The fashion world is undergoing a period of profound transformation. Across the S/S 2026 show season, no fewer than 14 creative directors unveiled their debut collections for some of the industry’s most prestigious houses. This wave of new appointments marks a significant shift that is likely to shape the global style narrative for years to come. Alongside these debuts, several designers who first showed last season returned with their second collections, further underscoring the sense that a new era is unfolding within the industry.
While New York and Milan hosted a handful of noteworthy debuts, Paris emerged as the focal point for some of the most highly anticipated creative arrivals. The most talked-about was Matthieu Blazy’s debut for Chanel, presented yesterday evening. Since his appointment in December, the former Bottega Veneta designer’s first outing for the house has been eagerly awaited. His collection celebrated Gabrielle “Coco” Chanel’s enduring ideals of modernity and freedom, offering a fresh yet reverent perspective on the house’s heritage.
“This season marked a landmark episode in the evolution of Paris Fashion Week, with a new generation of designers and creative directors stepping forward to redefine the landscape. Their fresh perspectives, coupled with a reverence for craftsmanship, signalled a powerful shift; one that blends heritage with innovation in ways that feel both authentic and transformative.” - Charles Daniel McDonald
Other major moments included Jonathan Anderson’s first womenswear collection for Dior on Wednesday, a significant creative milestone for the brand. Jack McCollough and Lazaro Hernandez introduced their vision for Loewe on Friday, bringing their distinctive aesthetic to the Spanish house. Pierpaolo Piccioli’s debut at Balenciaga and Duran Lantink’s at Jean Paul Gaultier added further weight to a week defined by bold creative shifts and fresh perspectives.
In this round-up of standout moments from Paris Fashion Week S/S 2026, reported from the French capital, we examine these landmark debuts alongside an array of memorable shows presented throughout the week. From the grand scale of Louis Vuitton and Saint Laurent to the boundary-pushing creativity of Junya Watanabe and Rick Owens, Paris once again demonstrated its ability to balance tradition with innovation.
DRIES VAN NOTEN
The day was defined by impressive second acts. Following Peter Copping’s sophomore presentation at Lanvin, Julian Klausner took to the runway with his second womenswear collection for Dries Van Noten. Since his debut, he has also unveiled a widely praised menswear collection this past June, signalling a confident evolution in his creative journey. Any notion of a “difficult second season” was quickly dispelled. The Belgian designer is already articulating a vision that feels unmistakably aligned with the house’s DNA, yet distinctly his own, fresh, playful and assured.
A vivid interplay of colour and pattern, long associated with the Antwerp-based brand, remained a key thread throughout the collection. Motifs of florals, stripes and polka dots clashed and intertwined, gradually amplifying in scale as the show progressed. By the finale, these elements had transformed into bold, abstract shapes that dominated the silhouettes. The effect echoed his earlier menswear outing, where stripes and sequins were deployed with similarly striking precision.
Reflecting on his approach, Klausner previously remarked that he imagined “the Dries Van Noten wardrobe I always adored – classic yet bold, with layered ways of dressing.” This collection channelled that same audacious energy, infused with the romanticism and nuanced sensitivity that have defined some of the house’s most memorable moments.
SCHIAPARELLI
When Daniel Roseberry unveiled his first ready-to-wear collection for Schiaparelli two years ago, he often encountered a recurring remark, as he reflected in his S/S 2026 show notes: “This is ready-to-wear? I thought I was looking at couture.” Initially unsure how to interpret such comments, his perspective has since evolved. What once seemed like a potential weakness has become a defining strength. He now embraces the idea that fashion, even in its most wearable forms, can be art. His latest presentation, staged last night at the Pompidou Centre, embodied all the opulence and theatricality one would expect from couture week.
Looking to Elsa Schiaparelli for inspiration, Roseberry explored her fascination with unexpected contrasts. Structured jackets with pronounced shoulders were crafted with impeccable tailoring, while gowns showcased richly textured surfaces that evoked a sense of “hard chic.” Black chiffon dresses were adorned with delicate feather-like polka dots, gold chainmail was artfully distressed to reveal glimpses of skin, and scarlet satin columns brought a striking sense of drama. He also drew upon Elsa’s personal wardrobe, presenting trompe l’oeil knitwear in vivid triple-tone jacquards. “Shocking then, shocking now,” he quipped, nodding to the house’s rebellious spirit. The brand’s signature surrealism appeared in accessories designed to surprise and amuse, including gold metallic sandals and handbags shaped like Dalí’s melting clocks.
The collection was both a tribute to the house’s heritage and an evocative reminder of the transformative power of live fashion shows. Roseberry sought to create a moment of lightness amid what he described as the “cultural black hole” of contemporary life. “I read that while attendance to movies has plummeted in recent years, museum attendance has skyrocketed,” he explained. “It made perfect sense to me. Our phones have become slophouses of cheap thrills, each with a lifespan of only a few hours. That is why I jumped at the chance to present at the Centre Pompidou. Not because I wanted to make an explicit statement about fashion and art, but because I believe that attending a Schiaparelli show should feel like visiting a museum: inspiring, aspirational, and reassuring.”
JEAN PAUL GAULTIER
Dutch designer Duran Lantink has built his reputation on transforming everyday wardrobe staples by distorting their proportions to create strikingly surreal silhouettes. This distinctive approach made his namesake label, currently on pause, one of the most talked-about and critically acclaimed in Paris. His work earned him the Karl Lagerfeld Award at the 2024 LVMH Prize, although it was not without controversy. A male model wearing a pair of bouncing fake breasts during his A/W 2025 show divided opinion and cemented his status as a provocateur within the fashion landscape.
For his debut collection at Jean Paul Gaultier, presented on Sunday afternoon in the subterranean space of the Musée du Quai Branly, Lantink applied his signature irreverence to the Gaultier archive. He described the process as a “Duranification” of the house’s iconic codes. The legendary conical bra was reimagined as oversized, cushion-like protrusions extending dramatically from the body. The classic sailor’s hat was inflated into the shape of a hemline, and trompe l’oeil prints created the optical illusion of complete nudity, challenging perceptions of the body and dress in a way that felt both cheeky and daring.
Lantink drew inspiration from the Jean Paul Gaultier “Junior” line, which ran between 1988 and 1994. Although he typically avoids rigid moodboards in favour of an intuitive design process, he referenced photographs taken by Cleo Camper at Amsterdam’s RoXY nightclub in 1988, a venue that Gaultier himself had visited. “RoXY was sweaty, debaucherous, anarchic, stylish in the most careless way,” Lantink reflected. The same spirit pulsed through the collection, which was unapologetic, bold and deliberately disruptive. It felt like a much-needed shock to the system. Jean Paul Gaultier, visibly moved, appeared to give his enthusiastic approval to this energetic reinterpretation of his legacy.
MAISON MARGIELA
In 1989, Martin Margiela presented his S/S 1990 collection in an abandoned playground on the outskirts of Paris. Local children created the invitations with crayons and felt-tip pens, setting the tone for a show that would redefine fashion’s conventions. As models walked, the children darted between their feet or sat cross-legged in the front row, observing the spectacle at eye level. Far removed from the grandeur of Parisian salons and ballrooms, this moment stripped fashion of its glossy surface and ushered in a new era of experimentation and authenticity. “I always thought fashion was a bit superficial, but this show changed everything for me,” recalled Raf Simons, who was among the notable attendees that evening.
For his first ready-to-wear collection at Maison Margiela, Glenn Martens appeared to draw inspiration from that iconic moment. Presenting at the Centquatre-Paris cultural centre in the north of the city, where he debuted his first Artisanal collection for the house earlier this year, Martens enlisted an orchestra of children from Romilly-sur-Seine to perform live. Dressed in oversized Margiela suits, the young musicians played classical favourites including Mozart’s Symphony No. 40 and Strauss’ The Blue Danube. Their joyful and slightly chaotic performance charmed even the most impassive members of the fashion crowd. While the raw energy of Margiela’s original playground show is impossible to replicate, this playful addition revived the house’s DIY ethos in a way that felt genuine and heartfelt.
The collection itself was described as a series of “concepts and proposals for real life,” drawing deeply from the Maison Margiela archive. Models’ lips were pulled open with contraptions that created the impression their mouths had been stitched at the corners, a clever reference to the house’s signature branding. The clothing explored deconstructed glamour through unexpected reworkings of eveningwear. Tuxedo jackets appeared with shredded shirts underneath, a column gown was reimagined in supple leather, and the scooped shape of a waistcoat informed the cuts of several outerwear pieces. Dresses were assembled from vibrant mixes of fabrics, including sequins and jewellery-like appliqué, while the finale gown appeared to be wrapped in red plastic bags, a witty and subversive Margiela signature.
CHANEL
It was the most talked-about event of the season, surrounded by weeks of rumours and speculation that fell silent as guests stepped into the Grand Palais for Matthieu Blazy’s highly anticipated Chanel debut. Inside, the French-Belgian designer had transformed the venue into a celestial spectacle. Giant illuminated planets were suspended from the ceiling, while a black runway evoked the vastness of outer space. The sheer scale of the set echoed the theatrical grandeur of Karl Lagerfeld’s legendary productions. It was a clear statement of intent from Blazy, formerly of Bottega Veneta, that he was unafraid to make a bold entrance. In an interview with Business of Fashion before the show, he described his approach as a once-in-a-lifetime opportunity. “We could have gone for a clean, modern, by-the-book Chanel show, as a first step. Or we could treat this as if it were the last show we would ever do. I chose the second option,” he said.
Blazy found inspiration in the sense of modernity and freedom that defined Gabrielle “Coco” Chanel’s original vision. The collection opened with a men’s suit and shirt. The jacket was a reworked version of Blazy’s own blazer, altered only with new buttons and a chain. The shirt, crafted by the Parisian shirtmaker Charvet, marked a rare collaboration. He had become intrigued by Chanel’s relationship with the English polo player Boy Capel, whom he described as her “most significant other.” Blazy imagined Gabrielle borrowing and wearing Capel’s clothes, as she is said to have done.
The later sections of the show shifted toward more expressive territory, highlighting the experimental material techniques that became Blazy’s signature during his tenure at Bottega Veneta. Tweed jackets were treated to look elegantly frayed at the edges, conveying a sense of cherished garments passed down through generations. Evening gowns were adorned with intricate appliqué flowers or extravagant feather embellishments, creating a sense of movement and lightness. One of the standout moments came when Ethiopian-born Canadian model Awar Odhiang appeared on the runway wearing a feathered gown that perfectly captured the collection’s vibrant energy.
As the final look concluded, Odhiang spun joyfully across the catwalk to the sound of Snap’s “Rhythm is a Dancer,” filling the space with a celebratory mood. A smiling Blazy joined her on stage for his bow. “I just wanted to have fun,” he said backstage. “Something beautiful and enjoyable. That is what we have to offer in fashion.”
HERMÈS
Horseriding has always been central to the Hermès identity, a legacy that Nadège Vanhée embraced wholeheartedly for her S/S 2026 collection. The runway, covered in sand and scattered with fragments of shells, set the tone for a show rooted in heritage and landscape. Vanhée explained that the starting point for the season was an antique Camargue saddle she discovered in the house’s archives. The Camargue region in southern France is famous for its white horses, which roam freely in herds across the marshes. These animals thrive in an unforgiving environment that has become a symbol of the area’s raw, untamed beauty. Vanhée sought to capture this spirit of freedom in a collection she named “Free Rein.”
The saddle’s structure informed the sculptural shapes of the garments, while bra tops were designed with harnesses in mind. A subtle bohemian influence ran through the looks. Vanhée referred to Camargue as France’s “Wild West,” and this idea came to life through inventive uses of the Hermès silk carré. Scarves were wrapped around the neck or transformed into makeshift tops, complemented by buckles, interlaced fastenings and traditional boutis needlework.
As always, accessories played a starring role. Practical pieces, such as beautifully crafted riding boots with chevron quilting, were balanced by smaller, more decorative items. One highlight was a tiny crescent-shaped handbag, just large enough to hold a lipstick and a set of keys. The collection blended craftsmanship and a sense of adventure, reaffirming Hermès’ ability to bridge tradition with contemporary elegance.
DIOR
Jonathan Anderson opened his debut womenswear show for Dior with a short film by British documentarian Adam Curtis. “Do you dare enter the house of Dior?” the voiceover asked, before the screen flickered through archival footage spanning nearly eight decades of the house’s history. These images were intercut with scenes from horror films, presented in Curtis’ distinctive, unsettling style. Suddenly, the screen turned a brilliant white, flooding the room with light. The gesture was symbolic, signalling Anderson’s intention to shed the weight of Dior’s past and step forward with a fresh vision. “Daring to enter the house of Dior requires an empathy with its history, a willingness to decode its language, which is part of the collective imagination, and the resoluteness to put all of it in a box,” Anderson explained in the collection notes. “Not to erase it, but to store it, looking ahead, coming back to bits, traces or entire silhouettes from time to time, like revisiting memories.”
Anderson approached Dior’s legendary archive with selectivity, taking fragments and refracting them through his characteristically inventive lens. The iconic Tailleur Bar suit, known for its nipped waist and full skirt that defined Christian Dior’s “New Look,” was reimagined with a shrunken silhouette and a mini skirt that skimmed the upper thigh. The sculpted waistline of the 1952 La Cigale dress appeared to inspire trapeze-shaped dresses and double-breasted overcoats folded elegantly across the front. Throughout the collection, Anderson explored the “tension” between fantasy and reality, between dressing up and dressing down. Theatrical cornette-style headpieces and lace face coverings met hourglass dresses adorned with cascades of bows, while denim skirts, shirts, jeans, soft suede handbags and pointed pumps grounded the collection in everyday wearability. He spoke of bringing new women into the house of Dior, a goal reflected in the collection’s breadth and duality.
The result was a collection that immediately became the talk of the season. This is where Anderson excels. The Northern Irish designer understands that to sell a handbag or a pair of shoes, one must first construct a captivating universe around them. At Dior, he achieved exactly that with a presentation that was both daring and instinctive. It is the same alchemy he brought to Loewe, where he revitalised the once-sleepy Spanish house and turned it into a global force. Now, with the eyes of the fashion world fixed on him, he seems poised to bring similar transformation to Dior. Returning to the film’s opening question, Anderson not only dares to enter the house of Dior, he is ready to rebuild it for a new era.
MIU MIU
In the mid-1980s, German photographer Helga Paris spent time inside a clothing factory in East Berlin, capturing the lives of female workers through a series of black-and-white portraits. In almost every image, the women wear aprons or tabards. Despite their practical purpose, these garments are embellished with details that express femininity, such as floral patterns, polka dots and ruffled trims. Paris’ photographs, along with the work of Dorothea Lange documenting women at work, inspired Miu Miu’s latest collection. Miuccia Prada explained that she had been reflecting on “the importance of work. Its significance, its relevance and meaning.” Speaking backstage, she added, “We in fashion always talk about glamour or rich people, but we have to recognise that life is also very difficult. And to me the apron contains the real difficult life and pain of women in history, from factories to the home.”
Guests were seated on rows of Formica tables instead of traditional chairs or benches, creating the atmosphere of a kitchen or workers’ canteen. This setting framed the collection’s central motif: the apron, a garment layered with cultural associations. The designs ranged from strictly functional, like the canvas apron worn by actress Sandra Hüller as she opened the show, to pieces that carried a more fetishistic charge, crafted from leather or black taffeta with frilled trims reminiscent of French maid uniforms. Others featured floral prints that evoked the attire of cleaners and domestic workers. The runway also included a series of heavily embellished aprons, elevating a humble garment into something almost ceremonial.
“The apron is my favourite piece of clothing in general,” Mrs Prada revealed backstage, which comes as little surprise. Uniforms have long been a source of fascination for her, serving as a vehicle for both social commentary and aesthetic experimentation. In this collection, the apron was not merely reinterpreted but honoured. It became a powerful symbol, acknowledging the often invisible labour carried out by women throughout history, and positioning this everyday garment as both practical and poetic.
BALENCIAGA
At Valentino, Pierpaolo Piccioli became one of fashion’s most beloved creative voices through collections that spoke directly to the heart, celebrated for their expressive use of colour and generous silhouettes. It was fitting, then, that his debut for Balenciaga last night was titled “Heartbeat.” The invitation took the form of a cassette tape that played the sound of a heartbeat, setting an intimate yet anticipatory tone. The atmosphere at Kering’s headquarters on Rue de Sèvres was charged with excitement, with a star-studded front row that included long-time muses such as Anne Hathaway and a few new admirers, among them the Duchess of Sussex, Meghan Markle, making a rare public appearance.
Piccioli showed no sign of hesitation. His confident debut centred on form and silhouette, reinterpreting Balenciaga’s couture heritage for a modern audience. He drew inspiration from the trapeze-like line of the 1957 “Sack Dress,” transforming this iconic shape into contemporary garments that still carried the romantic sensibility that defines his work. This romanticism appeared in detailed embellishments, from floral appliqué blossoming across a hooded jacket to playful tassels and delicate feathers. His trademark vivid colours were present throughout, although a sequence of looks in black leather and the oversized, bug-eyed sunglasses worn by many models nodded to the darker, more subversive aesthetic of his predecessor. This blending of light and shadow felt both respectful of the brand’s recent past and ambitious in its forward gaze.
The show closed to a standing ovation. Piccioli delivered a debut that felt deeply personal and emotionally resonant. “For every heartbeat there is a name, a moment, a gesture,” he wrote in a letter distributed at the show. “This collection comes from that place of love and connection. It is as much mine as it is of those who lived it with me, in every way.” With this collection, Piccioli managed to honour Balenciaga’s legacy while imprinting it with his distinctive poetic vision, setting the stage for a compelling new chapter at the storied Parisian house.
LOEWE
Jack McCollough and Lazaro Hernandez made their Loewe debut on Friday morning inside a purpose-built structure set within the grounds of Paris’ Parc Cité Internationale Universitaire. The entrance was adorned with a 1989 artwork by Ellsworth Kelly, Yellow Panel with Red Curve. This piece, along with the broader body of work by the American artist, served as the foundation for what the duo described as a “visual language” for their new chapter at the Spanish house. The designers have stepped into the role previously held by Jonathan Anderson, following their departure from Proenza Schouler, the New York-based label they founded in 2002.
They described Kelly’s influence, and their own S/S 2026 collection, as being centred on “reduced, sometimes sculptural forms and elemental colour.” This approach was evident throughout the show in bold, graphic silhouettes and striking chromatic contrasts. One of the standout moments was a series of vibrant hourglass mini dresses made from moulded leather, a signature Loewe material, reinterpreted with fresh precision. Elsewhere, everyday wardrobe staples were infused with what they termed “sensuality and fervour.” Slouchy polo tops and windbreakers carried a relaxed ease, while a cleverly textured fabric mimicked the frayed edges of worn denim, creating a subtle trompe l’oeil effect.
“In Yellow Panel with Red Curve lies a vibrancy and tactility that feels fundamental to the house,” the designers explained. “There is a chromatic intensity and sensuality that connects with its Spanish roots, and ultimately an optimism and spirit that we deeply identify with. Placing the work at the entrance was a way of setting the tone, a kind of prelude, for what is to come.” Their debut suggested both reverence for Loewe’s heritage and a clear artistic vision, laying the groundwork for a dynamic new era at the house.
VALENTINO
For Alessandro Michele’s latest Valentino presentation, the set design was, by his typically elaborate standards, relatively pared back. The focal point was a square black runway, with visual intrigue created by a choreography of lights swirling and darting across the ceiling. This spectacle symbolised a swarm of fireflies, the glowing insects that gave the S/S 2026 collection its name. At the beginning of the show, a voiceover explained their significance. Michele had drawn inspiration from a 1941 letter written by Pier Paolo Pasolini to a childhood friend, in which he described the wonder of watching fireflies in the forest. “We envied them because they loved each other, because they longed for each other through amorous flights and lights,” the letter read. For Michele, as the voiceover continued in the voice of Pamela Anderson, these “erratic luminescences bursting with life” embodied “the ability to resist the darkest night,” referring to the rise of fascism and the onset of the Second World War.
This historical reference served as a clear parallel to contemporary global unease. Michele framed fashion as an “unlikely but precious ally” in such times, a way of preserving beauty and individuality in the face of standardisation, and of connecting back to the body as a site of expression. Compared to his previous two Valentino collections, the clothing this season felt more restrained, though it still carried Michele’s signature romantic flourishes. Billowing blouses were paired with gathered velvet skirts, fluid gowns appeared in rich jewel tones or sheer fabrics decorated with crystals, and bows continued as a recurring motif, tied at the necks of blouses or placed on hemlines.
As the show came to a close, the models assembled on the runway, looking upwards at the whirling lights above them. The moment formed a cinematic tableau, capturing Michele’s gift for staging emotionally charged runway experiences. His ability to weave poetry, politics and spectacle together remains one of his defining strengths, and this collection reaffirmed his unique place within the fashion landscape.
LOUIS VUITTON
Throughout his tenure at Louis Vuitton, Nicolas Ghesquière has frequently chosen the Louvre as the setting for his collections. His debut in 2014 took place in the palace’s Cour Carrée, and over the years it has remained a central stage for his creative vision. For S/S 2026, however, he opted for a more unexpected and intimate location: the former summer apartments of Anne of Austria, Queen of France. These rooms, which are currently closed to the public for renovation and set to reopen in 2027, provided a richly historic backdrop. Ghesquière explained that he had been reflecting on the idea of intimacy and “the boundless freedom of the private sphere.”
Within these opulent apartments, where Anne of Austria once walked, Ghesquière presented a collection that reimagined elements of indoor dressing with imagination and flair. Swaddling robes, nightgowns and slippers were transformed into elegant, highly crafted pieces. As is characteristic of his work, the collection brought together disparate influences and historical references in a way that felt both familiar and otherworldly. Elongated pointed collars evoked regal wardrobes, while shearling trims, plissé ruffles and turban headpieces hinted at the relaxed glamour of the 1970s. Other designs seemed to draw inspiration from domestic interiors: flowing draped dresses resembled curtains, and decorative bows, tassels and intricate floral embroidery recalled the embellishments of grand homes.
Ghesquière’s particular talent lies in his ability to make these references simultaneously recognisable and elusive. His vision for Louis Vuitton has always been about defying linear notions of time and place, creating a woman who inhabits many eras at once. This collection was, in his words, a celebration of individual style and “the ultimate luxury of dressing for oneself and revealing one’s true personality.” It resonated with a broader theme that emerged across the season: the idea of liberation through clothing, the freedom to dress without constraint.
GIVENCHY
Backstage following her second show for Givenchy, creative director Sarah Burton reflected on what power dressing means for women today. She argued that strength does not always have to be expressed through the classic structure of a suit, even though this collection featured exceptional tailoring, one of her signature skills from her years at Alexander McQueen. Burton questioned why power in fashion is so often defined through traditionally masculine codes. Instead, she set out to explore strength through “feminine archetypes,” as described in a note placed on guests’ seats.
This idea unfolded through a series of striking pieces: bra tops and bodysuits adorned with pearls, frilled mini dresses that flared like tutus, and sculptural jewellery that commanded attention. One of the most memorable looks was a twisted metal and crystal bodysuit worn by model Vittoria Ceretti, marking a rare runway appearance for her. Fashion icons Naomi Campbell, a long-time muse of Burton’s, and Kaia Gerber also appeared on the catwalk, reinforcing the show’s mix of heritage and modernity.
“It started by peeling back the structure of tailoring to reveal skin and a sense of lightness and ease, and then exploring the female vocabulary of dress and undress,” Burton explained. Many garments seemed guided by intuition rather than strict construction. She imagined a woman taking a piece of fabric and wrapping it around herself, which inspired designs such as a rose-stitch satin “bedsheet gown” held modestly at the chest, and delicate nets of tulle that appeared to have been thrown on spontaneously. With the weight of her debut behind her, Burton delivered a collection that felt expressive and assured, radiating a sense of creative freedom that came through clearly in the clothes.
THOM BROWNE
You might have wondered what extraterrestrials would look like if they ever landed on Earth. According to Thom Browne, they would arrive wearing seven-inch platform heels and sporting sparkling green heads. On the final day of the S/S 2026 season, the designer delivered a joyful, tongue-in-cheek spectacle that lifted the mood of even the most exhausted editors. Staged in the heart of Paris, the show unfolded like a theatrical alien invasion. It began with silver-clad “visitors” handing out cards printed with the message “We come in peace,” before transitioning into a full runway presentation accompanied by The Carpenters’ “Calling Occupants of Interplanetary Craft.”
The collection itself was a maximalist celebration of Thom Browne’s signatures. Sport coats featured exaggerated, forward-twisted shoulders that created bold sculptural shapes. Drop-waist pleated skirts and cropped cricket sweaters cut high on the torso layered into playful, unexpected combinations. Bright, preppy colour palettes and stripes clashed with sequinned tulle, while patchwork tweeds and metallic hardware caught the light like signals from distant galaxies. The result was both surreal and impeccably tailored, merging classic Americana with imaginative sci-fi fantasy.
CELINE
“I thought it would be nice on a Sunday if we got out of the city and went to a park,” said American designer Michael Rider, explaining his decision to present his latest Celine collection at Parc de Saint-Cloud. This expansive estate, just outside Paris, was once home to a château owned by Philippe I, Duke of Orléans. Although the building no longer exists after being destroyed during the Franco-Prussian War, the setting offered a serene and elegant escape from the bustle of the city. In the clear midday air, Rider unveiled a collection defined by clarity and focus, which he described as a continuation of his debut for the house, presented during Haute Couture Week in July. That collection successfully blended elements from the eras of Hedi Slimane and Phoebe Philo, both of whom shaped Celine’s identity, while infusing his own vision of French style. His aesthetic balances preppy ease with modern sophistication and timeless appeal, informed in part by his previous role at Polo Ralph Lauren. “I did not want there to be a sense of erasure. There was a foundation to build on. That to me felt modern, it felt ethical, it felt strong,” he explained at the time.
For both men and women, the idea of a complete wardrobe continued this season. Tailoring took centre stage, structured with broad shoulders and elongated lines, appearing in classic navy blazers and tuxedo jackets. Voluminous trench coats revealed foulard-print linings in bright colours, while dresses moved between flared 1960s-style minis in floral prints and flowing twisted gowns that appealed to the Phoebe Philo loyalist. Preppy elements remained integral, including colour-blocked silk rugby shirts designed for men but easily shared between genders, as well as crisp white shirts and chinos. Trousers were offered in both wide, baggy cuts and ultra-skinny styles, a likely nod to Slimane’s most recognisable silhouette.
In the hands of a less precise designer, such a broad collection could risk losing focus. Rider, however, has already demonstrated a sharp understanding of the Celine customer. “We were thinking about what Celine is and what it isn’t,” he said. “About things that last, and things that are just a moment. And about how clothes, shoes and all of it become a part of the memories we make wearing them.” With this thoughtful and assured collection, Rider continued to shape Celine’s evolving identity while honouring its layered past.
Paris Fashion Week ultimately reaffirmed why the French capital continues to hold such a defining place in the global fashion calendar. Across the city, designers presented collections that intertwined craftsmanship, cultural commentary and creative risk-taking, reflecting both a deep respect for heritage and a bold embrace of the future. This season felt particularly layered, blending spectacle with substance; from grand historical settings to intimate presentations that explored identity, sustainability and new modes of expression. Rather than relying solely on nostalgia or shock value, many collections demonstrated a nuanced awareness of fashion’s role within broader social and artistic movements. As the industry continues to evolve amidst shifting cultural currents and technological change, Paris once again set the tone: a space where timeless artistry and forward-thinking innovation coexist, shaping not just trends but narratives that resonate far beyond the runway.
