Paris Spring 2026 was a season of debuts: Matthieu Blazy at Chanel, Jonathan Anderson’s womenswear at Dior, Pierpaolo Piccioli at Balenciaga, Jack McCollough and Lazaro Hernandez at Loewe, Glenn Martens at Maison Margiela and Duran Lantink at Jean Paul Gaultier, to name a few. Around them, Saint Laurent, Givenchy and Tom Ford delivered some of the strongest collections of the season, while Louis Vuitton and Courrèges left us less convinced. 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 Fall 2026 overview and Paris Fall 2025 overview, or browse every city in our Fashion Week coverage.
Chanel
Chanel is back. Matthieu Blazy’s debut is a rebirth for a house whose precision can leave it frozen in time, and he has got it moving again. Under glowing planets at the Grand Palais, a cropped tweed pantsuit opened the show, sharp and current. It plays masculine against feminine, structure against softness: tweeds softened into sheer layers, feather-light bouclé jackets, pleated silk dresses, houndstooth suits, organza shirts and bias-cut skirts, with crushed leather bags and pearls and camellias scattered like afterthoughts. Low-slung trousers and boxy jackets bring the French cool, draped jersey gowns the shimmer. It is sincere rather than shocking, honouring Gabrielle’s freedom and Karl’s fantasy. The start of a new universe, and Chanel should keep him… Read the full Chanel review
Christian Dior
Jonathan Anderson’s womenswear debut for Dior is bold, ambitious and both reverent and irreverent. An inverted pyramid screening Adam Curtis’s short film, horror-movie flashes cut with archival Dior, set a tone of theatrical tension. The New Look’s cinched-waist bell shapes and the Bar jacket return with oversize bows, looping ribbon ties, shrunken proportions and trompe l’oeil pleating, layered with Galliano’s pirate flourishes and Chiuri’s softer romanticism. Denim miniskirts meet tricorne hats, lace dresses fan into butterfly-like wings, and there are sculptural capes, pastel macrocannage bags and origami-inspired headpieces. The abundance of ideas occasionally feels overstuffed and not everything lands, but this is less about immediate charm than narrative complexity. A momentous first chapter: challenging, whimsical and unmistakably Jonathan Anderson… Read the full Christian Dior review
Louis Vuitton
The first look was beautiful, though a little ill-fitted, but this collection didn’t land for me. I have long admired Nicolas Ghesquière’s work at Louis Vuitton, yet this season felt uneven. Shown in Anne of Austria’s restored summer apartments in the Louvre, under frescoed ceilings, it was described by Ghesquière as a journey around his apartment: robe-like coats, pyjama-inspired separates and slipper shoes made for a palace floor. A grey piped robe opened, followed by sheer slips with structured corsetry and fringe that shimmered like Impressionist paintings. The craft is there, from brushed silk that reads as fur to the beadwork, but much of it felt more decorative than needed and not compelling. Technically well done, but lacking spark… Read the full Louis Vuitton review
Saint Laurent
Anthony Vaccarello’s Saint Laurent is pure cinematic glamour and easily one of the strongest offerings of the season. Staged under the Eiffel Tower in a hydrangea-filled garden, it unfolded in three chapters: leather, nylon and voluminous gowns. First came power-shouldered leather jackets, pencil skirts and crisp white pussy-bow blouses, nodding to the house’s 1980s heritage while feeling modern. Then nylon, a clever twist, for trench coats, filmy safari dresses and billowing evening gowns that could be scrunched into zip-up bags like windbreakers. The finale of technical-fabric gowns was theatrical but never excessive, romantic and bold with Vaccarello’s effortless cool. It shows how he builds brand identity through clarity and confidence, leaving women commanding and glamorous… Read the full Saint Laurent review
Valentino
A quiet kind of magic. Alessandro Michele’s “Fireflies” collection for Valentino works through the clothes rather than spectacle. Poetic and romantic, yet more grounded than usual for the house, focused on texture, light and pieces that move from day to night. Silk pants, coat dresses and translucent blouses stand out, the kind that speak softly yet still turn heads, styled with luxe textures and statement colours that catch the light. I did miss the sweeping Valentino gowns that usually close the show, but this more intimate approach works in its own way. The idea of finding light in darkness brings optimism, fragility and an unspoken confidence. Michele is finding his rhythm here, building a world both nostalgic and new… Read the full Valentino review
Balenciaga
I loved it. Pierpaolo Piccioli’s Balenciaga debut felt right from the first look, a sculpted black gown with opera gloves and bug-eyed sunglasses. Dramatic but never loud, it respects both Demna and Cristóbal Balenciaga while keeping the clothes wearable. Titled The Heartbeat, the collection runs a pulse through the house’s past and present: Cristóbal’s architectural silhouettes, Ghesquière’s futuristic tailoring, Demna’s streetwise energy. Cocoon coats, leather jackets and bubble shapes move well, and the brown leather jacket is one I would wear for years. After Valentino it is hard to imagine Piccioli anywhere else, yet he makes it work, swapping a decade of irony for calm, romance and colour. A strong debut, and a reminder that fashion can still feel human… Read the full Balenciaga review
Givenchy
Just a gorgeous collection. Sarah Burton is one of the most gifted voices in fashion, and her Givenchy feels like a revival: sensual without being overt, powerful without the usual masculine signifiers. It is female gaze 101. Jackets slide off shoulders, collars dip to reveal necklaces, and bodysuits, sheer mesh dresses and mini skirts carry a quiet sexual pulse. Leather, duchesse satin and chiffon elongate the body, finished with beads, embroidery and shredded chiffon imitating feathers. Trench coats, suits and satin gowns are deconstructed to show skin, and boudoir slip dresses meet engineered tailoring. Building on her debut with archetypes of muse, creator, lover and goddess, it is a masterclass in restraint, clarity and identity. Confident, smart and alive… Read the full Givenchy review
Hermès
Nadège Vanhee’s Hermès is something you want to touch, breathe in and live in. Deeply sensual, maybe not for everyone, but undeniably magnetic. Texture carries the story: buttery leathers, soft suede and quilted silk twill, with the house’s equestrian heritage reworked into something modern and seductive. The opening look: leather Bermuda shorts, a harness-style bra top and a long leather-and-canvas coat. The mood is city baddie on a ranch, sophistication meeting ruggedness. Leather is the hero but used lightly, cut close, quilted or draped. Harnesses over bandeaus and button-downs add sensual rebellion, silk scarves tied as chokers a cool ’90s edge, in muted browns, olive, sand and red. Her Hermès woman doesn’t try too hard… Read the full Hermès review
Loewe
Jack McCollough and Lazaro Hernandez made their Loewe debut with a burst of colour and confidence, a collection like sunshine: playful, sensual and full of life. The Proenza Schouler founders brought their sharp New York sensibility to Paris and made it look effortless, neither imitating Jonathan Anderson’s surreal touch nor abandoning it. An Ellsworth Kelly painting in bold yellow and red at the entrance set the tone for primary colours, playful layering and texture. There were leather jackets shaped like scuba suits, towel-like 3D-printed dresses, moulded leather tanks, shredded leather jeans and asymmetrical knits, plus slouchy Amazona bags and shiny plastic kitten heels straight out of a toy box. Almost a perfect collection. Loewe’s future is in very good hands… Read the full Loewe review
Celine
Michael Rider’s Celine confirms his growing grip on the house’s Parisian-Americana aesthetic. Staged in the Parc de Saint-Cloud, the collection blends Phoebe Philo’s refined minimalism with Hedi Slimane’s lean, youthful edge, filtered through Rider’s polished, preppy sensibility. The result is ultracool Parisian chic, sophisticated yet approachable. Tailoring is the highlight: blazers, double-breasted coats and equestrian-inspired trousers, in cuts from skinnies and peg-top chinos to relaxed wide legs. Mini A-line dresses in pop-art florals, sequined bubble silhouettes and draped evening tops add contrast, in navy, black and cream with primary-coloured pops. Silk scarves become ties, alongside rugby-style shirts, shoulder bags, belts and Celine bicycle helmets. A wardrobe for biking, park days and rooftop dinners, cool without ever trying too hard… Read the full Celine review
Miu Miu
Is Miu Miu dead? No. Not the most desirable lineup at first glance, but intelligent, layered and thought-provoking, with Miuccia Prada leaning into the “ugly pretty” aesthetic to question what we value. In a factory canteen with Formica tables, everything was built around one symbol, the apron: leather with ruffled bibs, floral tied over crisp shirting, crystal-studded with knit skirts, lace layered over bikinis. Prada calls it her favourite garment, reflecting “the real difficult life of women”, and the clothes celebrate labour that goes unnoticed. Silhouettes are boxy and offbeat, the styling chaotic, sometimes awkward, always deliberate. A more defined colour palette might have tied it together, but maybe that was the point. Not sweet or easy, meant to divide… Read the full Miu Miu review
Chloé
Chemena Kamali’s Chloé is a love letter to the brand’s history, built on colour, charm and nostalgia. It plays like a movie montage, with touches of the ’50s, ’60s and ’70s that never turn costume-y, a rom-com wardrobe where every outfit has its own story. Bright florals open like a vintage postcard: baby-doll dresses, puff-sleeved tops and sarong-tied skirts, with Kamali’s draping giving cottons a sculpted softness. Then come flowy blouses and floaty skirts, as if the Chloé girl dressed quickly for coffee at Café de Flore. The ’80s arrive in high-waisted skinny pants and power shoulders, the palette running from aquamarine and fuchsia to sand and lemon. It feels so alive, honouring Chloé’s roots without getting trapped by them… Read the full Chloé review
Schiaparelli
Can Daniel Roseberry even put out a collection that isn’t good? Again he delivered breathtaking pieces that felt unreal but made you want to touch them. Shown at the Centre Pompidou and titled Dancer in the Dark, it was meant as a museum visit, a moment of stillness in a world that moves too fast. Clean lines, sculptural tailoring and surreal details made every look feel alive, including a skirt suit made of 6,000 paintbrushes and “salt lamp” jewels. The Salvador Dalí references ran deep, from melting bag shapes to bias-cut gowns inspired by the 1938 Tears Dress, never mere nostalgia. He called it “extreme wearability”, which doesn’t mean simple. Schiaparelli at its best: mysterious, sensual and full of imagination… Read the full Schiaparelli review
Alaïa
Pieter Mulier’s Alaïa is beautiful, thoughtful and technically sharp, though not always the most wearable. Some pieces read as more editorial than practical, which left me a bit torn. The set was a minimalist cube with glowing digital floors and a mirrored ceiling, models walking over luminous images of themselves; hypnotic, but never overpowering the clothes. Mulier calls the collection reduced, sculptural and precise. Cotton, leather, python and silk form the foundation of taut, architectural silhouettes, sometimes pulled tightly around the body, sometimes sliced open to reveal it. Fringes swing like liquid, macramé pearls shimmer, and the open-backed tunics and sculptural coats have an elegance that doesn’t need to shout. A strong, intelligent outing about evolution rather than reinvention… Read the full Alaïa review
McQueen
McQueen felt like a return to its roots. Seán McGirr surprised me by going classic, leaning into the house’s signature tension between control and chaos. I didn’t expect it, but I was pleasantly surprised. Inspired by The Wicker Man, he built a world that was darkly romantic and a little unsettling, yet refined. Uniforms unravelled into something wilder: cropped military jackets, low-slung trousers and corseted tops. The individual pieces were strong, from the revived “bumster” trousers to sculpted corset dresses and fluid silk gowns, in textures from crisp wool to delicate chiffon, all wearable yet full of attitude. McGirr is clearly finding his rhythm, a reminder that the best kind of evolution often starts by looking back… Read the full McQueen review
Balmain
Olivier Rousteing’s Balmain is a sun-soaked dream, made for anyone who has longed for the beach. Drawing on memories of the sea, he turned seaside treasures into couture magic. The standout seashell dresses are whimsical and tactile, and the shell-embellished bags and oversized charms, even if you’ve seen similar in a Bali souvenir shop, feel elevated. The mood is soft, sensuous and unstructured, a shift from the house’s armoured tailoring: slouchy sarouel pants, draped jerseys, chiffon skirts and open-weave sweaters, balanced by sculptural blousons, leather outerwear and cinched waists. Sandy neutrals meet coral, azure and metallic gold, with fringe, tassels and wooden beads. A collection that makes you want to live in the clothes, full of effortless joie de vivre… Read the full Balmain review
Maison Margiela
Glenn Martens’ Maison Margiela ready-to-wear debut is complicated. Not my favourite, and at times genuinely unsettling, yet undeniably thoughtful. The tone was tense and surreal from the start: 61 children in oversized tuxedos playing Mozart, Strauss and Beethoven, while models held forced smiles behind metallic “Four Stitch” mouthpieces. Creepy, theatrical and not remotely subtle, but it sparked conversation. Tailoring keeps its archival sharpness with rounded shoulders, cutaway tuxedo fronts and drop-crotch trousers, while slip dresses, floral prints and plasticised tape details translate couture gestures into wearable pieces, anchored by denim, leather and Tabi Claw sandals. The mouthpieces are jarring, a reminder that Margiela’s anonymity can feel oppressive when literalised. It does remind me that Margiela isn’t about comfort or conformity… Read the full Maison Margiela review
Comme des Garçons
I really loved this. Rei Kawakubo’s Comme des Garçons collection, After the Dust, gives abstraction new meaning and argues that beauty can come from imperfection. The colours were my favourite part, soft yet rough, like faded petals against raw canvas. It opened with cotton shells and scarlet satin interiors like cocooned forms breaking open, each piece asking what “perfect” means. Burlap, jute, lace and calico were bundled and reshaped into abstract silhouettes, some like sculptures, others like fragments of memory stitched together. Kawakubo’s note spoke of the value “born from the damaging of perfect things”, and the bulbous shapes suggested survival and renewal. Oversized hats brushing the ceiling added humour and humanity. The broken and discarded, turned into something poetic… Read the full Comme des Garçons review
Courrèges
Courrèges is trying to be the cool kid. The “Blinded by the Sun” concept was ambitious and dramatic, but it sometimes felt more like a reach than reality. Veiled baseball caps, inspired by UV-blocking headwear Nicolas Di Felice saw in Thailand, read more as costume, and I wondered if any woman will wear that outside an editorial shoot. As the temperature climbed, cool blues and sheers gave way to swimsuits spliced with checkered skirts, unzipped leather jackets and fluid minis, then metallics, slashed plant-based vinyls and bleached fabrics. His craftsmanship is undeniable, but the collection felt mid to me, without the punch of his earlier work. Not my favourite, though I’ll admit it’s a step in the right direction… Read the full Courrèges review
Dries Van Noten
This might be one of my favourite collections of the season. Julian Klausner’s first women’s collection for Dries Van Noten is pure joy: bright, bold, playful colour and patterns that feel effortless yet precise. Drawing on the elegance of surfers and the majesty of waves, it pairs narrow Bermudas with raglan-shouldered tops and tailored jackets with diaphanous skirts, in fluid silks, structured neoprene and duchesse satin. Stiff meets soft, historical references meet modern cuts, and it feels rarely fresh. The palette is electric, hot pinks, lime greens, vivid blues, tangerine and coral, sometimes clashing in ways that work. Add bombers, jacquard jackets, satin cummerbunds and jewellery like shells on the beach. Klausner brings exuberance to the Dries Van Noten DNA… Read the full Dries Van Noten review
Isabel Marant
Kim Bekker’s debut as creative director of Isabel Marant is a masterclass in effortless, wanderlust-infused style. It pays tribute to Marant’s “Cool French Girl” aesthetic while carving out Bekker’s own vision: sun-soaked, texture-rich and wearable. The first look, a patched overshirt over pocketed cargos, set the mood for a desert-bound journey. Suede, lace and leather are blended with patchwork and embroidery, and the blousons, cargo pants, slouchy boots and army jackets come in a weathered palette of cream, sand, khaki, bronze and black. Tassels, beaded fringes and sun-bleached finishes add depth, alongside crescent-moon suede bags and lace-up moccasins. Dresses in featherlight crochet, asymmetric ruffles or sheer off-the-shoulder styles flow naturally, making the wardrobe feel as lived-in as it is aspirational… Read the full Isabel Marant review
Issey Miyake
Very sculptural, very inventive. Satoshi Kondo’s Issey Miyake collection, “Being Garments, Being Sentient”, asked what would happen if clothes were conscious, and it all felt organic and a little alien, dystopian but not in a dark way. T-shirts, polos and hoodies seemed to have minds of their own: shoulders pushed upward, seams shifted, trousers sprouted extra arms and leg holes. There were dresses growing from within themselves, green fabrics like blades of grass bursting through concrete, and pieces stuffed with bottles, Sharpies and toilet paper, a comment on consumption and clutter. Held at the Centre Pompidou with live music by Tarek Atoui, plus sculptural Camper pieces, it felt more like a performance than a presentation. Strange and beautiful at once… Read the full Issey Miyake review
Jean Paul Gaultier
A mess. Duran Lantink’s debut for Jean Paul Gaultier did not work and never clicked. It was meant to celebrate Gaultier’s legacy and revive the brand’s playful, rebellious spirit, but it felt like parody: uninspired, regressive and disappointing. The optical illusions, distorted silhouettes and anatomy prints were uncomfortable rather than shocking or clever. Gaultier used shock with purpose; here the provocation felt cheap. Even the infamous bodysuits were not fitted properly, and the club-scene inspirations got lost because the clothes looked forced. It read as noise chasing attention, and I wonder whether publicity is now the point. I had high hopes for Lantink and now feel naive for expecting more from a house once tied to wit, freedom and fearlessness… Read the full Jean Paul Gaultier review
Mugler
Miguel Castro Freitas’s debut for Mugler felt like a careful restart rather than a clear manifesto. There is a lot to admire: impressive tailoring, hourglass silhouettes with nipped waists and strong shoulders, and matte satin and double face wool. But the collection often felt lost and lacked dynamism, drifting into concept without landing emotionally. The feather pieces were genuine wins, especially a top in a 1940s marabou mood, while the nipple dress felt clumsy and signalled a male gaze. Chandelier-like jewelled bodices, built-in gloves and sculpted rosettes showed real skill, in concrete greys, powdery beige and chartreuse, though the underground car park setting left some looks in shadow. A starting point more than a statement, but I am hopeful… Read the full Mugler review
Rabanne
Julien Dossena’s Rabanne felt like a postcard from summer: joyful and meant to cheer people up. The clothes had wit and intelligence, and mostly that playful energy landed beautifully, in seas of sunlit pastels, metallic sparkle and quirky prints. The strongest pieces were simple and inventive: flippy skirts, halter tops nodding to 1950s swimwear and scuba sunglasses. Metal underskirts and crystal embroidery gave a couture edge, while rubber flowers and palm fringes on shoes added tactile charm. Some moments felt pushed, with decoration competing with shape and metallic ruffles crowding better ideas, but it read as exuberant rather than messy. Unabashedly overdone, sometimes baroque and mostly irresistible. What stuck with me was how jaunty and deliberately happy it all felt… Read the full Rabanne review
Rick Owens
Rick Owens’ women’s collection, Temple, is a masterclass in contrast and nuance. His clothes might seem uniform to the untrained eye, but the details are almost obsessive in their precision, and this outing felt more feminine while keeping his dark, architectural edge. At the Palais de Tokyo, models waded through ankle-deep water with eyes hidden behind black contacts, to Grace Slick’s Somebody to Love. Sheer layers, draped dresses and geometric seams blended delicacy and steeliness, with leather, rubber and nylon set against fluid chiffons and tulle. Sculptural shoulders, bondage trousers and ruched platform boots stretched silhouettes to impossible proportions, while embroidery and hand-drawn star charts added something personal. As cerebral as it is visceral, every piece has that must-have quality… Read the full Rick Owens review
Stella McCartney
Stella McCartney’s collection felt like a celebration of creativity and conscience. Sustainability and innovation sat at its heart, from denim that purifies the air to Fevvers, her plant-based feather alternative, and they moved beautifully, particularly in the feathered column dress that closed the show. The mood was unapologetically 80s, with corporate power shoulders, wide-leg trousers and sharp suiting, softened by sculptural drapes, peplum shirts over utility pants and flowing midis. Sky blue, mimosa yellow and peony prints added bursts of energy to a base of tans and greys. There were striking looks, but cohesion was sometimes missing: oversized jackets with delicate dresses and sequins with slouchy jeans made it feel a bit scattered, though in a way that seemed intentional… Read the full Stella McCartney review
Thom Browne
Thom Browne is one of the most recognised names in fashion and still underrated, and this alien invasion proved no one builds a world like him. Aliens landed in Paris with green crystal heads and silver skin, in clothes I would want to steal. It opened on his signature grey tailoring, reworked through a sci-fi lens: curved jackets, shoulders shifting forward, pleated skirts sitting low on the hips. There are tweeds light enough to float, chiffon checks and coats that shimmer like constellations, plus stripes, seersucker and varsity-style jackets lifted to couture level. Beneath the spectacle there is real heart. Funny, serious, nerdy and poetic at once, and even at the edge of the universe it feels completely human… Read the full Thom Browne review
Tom Ford
Tom Ford under Haider Ackermann was one of the best collections this season, so sexy it’s almost impossible to process, yet never vulgar or overdone. Women would line up for these clothes, and I would be first in line. Leather jackets, some lacquered, some perforated, cling and drape in sculptural yet wearable ways. Triangle bra tops, barely-there slips and wire-supported evening dresses balance daring cuts with elegance, letting the body shine without objectifying it. Suede trench coats, satin suits in mint and baby pink and draped dresses bring playful colour to the dark, cinematic runway. Ackermann has taken Tom Ford’s signature glamour and refined it into something modern, fluid and intelligent. Fashion that seduces and empowers at once… Read the full Tom Ford review
Victoria Beckham
Victoria Beckham’s collection is quietly reflective. Drawing on her teenage years and early experiments with clothing, she reimagines the coming-of-age wardrobe: oversized blazers borrowed from boyfriends, hand-sprayed slip dresses, asymmetric camisoles and playful creases that nod to adolescent improvisation. Tailoring remains her forte, with relaxed yet precise trouser suits, while draped slip dresses, ruffled frocks and delicate prints evoke moods reminiscent of Romeo + Juliet or The Virgin Suicides. Pleated bags, tapered pumps and silver feather jewellery carry the playfulness into accessories, and corset dresses scattered with tone-on-tone feathers handle evening. Nothing here shocks or reinvents, but the wrinkles, asymmetry and hand-sprayed marks feel intentional. For a brand often defined by sleek perfection, the subtle embrace of experimentation is refreshing… Read the full Victoria Beckham review
Yohji Yamamoto
Yohji Yamamoto’s show felt like watching time breathe. Held inside the Hôtel de Ville, it unfolded slowly and deliberately, as if to remind us that true beauty doesn’t rush and that consistency and depth are their own form of rebellion. It opened with austere black dresses brushed with streaks of white, like moving ink drawings, every fold, knot and pleat intentional. Then came tartan, softly rebellious, followed by whisper-light whites that seemed to dissolve. Deep reds broke through the monochrome calm at the close, especially the recreation of his 1985 bustle coat, a bridge between past and present. Two looks paid tribute to the late Giorgio Armani with calligraphy and archival imagery, a beautiful gesture of respect between two legends… Read the full Yohji Yamamoto review
Zimmermann
With so many debuts this one was easy to miss, and I almost did, but once I caught up I couldn’t stop thinking about it. For really pretty clothes, this is it: full marks for colours and prints, and pure sunshine energy. Titled Kindred Spirit, it is a love letter to the artists of Lavender Bay in 1970s Sydney, who lived, worked and played together with effortless freedom. There are strapless gowns in organza, halter-necks and draped silhouettes, grounded by mocha leather overalls, flared denim sets and white shirts with hand-stitched birds. Florals turn psychedelic across crinoline skirts and parachute dresses in tie-dye silks, like watercolour brought to life. Zimmermann has evolved beyond resortwear and is in its stride… Read the full Zimmermann review
Pictures courtesy of Vogue Runway
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