Paris Fall 2025 was a season of beginnings and goodbyes: Sarah Burton’s breathtaking Givenchy debut, Haider Ackermann’s first Tom Ford, Julian Klausner stepping in at Dries Van Noten, and the Chanel Studio’s final bow before Matthieu Blazy arrives. Elsewhere, Alessandro Michele turned a public restroom into Valentino’s stage, Rokh delivered one of the best collections of the season, and Demna’s Balenciaga felt stuck on repeat. Here is a quick overview of every show we reviewed, with a short take and a few looks from each. The full reviews are linked under every house.
Want to compare seasons? Read our Paris Spring 2026 overview and Paris Fall 2026 overview, or browse every city in our Fashion Week coverage.
Chanel
Presented by the in-house Studio before Matthieu Blazy’s debut, this was a love letter to the house’s most iconic motifs, and it honoured Coco Chanel’s legacy beautifully. The invitation’s black bow set the tone: bows landed on blouses, dresses, jackets and accessories, from theatrical oversized versions to subtle romantic touches. Classic tweed suits were softened with sheer tulle overlays, the standout being a white tweed suit wrapped in black organza. Pearls turned up as stacked necklaces, shoulder drapes and heels, and outerwear ran from glossy patent trenches to puffers cinched with velvet bows. The crossbody bag shaped like a giant string of pearls is arguably the season’s most covetable accessory, in a final moment of nostalgia before the next chapter… Read the full Chanel review
Louis Vuitton
Nicolas Ghesquière has always been fascinated by time, and this collection let several eras meet at once: 18th-century corsetry, Victorian silhouettes and futuristic materials all coexisting. Outerwear was the centrepiece, a reminder of how good he is with coats. Sculptural jackets came with defined shoulders, some rigid, others relaxed with cinched waists; a brocade coat was the standout, and high-shine metallic trenches added a futuristic edge. Flowing gowns sat under sharply tailored blazers, corseted tops met slouchy trousers, and structured skirts were softened by semi-sheer fabrics. Plush velvets, glossy leathers and intricate embroidery played against sleek shapes, with vintage-meets-space-age bags and knee-high boots ready for adventure. For all its influences it felt wearable, because everything had an ease to it… Read the full Louis Vuitton review
Saint Laurent
The palette was absolutely stunning: fuchsia, emerald, amethyst and ochre flooding the runway. Vaccarello took his cues from YSL’s 1990s haute couture era, pairing luxe minimalism with colour and structure in a collection about purity of silhouette and fabric. Power dressing returned with a softer, more fluid twist: high-collared coats, sleek blouses and narrow skirts, all built on that inverted triangle with strong shoulders. Leather blousons, now a house staple, brought effortless cool, and evening meant voluminous ball skirts with silky camisoles and leather jackets, no ornament needed. Slingbacks, sculptural gold earrings and leather gauntlets added edge. No handbags, no product placement, and that honesty felt deliberate. This is the past, carefully curated, brought into the present… Read the full Saint Laurent review
Valentino
Alessandro Michele staged The Meta-Theatre of Intimacies in a public restroom under lurid red light, a sensory overload that blurred public and private. Drawing on Erving Goffman’s front stage and backstage selves, models emerged from bathroom stalls to argue that identity is a curated act. Lace bodysuits left undone at the crotch sat beside slouchy tweed trousers and bow-tied ’40s day dresses; lingerie met athleisure, and sheer slips hid beneath voluminous coats. The palette of inky blacks, dusty roses and deep plums, punctuated by Valentino red, was delicious, and the house’s diamond prints and feline graphics got a theatrical twist. But it was overwhelming at times, and with so many looks the narrative lost its clarity… Read the full Valentino review
Balenciaga
I forced myself to sit through this show out of obligation, not excitement. Demna delivered exactly what you’d expect, a greatest-hits playlist of everything he’s done in the last decade: oversized suits, distorted proportions and ironic sportswear. Even the black maze of a venue felt like a metaphor for Balenciaga’s endless loop. There were hints of change in narrowed silhouettes and sharper tailoring, but not enough to feel fresh. The wrinkled, moth-eaten corporate suiting read as costume, and the Puma collaboration was a weak attempt at novelty. Yohji Yamamoto and Rick Owens keep refining and expanding their signatures; here I was left asking when a signature stops being a statement and becomes a lack of new ideas… Read the full Balenciaga review
Givenchy
Sarah Burton’s Givenchy debut was nothing short of breathtaking. Working from a hidden archive of Hubert de Givenchy’s original 1952 patterns, she made something rooted in the house yet fresh, built on the dualities of femininity: strength and softness, precision and fluidity. It opened with a black fishnet catsuit stamped with the Givenchy name and founding year, then moved to sculpted hourglass coats, dramatic jackets and geometric baby doll dresses. The tailoring shone, with seams spiralling around the body and trousers with surprising back cutouts, while raw edges on tuxedo jackets suggested garments still being made. Black dominated, broken by lemon yellow and floral embroidery, before a sunshine-hued tulle gown closed the show as pure joy. An undeniable success… Read the full Givenchy review
Hermès
Titled Leather Dandy, this collection mixed equestrian and biker codes into a refined, wearable wardrobe. A cropped quilted jacket, belted high-waisted leather trousers and sleek riding boots set the tone for a lineup rooted in craftsmanship and subtle fetishism. Leather took centre stage, as it should at Hermès, in silhouettes that were sharp yet effortless: high-waisted trousers, quilted vests and rigid-cut blazers. Black dominated, from deep charcoal to jet, punctuated by lime green and soft browns. Vanhée’s layering was all there, with long wool coats draped like a scarf and leather shorts under floor-length dusters, plus coats that unzip into blankets. These are investments for a lifetime, in a collection that didn’t demand attention but commanded it with confidence… Read the full Hermès review
Miu Miu
Miu Miu offered a meditation on femininity itself. The idea was to build form around the body rather than force the body into a shape, so curves were suggested by the drape of a satin dress or the folds of a coat. Blazers slipped off shoulders, layers peeled away, and intimate pieces were shown rather than hidden, with the exaggerated cone bra becoming a sculptural force. Pointelle knits, bias skirts and satin slips played with transparency in mustard, olive and camel, lifted by royal purple, seafoam green and acid yellow. Chunky brooches and pearl-studded socks dressed up basics, and the schoolgirl look returned more grown-up. Miuccia Prada’s message for uncertain times: femininity belongs to the wearer… Read the full Miu Miu review
Chloé
Chemena Kamali keeps redefining the Chloé woman, and this season she gave the house its own take on power dressing. The soft codes were all there, in billowy blouses, flowing lace gowns and tiered maxi skirts, but so was structure: oversized quilted coats with fur trim, high-waisted leather trousers and exaggerated shoulders on silk blouses. The mood was effortless, a little undone, but undeniably confident. The Paddington bag, a 2000s relic, returned alongside faux fur tail charms. The biggest shift was the ’80s influence, with mini pencil skirts and structured jackets feeling sharper and more urban than her earlier ’70s focus. Timeless, but never predictable: the Chloé girl is many women, which makes this era exciting… Read the full Chloé review
Schiaparelli
Daniel Roseberry built this collection on a playful what if: a world where men no longer exist, and women dress for themselves and other women. Cowboy, gunslinger and outlaw imagery became a vehicle for female strength, starting with Gigi Hadid in a black bow-legged trouser suit and Western stiletto boots. Tailoring was central, with exaggerated 1940s shoulders and nipped-in waists, while leather trousers with corset lacing and velvet-tied knit dresses kept things tough yet tender. Big-buckle belts and hand-tooled leather bags nodded to his Texan roots, burnished copper replaced the signature gold, and the surrealism came through trompe l’oeil buckles. Standouts included a bugle-beaded pyjama set and a velvet jacket with shoulders broad enough to slice through a saloon door… Read the full Schiaparelli review
Alaïa
Shown in the Paris atelier, Pieter Mulier’s collection was a tribute to the goddess Venus, turning beauty, femininity and power into form, texture and movement. The silhouettes were sculptural and body-conscious: hooded tops framed the face like a portrait, voluminous skirts swayed with a hypnotic rhythm, and metal-sculpted dresses shimmered under the lights. It felt closer to kinetic sculpture than conventional clothing. Lightweight knits, crisp cottons and silky fabrics moved beautifully, while padded rolls wrapped hips, shoulders and faces in a way that felt both protective and empowering. The craftsmanship was masterful, from floating pleated skirts to regal sculpted coats. For all its avant-garde edge, it stayed rooted in celebrating the female form in all its beauty and complexity… Read the full Alaïa review
Alexander McQueen
Seán McGirr took McQueen into the world of the neo-dandy: rebellious, refined, Victorian-inspired yet modern, with Oscar Wilde and Charles Dickens as references. He calls dandyism the ultimate act of adornment, and it opened with a peak-shouldered coat with lace framing the face. The eveningwear was the showstopper: flowing silk dresses in deep reds, magentas and lavenders, a black lace maxi that felt like a direct tribute to McQueen’s gothic side, and a raspberry chiffon gown with sculptural sleeves. Philip Treacy’s hats added theatrics, gold bullion embroidery brought regal opulence, and crystal-encrusted face masks were made with young designers from the Sarabande Foundation. Shearling evening jackets looked like angel wings in motion… Read the full Alexander McQueen review
Balmain
Olivier Rousteing’s word for the season was Cocooning, and the runway delivered: a move away from structured, high-octane glam towards something softer and more understated. Oversized knits, draped wool coats and slouchy silhouettes brought an effortless ease, with the usual gold bullion swapped for muted greys. Drama survived in sculptural coats with oversized lapels, thigh-high scrunched boots and zebra patterns for a fierce touch. The big surprise was no shoulder pads, intentional but leaving some looks less distinctly Balmain. The slouchy leather pumps looked awkward and clunky, and some oversized knits risked swallowing the models whole. Still, sensuality over pure sex appeal feels like a new chapter, and a designer evolving is compelling, even if the results aren’t flawless… Read the full Balmain review
Comme des Garçons
The show opened to Bulgarian folk singers, hauntingly beautiful sounds for a thought-provoking and visually striking collection. According to Adrian Joffe, Kawakubo’s theme was the strength of smallness in a world dominated by massive corporations and systems, and it played out as an avant-garde protest against conformity. First came massive, distorted menswear-inspired pieces in pinstripes, checks and grey flannels, business attire turned surreal to show the suffocating presence of corporate culture. Then the feminine crept in: delicate cocktail dresses layered over dark foundations, dramatic crinolines and vibrant satins in pink, red and purple. Those softer, romantic details stood for resilience, rebellion and hope. Kawakubo isn’t just designing clothes here, she is creating art… Read the full Comme des Garçons review
Lanvin
Copping’s runway debut was rooted in Jeanne Lanvin’s legacy and her idea of Le Chic Ultime, made relevant for today. The archival motifs were a standout, as was the elegant interplay between structure and fluidity: her robe de style became a metallic lurex dress with a full petalled skirt, modern yet undeniably rooted in history. A black velvet column dress with silver sequins draped over the shoulders showed restraint, while soft trenches, reworked peacoats and a black leather overcoat nodding to 1920s driving coats gave outerwear a leading role. Spiral-draped ribbon dresses added drama. Menswear, new territory for him, showed promise, and Jeanne Lanvin’s sea-meets-sky blue touched the accessories. A beautiful, cohesive debut that promised plenty more to come… Read the full Lanvin review
Courrèges
Nicolas Di Felice started with party streamers and reworked them into dynamic, asymmetrical silhouettes. Dresses and tops draped across the body, held by tucks and twists rather than traditional fastenings, and a sculptural white off-the-shoulder dress nodded to the house’s 1960s space-age look. Miniskirts came with asymmetric trailing panels that moved with every step, designed, no doubt, for dancing. Oversized bombers with cocoon-like volume gave a tough contrast, trench coats in sleek technical fabrics had funnel-like shawl collars, and leather outerwear fitted like a second skin. Flashes of red, pink and metallics popped against the black and white base. From slim leather dresses to exaggerated parkas, it leaned club-ready, a collection about togetherness and clothes made for movement… Read the full Courrèges review
Dries Van Noten
Julian Klausner had big shoes to fill with his debut, and he is more than up for the challenge. The Palais Garnier was a statement in itself and the opening floor-length wool coat with exposed stitches set the tone. He doesn’t reinvent the wheel but evolves the house’s DNA: rich textures, opulent fabrics and unexpected embellishments, in capes, tailored outerwear and silk tops in moody tones. Prints were dialled back for muted stripes, while gold-trimmed knitwear moved from burnt orange into fuchsia, emerald, sapphire and amethyst. Velvet, rug jacquards and tassels suited the opera house, and I sensed an Indianness in the unrealistically beautiful craftsmanship. Dries is a favourite of mine, and I’m glad his essence is there… Read the full Dries Van Noten review
Duran Lantink
One of the most fun and unforgettable shows of the season, full of wild, weird, kitschy fits that made me stop and stare. The warped silhouettes were back in full force: shoulders extended past the ears and hips jutted at odd angles. Add assless jeans and Chandler Frye in a latex breastplate with bouncing breasts, which could be a joke, a statement or gender commentary. It was staged in a mid-renovation Paris office with staff in headsets, and bad taste was the theme, through loud animal prints, clashing camo and classic plaids. A reworked Barbour jacket proved the avant-garde can be wearable. With the Jean Paul Gaultier rumours, he may be preparing for something bigger. A breath of fresh air… Read the full Duran Lantink review
Gabriela Hearst
A masterful blend of history, mythology and sustainability. Gabriela Hearst took inspiration from archaeologist Marija Gimbutas and her studies of matriarchal societies and goddess symbolism, celebrating feminine strength through spirals, snakes and chevrons that echo ancient cave markings. A cashmere shearling coat with bold black lines recalled prehistoric art, and a nappa leather dress used hand-sewn tubing to mimic the curves of the body. Snakes, a symbol of renewal, appeared as jacquard cashmere, hand-embroidered leather scales and genuine python, responsibly sourced from an Everglades conservation initiative. Elsewhere there was handwoven cashmere from Manos del Uruguay, upcycled vintage mink and recycled denim, plus the Marija tote and the Ohio sneaker with recycled rubber soles, all true to the brand’s eco-conscious ethos… Read the full Gabriela Hearst review
Nina Ricci
Easily Harris Reed’s strongest Nina Ricci yet, with a clearer direction and far less of his kitschier side. The starting point was a 1970s Helmut Newton photograph and its seductive, louche glamour, with Saint Laurent’s sleek androgyny, Tom Ford’s jewel-toned sensuality and Carine Roitfeld’s French-girl nonchalance as touchstones. Roitfeld styled the show, and it felt freer and more self-assured. Models walked a black gravel runway framed by streetlamps in plunging slipdresses and sheer blouses with high-waisted corset trousers. The androgynous tailoring was a strength, especially an ivory three-piece suit with a citrine faux-fur stole. The sparse archives are a blessing and a challenge, and pastiche is a risk, but this season Reed struck a good balance between past and future… Read the full Nina Ricci review
Rabanne
Rabanne was built on contradictions: structured yet wild, classic yet rebellious. Faux fur was the standout and it was everywhere, on coats, slitted skirts and lapels, while sequins mimicked it with a shaggy, untamed look that still blended into tailoring. Dossena’s layering felt innovative, experimental but wearable, with coats doubled and belted to reveal a second jacket underneath. A greenish-brown suit with silver lapels and a shimmering turtleneck balanced structure and opulence, and a pill-printed suit gave an everyday staple an ironic edge. Chunky Mary Janes, combat boots and layered earrings kept the classic-punk mix going. Keys worn as accessories hinted at security and the unknown, with military, punk and bourgeois notes reflecting the tension of the times… Read the full Rabanne review
Rick Owens
Rick Owens took a more grounded approach than his usual theatrics, or as grounded as he can be. Inspired by his time in Concordia, Italy, where his factory is based, the collection was more wearable but unmistakably Rick: nothing we haven’t seen before, yet a refined take on his signature aesthetic. Leather bombers with exaggerated shoulders, wool coats with industrial zippers and belted jackets showed a utilitarian side, while sculptural rubber tops, chaps over laser-cut fringe shorts and floor-length felt gowns kept a slightly sinister edge. Every model wore blackout contact lenses, which Owens compares to red lipstick, and they read as either eerie or oddly romantic. The oversized fringed leather boots made with Victor Clavelly were striking… Read the full Rick Owens review
Rokh
Undoubtedly one of the best collections of the season, grounded in reality but with a luxe feel. Hwang showed in a crumbling 19th-century maison on Avenue Marceau, a fitting place for his idea of history and modernity colliding, and delivered a masterclass in construction and deconstruction. Trench coats had zippered panels that peeled away into unexpected silhouettes, and a deconstructed men’s jacket became a slim black dress. Ballooning chiffon capes, bubble skirts and Edwardian micro-florals added extravagance. The standout was a draped black dress with a ballooned ball skirt that might have been crafted from trash bags but was actually a glossy techno-velvet masterpiece, very neo-goth. Bags were deconstructed from vintage finds at Portobello Market… Read the full Rokh review
Sacai
Chitose Abe dialled down the deconstruction for a softer, more fluid take on her hybrid layering, and the result felt like an embrace, a comforting response to the current unease. Scarves were built into jackets; ponchos in puffer, wool and fur wrapped the models in warmth, while mermaid skirts skimmed the body. There were sequins down the legs of cargo trousers and faux feathers flocked around anoraks. The standout was a tribute to Man Ray, his sensual photographs transposed onto fur minidresses, shirts and T-shirts. Military jackets were softened with knitted panels, and the towering platforms were gone, replaced by faux-fur scuffs and slouchy low-heeled boots. Abe’s sensitivity to the modern woman’s needs showed in every detail… Read the full Sacai review
Stella McCartney
Titled Laptop to Lapdance, Stella McCartney’s show explored the modern working woman’s mix of structure and seduction. The set was a fully realised office with whirring PCs and pole dancers, a playful challenge to power dressing. Oversized double-breasted blazers were worn against bare skin, strong ’80s shoulders projected authority, and low-slung trousers and cinched-waist dresses brought the sensual contrast. Accessories ran from PVC-like vegan stripper boots to faux fur coats with studious glasses. Sustainability stayed central, with 99% of pieces in organic cotton, forest-friendly viscose and plant-based alternatives, and embroidered ’70s tailoring, vegan suede and recycled denim nodded to Paul and Linda McCartney. As she quipped backstage, “I want women to wear that suit to a club”… Read the full Stella McCartney review
Tom Ford
Haider Ackermann’s Tom Ford debut brings the heat. In a sultry, mirrored space with low lighting and plush seating, he skipped literal nods to Ford’s own label or his Gucci and Yves Saint Laurent years and went straight for the mood: sexy, confident and unapologetically glamorous. It opened with sleek black-and-white leather and pops of lipstick red and acid yellow, with leather T-shirts, moto jackets and bias-cut skirts playing structure against fluidity. Evening meant peaked shoulders and liquid draping in ice blue, butter yellow and lavender, plus plunge-front jumpsuits, satin coats and ultra-high-slit gowns that suggested rather than shouted. The final grey looks, with scale-like texture, nodded to Ford’s love of exotic skins. Legacy honoured, with a smooth, sensual touch… Read the full Tom Ford review
Victoria Beckham
Victoria Beckham talked about a ritual of dressing, but this felt more like a fantasy wardrobe for a dreamer, someone who studies their reflection every morning in a perfectly lit boudoir. The house codes remain, clean tailoring, flattering silhouettes and masculine-feminine play, only more instinctive and personal. Dropped-lapel jackets came with leg-lengthening stirrup trousers, and rolled-up hems on blazers and minidresses added spontaneity. Silk dressing gowns became evening dresses and a VB-monogrammed bathrobe turned into a bow-detailed smoking jacket. The accessories were playful: a jewellery box evening bag, perfume bottles as leather charms and intriguing oversized Oxfords with built-in heel grips. Inventive in the details, even if the dreamer idea is a stretch… Read the full Victoria Beckham review
Yohji Yamamoto
Yohji Yamamoto stayed true to his signature deconstruction, mixing classic silhouettes with unexpected twists. Oversized chimney-neck sweaters and slick leather jackets were reworked with metal rings, snaps and lacing. Standouts included high-low skirts made from pinstriped trousers and sheer turtlenecks under flowy leather jackets, while some coats were walking abstract art. Purple stole the spotlight from the noir palette, in strapped boots, embellishments and a finale where models paired up to flip coats inside out and reveal purple linings, a metaphor for what lies beneath the surface. At 81, his creative spark shows no sign of dimming, and the lack of grand showmanship was a quiet reminder that fashion is about constant reinvention… Read the full Yohji Yamamoto review
Zimmermann
Inspired by the Australian cult film Picnic at Hanging Rock, Zimmermann moved from dreamy and ethereal to darker and mysterious. It opened with airy dresses in soft creams and peaches, recalling the film’s schoolgirls, with lace lingerie-style dresses, handkerchief hems and romantic ruffles. Then the palette deepened to moss greens and midnight blues, with snake prints and dark lace evoking the eerie bushland. Victorian lace bibs and pinafores became tops. Standouts included indigo denim dresses with cutouts, liquid paisleys and high-necked lace bodysuits like Victorian shapewear. Silk scarves worn as belts, almond-shaped suede bags and polished-stone jewellery complemented it all beautifully. If you want White Lotus energy for your next getaway, this is where to find it… Read the full Zimmermann review
Pictures courtesy of Vogue Runway
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