The style business is in a second of historic change: by the top of this season of exhibits, no fewer than 14 inventive administrators can have offered their debut collections at a number of the world’s best-known manufacturers, a seismic shake-up which is able to little question reshape the fashion panorama for a number of years to come back (add to that a lot of sophomore collections from designers who debuted final season and you actually do have a brand new chapter in vogue).
And, whereas we have now already had a handful of debuts in New York and Milan, it’s in Paris that we’ll see the opening gambits from some main gamers: most notably that of Matthieu Blazy at Chanel, happening on the night of Monday 6 October, a debut that has had fervent anticipation for the reason that former Bottega Veneta designer’s appointment was introduced in December. Elsewhere, Jonathan Anderson will current his first womenswear assortment for Dior, whereas Pierpaolo Piccioli, Jack McCollough and Lazaro Hernandez and Duran Lantink may also have high-profile debuts at Balenciaga, Loewe and Jean Paul Gaultier respectively.
Right here, in our round-up of our standout exhibits of Paris Fashion Week S/S 2026 – reported as they happen from the French capital – we will unpack these debuts, alongside a slew of other runway shows taking place across the week, from the blockbuster (Louis Vuitton, Saint Laurent) to the avant-garde (Comme des Garçons, Rick Owens). For more PFW happenings, don’t miss out live blog.
Louis Vuitton
(Image credit: Courtesy of Louis Vuitton)
Though Nicolas Ghesquière has presented his collections numerous times at the Louvre across his tenure at Louis Vuitton – all the way back to his debut in 2014, which was held in the palace’s Cour Carrée – for S/S 2026, he chose the lesser-visited former summer apartments of Anne of Austria, Queen of France as his runway (in fact, the spaces are currently closed to public as they are in the midst of a renovation, opening again in 2027). Ghesquière said he had been thinking about the idea of intimacy, ‘the boundless freedom of the private sphere’.
In the opulent apartments, where Anne of Austria would once have roamed, Ghesquière presented a collection which reimagined hallmarks of ‘indoor’ dressing – swaddling robes, nightdresses, slippers – in imaginative style. As ever, it was an idiosyncratic melange of elements, traversing eras and styles – elongated pointed collars looked picked from a monarch’s wardrobe, while shaggy shearling collars, plissé ruffles and turbans suggested a louche 1970s glamour. Other elements seemed to recall domestic interiors: sweeping draped dresses could be read as curtains, while bows, tassels and opulent embroidered flowers evoked home furnishings.
As is Ghesquière’s skill, the borrowed elements were both recognisable and hard to place – his Vuitton woman is never restrained to a singular place or time. Instead, it was a testament, said Ghesquière, to the idea of individual style: ‘The ultimate luxury of dressing for oneself and revealing one’s true personality,’ he described. With this, it fits neatly into the season’s emerging theme: the idea of liberation through clothing, the freedom to dress as you please. Jack Moss
(Image credit: Courtesy of Louis Vuitton)
Lanvin
(Image credit: Courtesy of Lanvin)
Last week, Lanvin announced ‘Lanvin Blue’, a new signature colour developed by creative director Peter Copping and M/M (Paris) – a nod to house founder Jeanne Lanvin’s favoured colour, a fixation that began with the skies of Fra Angelico’s frescoes (over the French couturier’s career, she would develop 23 shades of blue in her Nanterre dye factory). At yesterday afternoon’s runway show, blue provided a bold backdrop to Copping’s sophomore outing for the house, which evolved the 1920s-inflected vision of his debut earlier this year. This included Jeanne Lanvin’s signature robe de style dress of the era – a garment that drew on the wide, panniered gowns of the 18th century, loosened from restriction and dropped at the waistline to reflect the decade’s radically changing dress codes (a version also opened this season’s show, featuring a trim of bows around the neckline and a ruffled hem).
The use of blue is symbolic of Copping’s vision for the house, which is rooted in the Lanvin archive, and Jeanne Lanvin herself – after his first show in February, he described it as an ‘homage’ to the couturier… ‘I sought to project the essence of her wardrobe today while imagining it on a cast of modern characters,’ he said. It is a leap between centuries that feels particularly pertinent this year – 2025 marks 100 years of art deco, the movement with which Jeanne Lanvin is most associated (in 1925, Armand-Albert Rateau – a leading designer and furniture maker in the movement – designed a trio of blue-coloured rooms in her apartment, now on display at the Musée des Arts Décoratifs).
Right here, the period’s liberated spirit got here in billowing silk blouses, diaphanous twisted attire and draped headscarves, whereas floor ornament – in beading and sequins – recalled deco motifs. As we attain the mid-point of our personal (maybe not so) roaring twenties, the thought of freedom by way of clothes that Jean Lanvin sought feels extra important than ever – a parallel Copping cleverly struck on this sophomore present. Jack Moss
(Picture credit score: Courtesy of Lanvin)
Courrèges
(Picture credit score: Courtesy of Courrèges)
Nicolas di Felice’s thoughts was nonetheless on the seaside – or, certainly, wanting ahead to subsequent summer time spent on one, the time when this assortment will arrive in shops. Swapping his common square-shaped runway for a circle (nonetheless conceived alongside artist Rémy Brière and Matière Noire, longtime collaborators), Di Felice imagined a ‘photo voltaic ascension’, designing a group that was constructed across the warmth of the solar on a summer time’s day – particularly, from 21 levels within the morning to 30 levels within the heady heat of the afternoon (within the showspace, this was imagined by the sunshine altering from cool optic white to a heat, sunlit yellow).
Safety was a theme: the opening appears to be like featured cleverly draped hats that shielded the fashions’ faces (the design was a reinterpretation of a chunk from the home’s archive), whereas sculptural attire took inspiration from solar visors. Pores and skin-bearing appears to be like supplied a juxtaposition, with swimsuit-style bodysuits, mini attire and tank tops that includes graphic cut-outs – a recent nod to the home founder’s space-age silhouettes. ‘Melting’ metallic jewelry accomplished the look, which continued Di Felice’s astute reinterpretation of André Courrèges’ pioneering spirit. ‘As designers, it’s our responsibility to offer a novel perspective,’ Di Felice informed Wallpaper* earlier this yr. ‘It’s one of many many, many issues I love about André Courrèges: he wasn’t afraid of radical pondering.’ Jack Moss
(Picture credit score: Courtesy of Courrèges)
Dries Van Noten
(Picture credit score: Images by Victor Virgile/Gamma-Rapho by way of Getty Photos)
It was the day of sophomore exhibits: after Peter Copping’s at Lanvin, Julien Klausner swiftly adopted together with his personal second womenswear assortment for Dries Van Noten (between his debut and now, he additionally confirmed a broadly acclaimed menswear present this previous June). There have been no indicators of the tough second album right here – the Belgian designer is already honing a imaginative and prescient for the label that’s undeniably ‘Dries’ (Klausner labored on the model’s design crew for some years earlier than taking the function), however has its personal feeling of freshness and play. An eclectic use of color and print (longtime hallmarks of the Antwerp-based model) continued to outline the gathering, which noticed clashing motifs of flowers, stripes and polka dots slowly blown up in measurement because the present went on – all the best way to the closing appears to be like, the place the patterns turned daring abstracted varieties. It felt an apt companion piece to the menswear present earlier this yr, the place stripes and sequins have been used to equally putting impact. ‘Approaching this assortment, I had in thoughts the Dries Van Noten wardrobe that I at all times cherished – conventional but daring, the totally different layers of dressing up,’ he stated again then. This assortment delighted in a equally audacious spirit – one laced with the romance and sensitivity which outlined Dries Van Noten’s finest collections. Jack Moss
(Picture credit score: Images by Victor Virgile/Gamma-Rapho by way of Getty Photos)
Stella McCartney
(Picture credit score: Courtesy of Stella McCartney)
Stella McCartney drafted Helen Mirren to function the opening act for her S/S 2026 present, which befell yesterday night on the Pompidou Centre. Clad in a gray swimsuit from the British label, Mirren learn the lyrics of The Beatles’ ‘Come Collectively’ – a music McCartney selected for its plea for unity (so the story goes, the music started life as an try by John Lennon to jot down a marketing campaign music for LSD advocate Timothy Leary’s Governor of California run). Its central message, stated McCartney (herself a longtime activist), felt significantly pertinent in turbulent political instances – ‘Come collectively for humanity, animals and Mom Earth,’ was the designer’s personal enchantment to the gathered viewers. Within the assortment, this was figured by way of usually revolutionary fabrications, freed from animal cruelty and with meticulous sustainable credentials, from ‘Fevvers’ – a plant-based different to animal feathers – to Pure.Tech, the primary ‘programmable’ cloth that ‘absorbs and neutralises pollution together with CO₂ and NOx’. The latter was utilized to deconstructed denim, a part of a group which was constructed on the thought of juxtapositions: ‘masculine and female, grounded but ethereal’. Large-shouldered energy tailoring – a redux of final season’s ‘Working Lady’ look – and dishevelled carpenter trousers represented the previous, whereas sequined minis, froths of ruffles and body-wrapping robes captured a recent femininity. Jack Moss
(Picture credit score: Courtesy of Stella McCartney)