron also said present accompanied by Bernard and Delphine Arnault.
Dior Spring 2026
Courreges
At the Carreau du Temple, Nicolas Di Delice presented a collection that asserts Courteges’ futuristic legacy and takes it to a sexy contemporary level. The setting, a perfect circular with benches surrounding it, highlighted the idea of continuity and precision that characterizes the maison. The trend for this collection was the return to the 60s silhouettes by Andre Courreges, with a straight miniskirt with front pockets as its main piece. These items were combined with geometric tops with bare backs and cutouts in the side of the torso, accentuating a sexy minimalism. The show began with a performance: an odd voice announced the rising of temperature while a white light blinded the room. Part of the audience had sunglasses, aligning with the concept of sun protection present in the proposal. The opening look was one of my favorites, with a straight miniskirt and an icy blue veil that covered the model’s face. Another look that stood out was a structured minidress made of belt-like straps combined with extra flat boots. Lastly, a shimmering pink midi dress combined with see-through accessories was also a hit. Black dominated over the line, softening in times by peachy hues, aquamarine, camel and beige, in addition to the icy blues that opened the show. The knitwear included fabrics like leather and more natural proposals reinforcing the duality of stiffness and fluidity. In terms of silhouettes, Di Felice alternated between structured lines -pencil skirts and rigid tops that covered torsos and necks- with softer designs like light drapes and halters that went all the way down to the waist. The notion of futuristic protection was also seen in accessories: caps with fabric that went down to the waist and rigid structures for the chest, evoking shields against solar light. The shoes maintained the functional and experimental tone, with flat shoes, sling backs and extra flat boots adjusting like socks or other transparent versions that followed the galactic aesthetic. The atmosphere was completed with a futuristic funk composed by Di Felice and Erwan Sene, accompanied by the voice of a French narrator that read the temperature in real time. Sitting first row behind sunglasses were Emma Chamberlain, Naomi Watts and Kim Petras. In this proposal, Courreges reasserts the idea of bringing the 60s futuristic to the present with hints of protection and sensuality to a dialogue between the historic archive of the maison and contemporary needs.
Isabel Marant
Isabel Marant’s Spring Summer 2026 collection was special: it was presented at the gardens of the Palais Royal and it marked the transition towards a new era with Kim Bekker as creative director. The show maintained the boho-chic spirit that always characterized the brand, with a more polished and modern approach. The set with an ochre floor and plants transported the audience into a safari. The trend for this collection was clear: urban boho that mixes the handmade with the functional. There was crochet, leather, cotton and relaxed silhouettes combined with military jackets, belts and tighter cargo pants. Some of the best looks included a strapless top with bulk sleeves and a gypsy style skirt with a side slit in pink and brown. I also liked a total white look with a pair of embroidered mini shirts, a basic white tee and a knitted crop sweater styled with many long necklaces and sneakers, very much aligned with Marant’s DNA. Lastly, we saw a blue mini slip dress that added sophistication and freshness. Thick belts were key, and were styled over dresses, jackets and trousers, while necklaces and fringed bags reinforced the boho vibe. The shoewear was wide: from flat sandals to slingbacks, always comfy and practical. The color palette went from beiges, khakis and sand to streaks of gold and lurex to add some sparkle. Crochet, one of the brand’s trademarks, returned in shorts and vests in more sensual cuts. Sitting first row were celebrities like Paris Hilton, Georgia May Jagger, Iris Law and Taylor Hill, who witnessed this new beginning of an era for the brand.
Schiaparelli
Daniel Roseberry presented Schiaparelli’s Spring Summer 2026 collection at the Centre Pompidou under the title “Dancer in the Dark”. The venue was dimly lit creating an intimate and almost theatrical atmosphere where the models walked in silence as if strolling in a museum. The trend for this collection was the hard chic, with straight shoulder suits, column dresses and controlled silhouettes that transmitted rigor and discipline. Fluidity was added with black gauze that seemed to float with the movement and sparkly details that looked as moving in the darkness. There was a constant play of rigidity and softness, minimalism and surrealism. Black dominated on the runway as a symbol of mystery and power, accompanied by bone white and crimson red that broke through neutrality. The video played showed images from the archive and historical moments of the maison, reinforcing the connection between Roseberry, Elsa Schiaparelli and also the idea of the collection having a dialogue between the past and the present. Hats were the unexpected protagonists, designed in rigid and sculptural shapes. Some of the best looks included a black jacquard dress with a trompe-l’oeil effect, A metallic dress that was a reinterpretation of Elsa’s Tear Dress with a shiny finish and an asymmetric jacket with satin trousers that clearly portrayed the tension between structure and fluidity. In terms of accessories, surrealistic bags came back in clutches with metallic fingers, bags with faces and the classic Secret handbag made in a modern way. All of these kept the brands classic mix of luxury with visual humour. The finale was made for Kendall Jenner, who wore a completely see through dress decorated with hairs from the mane of a black horse, a piece that took the naked dress trend to the limit. Kylie Jenner, Ester Esposito, Manu Rios and Marisa Berenson enjoyed from the first row.
Rick Owens
Rick Owens presented his Spring Summer 2026 collection, called “Temple”, which explored the duality between structure and fragility, a constant for Owens’ universe. The trend here focused on angular silhouettes that created a kind of contemporary suit of armor. Owens combined heavy leather, ethereal gauze and metallic fabrics into a perfect balance of the rigid and the soft. The show took place at the Palais de Tokyo, transforming the venue into an almost ritual-like scenario. The runway, an elevated metallic platform that ended in a pond reinforced the idea of purification and transformation. While the models slowly walked, the clothes got wet and changed textures, while “Somebody to Love” by Jefferson Airplane -Suicida remix- sounded in repeat creating a hypnotic and tense atmosphere. The chromatic palette stayed true to his DNA: intense blacks, grays and sands with hints of silver that enhanced the water's sparkly wetness. Some of the highlights were a gray gauze cape with pronounced shoulderpads combined with black leather pants and a white shirt, also, a long nude dress with subtle details in the sleeves. The lingerie reinterpretations were also key: gauze capes starting in metallic shoulders, tops and dresses with sculptural stockings that reformulated sensuality from structure itself.
Balenciaga
The historic Laennec hospital, with its main central hall made of stone and dim lights was the chosen venue for Pierpaolo Piccioli’s debut at Balenciaga. Some of the references guiding this line were the Le Corbusier chapel and Leonardo da Vinci’s Vitruvian Man, a hint to the proportions and the trends that would be shown on the runway. The first look, a coat dress with a bulky back, was a direct reference to one of Cristóbal Balenciaga’s most famous pieces. Under the title “The Heartbeat”, the show began with a simple detail full of meaning: the invitation was a little cassette that played the sound of a beating heart. That same beat was the conductive thread for the presentation. The initial silence was broken by Sinéad O’Connor’s “In the Heart”, followed by the echo of the steps that marked the beginning’s rhythm. Amidst that solemn -almost spiritual- atmosphere, Piccioli presented a collection that united classic elegance with contemporary irony, building a bridge between the glamour of the 20th century and the immediacy of the 21st century. From there, the proposal moved on to cocoon leather jackets, feather dresses made of cotton, bulky skirts and shirts that turned into dresses’ trains. The colors went from total black -the brand’s trademark- to hints of color reminiscing of the original archive. Among the visual accessories, sunglasses played a key role: massive visor glasses, wrapping frames and others with crystals covering the faces gave the idea of a modern mask. Piccioli’s debut gathered an audience that seemed to measure the reach of modern fashion: Meghan Markle, in an impeccable total white set of wide leg trousers, a shirt and a fluid cape that fell elegantly with black pointy stilettos and a matching bag. Anne Hathaway was also there in an outfit that mixed the casual with the theatrical: a graphic black tee with a logo, black pants and dark sunglasses., FKA Twigs and Lauren Sánchez also said present in the brand’s new beginning.
Valentino
Alessandro Michele presented Valentino’s latest collection “Fireflies” at the Institut du Monde Arabe in Paris. The starting point was a 1941 letter written by Pier Paolo Pasolini where the filmmaker reflected on fireflies as a symbol for resistance and hope. That idea of a light in the middle of the dark guided the collection, and the trend for it was somber elegance with inspiration from the 70s. The light installation, created by Nonotak Studio, reinforced that concept: the venue was intermittently lit up recreating the fireflies while models walked on a black runway. On the runway, we saw dresses with frills, bows on the necklines and velvet skirts combined with gauze blouses, silk shirts and chartreuse silk trousers. Some of the highlights were a blue blouse with bows combined with satin trousers. We also saw draped golden dresses with feather necklines, blouses with bulky sleeves and flares and military inspired double button jackets. The color palette included neutrals like black, white and beige with strikes of blue and ruby red. Textures played a key role: velvet, satin, gauze and sequins created a transition between day and night. In terms of front row, Pamela Anderson gave a speech around Pasolini’s manifesto at the beginning of the show. Lana del Rey and other big names like Emma Chamberlain, Colman Domingo and Charlotte Lawrence also enjoyed the show.
Celine
Michael Rider presented his latest collection for Celine at the Saint-Cloud park in Paris, a natural setting that contrasted with the almost architectural silhouettes. The trend on this collection bet on the yuppie aesthetic, combining a contemporary and relaxed attitude. Everything revolved around the tailoring: 80s inspired jackets with pronounced shoulders were seen alongside slightly flared pants. This mixing of structure and fluidity defined the tone of the collection. The scarf was the main character. Freed from its traditional use, we saw scarves as ties, bracelets and belts, setting the show’s rhythm. Silhouettes oscillated between the androgynous and the sensual: long dresses and vaporous capes gave way to satin rugby polos, a clear reference to the designer’s past in Ralph Lauren. I also liked a series of A-line mini dresses in floral prints and bouclé baby-doll dresses. The color palette stayed within the neutrals like navy blue, black and creme, interrupted by hints of primary colors that added visual dynamism. Sitting first row were Emily Hampshire, Tracee Ellis Ross and Uma Thurman wearing a total black look that included wide trousers and pointy shoes.
Chloe
Since Chemena Kamali took over as creative director in 2023, she has made femininity a constant for Chloé. For Spring Summer 2026, that idea was brought forward with renovated energy: floral prints, wide silhouettes and bright colors that remind us of freedom and optimism. The hit trend for this collection was the structured boho. Kamali took the hippie spirit from the 70s and fusioned it with precise cuts. We saw vaporous dresses and light layers that accentuated the waist, bulky blouses and tight pants. On the runway, there were some highlights like long gauze dresses in florals made with soft drapes, minidresses with high necklines and pop floral prints, tops with bulky sleeves combined with sarong skirts and voluminous coats that seemed to evolve from bathing suits. My favorite look was an off-shoulder top with a ruffle in white lace and a matching long skirt, creating a waterfall effect. The color palette went from pastels to bolder colors. Neutrals like creme, beige and white alternated with strikes of aquamarine, fuchsia and yellow. Among the audience, big names like Claudia Schiffer, Olivia Wilde, Liv Tyler, Rita Ora and Georgia May Jagger observed the brand’s new directions closely.
Miu Miu
Miuccia Prada played with the unexpected again for her Spring Summer 2026 collection for Miu Miu, making a trend of turning utilitarian pieces into main characters. The show took place at the Palais de Iéna in Paris, with a minimalist but vibrant setting: fuchsia floors contrasting with blue and green benches that created a geometric and playful vibe. From the very beginning -actress Sandra Hüller came out wearing blue gardening overalls- it became clear that the collection was all about an unexpected item: the overall. Miuccia took this functional piece of clothing, symbol for work, and transformed it into the dress of the season. The overalls were seen with rhinestones, crystals, frills and rims, reshaped into a declaration of style that combines irony and femininity. Over the runway, there were also working jackets, two piece suits inspired by the workplace and buttoned down shirts over skirts and trousers. The color palette stayed within the colors that define the brand: navy blue, black and soft neutrals, interrupted only by hints of red, yellow, orange and green, which added energy and modernity. Among the accessories, belts and keychains stood out, a tribute to the doorkeepers and the universe of housekeeping. We also saw soft bags carried naturally by the models, adding an air of relaxation to the outfit. As usual for Miu Miu, the show was a mix of utilitarian and the feminine, the modest and the provocative. Emma Watson, Emma Corrin, Morgan Stewart and Poppy Delevingne enjoyed the show from the first row and were witnesses to a standing ovation for the finale.
Chanel
Paris Fashion Week ended with Matthieu Blazy’s first show as Chanel’s creative director. It took place at the historic Grand Palais, transformed into a cosmic planetary with big spheres acting as planets to accentuate that feeling of spatial renovation. Chanel’s trend for this season is balancing the classic and the bold. Blazy didn’t turn away from Chanel’s classics of tweed, structured jackets and feathers, but he turned them around subtly. For this collection, he revisited the jacket: some models kept their iconic shape, but volumes and textures were modified with feathers, fringes or unexpected layering. Fringes appeared on coats, skirts and jackets, while feathers were seen not only on party dresses but also in day to day pieces or even the models hair. The opening look was one of my favorites, a masculine two piece set combined with a brown belt and feather earrings. The extra large shirt was a key piece in the collection, created by the iconic French designer Charvet. It has a masculine cut but was revisited for a woman’s silhouette. This shirt that definitely stood out was Karl Lagerfeld’s favorite. From the beginning through the “Gabrielle Chanel” door, guests were surrounded by a visual universe of dim lights, hanging planets and an atmosphere that anticipated a new era for the maison. The color palette was wide. Black and white stayed as main pillars, accompanied by gold, red, orange and blue. The classic tweed skirts had slits and low rises, reaffirming a silhouette Chanel is imposing for this year. Among the most striking highlights, we saw oversized hats with feathers and scenic details and the revisiting of the cap toe shoe with sculptural shapes and many color combinations, my favorite being the one with red. The front row was a wide display of celebrities: Penelope Cruz, Margot Robbie, Nicole Kidman, Kendall Jenner and Ursula Corbero, among others, were present in this key show for the brand.
Chanel Spring 2026
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