Paris Fashion Week Womenswear FW26

OUTSIDE THE SHOWS
That’s Paris Fashion Week Womenswear FW26

written LE MILE

Outside the official schedules and beyond the choreographed pace of the runway, Paris Fashion Week Womenswear FW26 appeared in fragments across the streets between venues, cafés, taxis and sudden crossings of the boulevard. The city once again became a moving stage where the rhythm of fashion month revealed itself in passing silhouettes and fleeting encounters.

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
HERMES

Paris Fashion Week FALL-WINTER 2026
LOEWE

Paris Fashion Week FALL-WINTER 2026
LOEWE

Paris Fashion Week FALL-WINTER 2026
LOEWE

Across the runways in Paris, the season leaned into a heightened dialogue between structure and softness as designers revisited ideas of femininity through precision and fluidity. Romantic fabrics such as lace and sheer layers appeared alongside sculpted tailoring and sharply defined silhouettes, while sensual black, saturated colour and glossy materials punctuated the collections with moments of intensity. Houses including Dior, Saint Laurent, McQueen, Louis Vuitton, Miu Miu and Alaïa articulated a season balancing clarity with emotion, discipline with instinct.

Moving through the streets between venues, these ideas took on a more instinctive rhythm as attendees assembled their own visual language from fragments of the season. Elongated coats moved beside fluid dresses layered under oversized outerwear, precise tailoring met sheer textures and flashes of colour, while boots, sculptural bags, archival references and unexpected material contrasts appeared in motion as people travelled between appointments, presentations and late arrivals. Captured by Ian Kobylanski, Outside the Shows turns its attention to this transitional space where fashion briefly leaves the runway and enters the street, observing the individuals who animate the atmosphere surrounding the shows. Shot across Paris during the closing days of the womenswear calendar in early March, the series reflects a city temporarily transformed into a corridor of silhouettes where ideas introduced on the runway begin their first life in the open air.

Paris Fashion Week FALL-WINTER 2026
Jessica Chastain, ZIMMERMANN

Paris Fashion Week FALL-WINTER 2026
LACOSTE

Paris Fashion Week FALL-WINTER 2026
GIVENCHY

Paris Fashion Week FALL-WINTER 2026
LACOSTE

Paris Fashion Week FALL-WINTER 2026
ISSEY MIYAKI

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
GABRIELA HEARST

Paris Fashion Week FALL-WINTER 2026
GIVENCHY

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
NINA RICCI

Paris Fashion Week FALL-WINTER 2026
GIVENCHY

Paris Fashion Week FALL-WINTER 2026
AKRIS

Paris Fashion Week FALL-WINTER 2026
OTTOLINGER

Paris Fashion Week FALL-WINTER 2026
VIVIENNE WESTWOOD

all visuals
(c) IAN KOBYLANSKI

Paris Fashion Week Womenswear FW26, March 2026

London Fashion Week Streetstyles AW26

OUTSIDE THE SHOWS
*That’s London Fashion Week AW26

written LE MILE

Beyond the curated cadence of catwalks and official showrooms, London Fashion Week AW26 played out on its streets, in the lively interstices between presentations and the unchoreographed gestures of a city steeped in creative flux. This season, the capital’s mood carried equal parts resilience and reinvention. Established houses revisited heritage with renewed focus, emerging voices amplified cultural narratives, and design vocabularies were read through lenses of inclusivity, texture, and urban poise.

In the in-between moments — arriving guests, impromptu clusters at side streets, front-row departures and post-show conversations — London’s style set assembled its own dialect of expression. Classic British tailoring appeared alongside bold colour juxtapositions; sculptural coats and ballet-flat combos shared pavements with purposeful layering, kitsch accoutrements, and subcultural inflections. Rain-ready outerwear, unexpected colour duos and inventive accessories punctuated everyday movement, revealing how personal style reflects and disrupts the season’s formal narratives.

Captured by Ian Kobylanski in the heart of London’s fashion-week flux, Outside the Shows turns its gaze toward the characters who populate these spontaneous spaces — individual storytellers forging distinctive looks from the season’s fragments. Seen and documented across late winter streets and show day thoroughfares, the series traces style in motion, observing how fashion is performed, adjusted and recalibrated beyond the frame of the runway.

all visuals
(c) IAN KOBYLANSKI

London Fashion Week FW26, February 2026

Taakk - Fall/Winter 2026 Review

Taakk FW26 - Over 2,000 Years in the Making

A review of the Taakk Fall/Winter 2026 collection

written MALCOLM THOMAS

A rain of mist fell on La Tour d'Eiffel, its imposing presence seemed to devour the streets around it. Standing proud amongst its subjects, gazing in awe. Perhaps its purview extended to Taakk’s Fall/Winter 2026 show held at the Cité de l’Architecture et du Patrimoine on January 25, for which anyone should certainly be proud. Undoubtedly, Japanese designer Takuya Morikawa, who delivered his strongest collection to date. 

Paris Fashion Week FW26
TAAKK Fall/Winter 2026 Menswear

Inspired by the Jōmon, an early Japanese hunter, gatherer, and agricultural society spanning 10,000 years (roughly 14,000-300 BCE), much like the Jomon themselves, Morikawa wanted to pay tribute to the land, “living in harmony with nature; the forest, ocean, rivers and all,” the designer wrote in his program. 

This started from an unlikely and controversial place—fur, which was collected from production byproduct and pieced together to create the most beautiful and ethical jackets, bags, and trimmings—a new offering for Taakk. To gradient fabrics and masterful embroidery techniques. Warping cotton on denim to imitate tree bark, raw and unpolished, is one of many Morikawa innovations over the years.

After the finale, models stood for guests to marvel. People cheered, took out their phones, ran their hands through the textiles, and wondered why they hadn’t discovered Taakk sooner. I imagine Morikawa must’ve felt this, too. Now it was time for people to pay tribute to him.

Paris Fashion Week FW26
TAAKK Fall/Winter 2026 Menswear, Final

Paris Fashion Week FW26
TAAKK Fall/Winter 2026 Menswear, Takuya Morikawa

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) TAAKK Press

Paris Fashion Week Streetstyles AW26

OUTSIDE THE SHOWS
*That’s Paris Fashion Week Menswear FW26

written LE MILE

Outside the official schedules and away from the controlled choreography of the runway, Paris Fashion Week Menswear FW26 revealed its most telling moments in motion, on the pavement, between shows, in passing glances and improvised silhouettes. This season unfolded against a backdrop of recalibration. Many houses leaned into clarity over spectacle, refining archetypes. Tailoring returned with sharper intent, volume was handled with restraint, and references to utility, workwear, and heritage were filtered through a more personal lens. Elsewhere, softness crept in through colour, texture, and gesture, suggesting a quieter confidence shaping contemporary menswear.

Paris Fashion Week FALL-WINTER 2026
RICK OWENS

Paris Fashion Week FALL-WINTER 2026
RICK OWENS

Paris Fashion Week FALL-WINTER 2026
TAAKK

Paris Fashion Week FALL-WINTER 2026
TAAKK

Paris Fashion Week FALL-WINTER 2026
KIDSUPER

Captured by Ian Kobylanski, Outside the Shows turns its focus to the characters who animate this in-between space. Individuals assembling their own visual language from fragments of the season: elongated coats, experimental layering, archival gestures, subcultural echoes, and moments of playful disruption.

Shot during the final days of the Paris circuit in late January, the series reflects a city momentarily transformed into a moving archive of ideas. Outside the Shows shows how fashion is lived, negotiated, and reimagined in real time.

Paris Fashion Week FALL-WINTER 2026
Michèle Lamy, COMME des GARÇONS

Paris Fashion Week FALL-WINTER 2026
COMME des GARCONS

Paris Fashion Week FALL-WINTER 2026
White Mountaineering

Paris Fashion Week FALL-WINTER 2026
KIDSUPER

Paris Fashion Week FALL-WINTER 2026
AMIRI

Paris Fashion Week FALL-WINTER 2026
LOUIS VUITTON

Paris Fashion Week FALL-WINTER 2026
HERMES

Paris Fashion Week FALL-WINTER 2026
LOUIS VUITTON

Paris Fashion Week FALL-WINTER 2026
DIOR

Paris Fashion Week FALL-WINTER 2026
Pharell Williams, SACAI

Paris Fashion Week FALL-WINTER 2026
JOON.J

Paris Fashion Week FALL-WINTER 2026
JOON.J

Paris Fashion Week FALL-WINTER 2026
DOUBLET

all visuals
(c) IAN KOBYLANSKI

Paris Fashion Week Menswear FW26, January 2026

Celine - Inside the Fall/Winter 2026 Menswear Collection

How Michael Rider Is Reframing Celine Menswear for Fall/Winter 2026

A review of the Celine Fall/Winter 2026 menswear collection

written MALCOLM THOMAS

“We took the frame of menswear, and what Celine stands for, and then talked a lot about the energy of today, the here and now, the way people live and want to look,” said Celine Creative Director, Michael Rider.

Paris Fashion Week FW26
Celine Fall/Winter 2026 Menswear

Officially, his second collection for the house. It appears Rider’s approach is more Phoebe Philo than Slimane, and entirely more down- to-earth, 16 Rue Vivienne, to be exact, the brand’s headquarters and showroom, where his under-the-radar second collection was presented. Unlike his debut, there was no runway show. No flashing lightbulbs, no V.I.P. wrangling or seating politics, this season. No pomp and circumstance. Instead, a well-merchandised presentation, a tower of American-style blue jeans, an S-curve footwear assortment, and a thoughtfully curated edit of key looks to peruse with champagne and hors d’oeuvres in hand. “Character over costume,” was the designer’s directive.

An electric blue button-up paired with trousers and a camel coat first caught my glance; the same blue also made an appearance in a shirt jacket and matching sweater. Then there were the bolder pieces: the single shoulder button pin leather jacket, for instance, rock n’ garde remnants of Monsieur Slimane’s time at the house, featuring hippie hugger sayings like “Hugs Not Drugs,” and “It won’t be a party if I’m not invited.”  You know the saying, once a bad boy…

But while Slimane was more likely to rock the boat, Rider is more likely to steer it.

Who wants to get wet anyway?

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) CELINE Press, seen by Zoe Ghertner

Algieri - Paris Fall/Winter 2026 Show Review

Algieri Paris: Fashion and a Show

A review of the Algieri Paris Fall/Winter 2026 show

written MALCOLM THOMAS

Deep in the 14th arrondissement on a cold night, I sat inside the Chapelle Sainte Jeanne D’Arc, a Neo-Gothic church so remote even a Parisian taxi driver couldn’t find it. The grand darkness of the church, named after patron saint Joan of Arc (you know the one), was as much of a character as the performance itself.

Paris Fashion Week FW26
Algieri Paris Fall/Winter 2026 Show

A ghoulish fog hung over the stage as a DJ appeared, and shortly after, a chanteuse unveiled her bejeweled-encrusted gown that shimmered as her voice soothed even the darkest corners of the church. Dancers in white enveloped her like a dying flower come back to life, then made their way to the tables populated with silver dishes in the center of the floor. They began staining their white uniforms black. One let out a scream, and the fashion part of the show began.

The collection, entirely in black, created (mostly) in deadstock fabric and exaggerated and restrictive structures and silhouettes in varying cashmere, leather, lace, feathers, metal, and stones, needed no such introduction.

Yet, the full-bodysuits, one made entirely of feathers, the voluminous floor-length fur, and the chainmail dress made of keys cling-clanging as it walked past to a melody of its own, were their own kind of show. 

Founded in 2022, Algieri Paris has a vested interest in the re-contextualization of gender and body norms, often collaborating with local drag queens and underground celebrities. Raphaël Algieri’s sex-positive avant-garde design language was honed at L’Institut Supérieur des Arts Appliqués (LISAA) and École des Hautes Études Commerciales (HEC). Nods to Louise Bourgeois and the sensuality of Robert Mapplethorpe’s famous black and white portraits can also be found in Algieri’s work. Named after the designer’s Italian great-grandmother, Filomena Algieri, who decided not to marry and to pass down her name instead. There is not an inch of Algieri that isn’t rich with subversion. 

When the show ended, I walked the eighteen minutes to the nearest metro in the rain. I laughed to myself. I almost missed this show. I’m glad I didn’t.

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) Algieri Paris Press

Christian Louboutin - Jaden Smith Debuts Menswear Collection FW26

Jaden Smith Debuts Menswear Collection For Christian Louboutin

A review of the Christian Louboutin Fall/Winter 2026 menswear collection

written MALCOLM THOMAS

When it was announced last September that Christian Louboutin had appointed its first-ever Men’s Creative Director, it marked a bold new chapter for the brand. A brand that, at that point, had already left its global footprint on one of fashion’s most lucrative categories.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Emerging not just as another shoe brand, catered to women on the rise but as a sexy symbol of status, most notable for its blood red soles, known en masse as red bottoms, and framed in perpetuity as “bloody shoes” by Cardi B in her chart-topping smash, Bodak Yellow, a song that ironically did as much for her career as it did to cement Christian Louboutin in the culture.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

It was over 15 years ago that Louboutin launched its menswear line. A sub-category which now accounts for 24% of its business, and it was more than six years ago when the designer began a dialogue with then, 21-year-old, Jaden Smith. A child of parents who in their own right, had a part in shaping culture. A dialogue between the two seemed fitting— his appointment as a creative stakeholder seemed shocking—remember that bold new chapter?

Unveiled Wednesday at an elaborate exhibition in Paris, somewhere between cinema and mythology, the Fall/Winter 2026 menswear collection was displayed. Heroed by shoes, of course, merchandized on antiquity-inspired columns throughout, with accompanying wall placards, the same kind you might find in a gallery or museum. The positioning was clear. Less status. More art.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

From the virality of the campaign imagery, projected full screen on the wall and in a viewing area, Smith’s bare-chested body, painted in red, also on display—a kind of nod to the rapper’s full creative immersion, to the role itself, these were made for see and be seen moments. Some moments, bolder than others, fur boots for instance, worn by Jaden Smith, himself in the video, certainly not made for wallflowers, but rather a temperature check of how far Christian and Jaden are willing to go. Wax-dripped boots were another editorial moment, which I think may also have a retail moment too, as well as logo-ed belts and a utility bag with titled pockets and compartments, stone masons and scribes among Smith’s inspiration and romanticization of the working man.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Next: a full collection slated for runway and sale next season, and the capsule collection in select boutiques and on christianlouboutin.com. Available now.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) Christian Louboutin Press

Dior SS26

.second campaign
Anderson Begins Dior
Dior in Velvet, Dior in Blood, Dior in Fiction

written Amanda Mortenson

Everything begins in velvet. Heavy velvet, red velvet, velvet with history pressed into its folds like pressed flowers too soft for cataloguing.

Dior builds a room, Berlin builds a memory, the Gemäldegalerie breathes through the walls like someone reading Baudelaire aloud in an empty hallway. Paintings hang, modest and glinting, Chardin’s hands still holding onto domestic stillness while outside, the fabrics whisper and the tailoring plots a gentle upheaval. There’s no irony in this, just layers. There’s always another layer.

DIOR MEN'S
Summer 26
Indoor Scenography seen by Adrien Dirand

DIOR MEN'S
Summer 26

Jonathan Anderson stands somewhere behind it all, somewhere beneath a Donegal tweed, somewhere inside a 19th-century waistcoat with a tie that knows its own power. The trousers stretch with the weight of time. The tailcoats carry too much and choose to carry more. The past feels present, loud, unfiltered, embroidered in the way only garments speak when language steps aside. The clothes speak in codes older than sound. They tell stories with buttons and collars and hems that remember how to behave in candlelight. No one argues, the room listens.

The collection arrives in waves. Caprice stares from a corner. Delft spins, unsure whether to seduce or confess. La Cigale lingers like a perfume trapped in architecture. Every dress carries a title, every title carries a timeline, every timeline opens up a drawer of private references and aristocratic gossip. The Bar jacket shrugs over it all, comfortable in its own elegance, aware of its origins, aware of the way form fits when structure takes over and softness submits.

A Book Tote enters, unread but fully understood. First edition Baudelaire, Truman Capote, the kind of library that wears its covers proudly. A crossbody arrives, Dracula tucked inside, blood in the stitching, literature clinging to the lining like it belongs there. Sheila Hicks lends her hands to the Lady Dior, transforming it into a nest, ponytails of linen blooming in every direction. The bag turns feral, beautiful, certain. Accessories carry fiction better than plotlines ever could.

DIOR MEN'S
Summer 26

DIOR MEN'S
Summer 26

Charms dangle. Diorette details scatter across collars and wrists. And roses erupt from seams without warning. Embroidery blooms where thought once sat, the collection breathes deeply, exhales rococo, exhales restraint dressed as exuberance. No moment escapes embellishment, but everything wants to shimmer, and everything does. The show offered style as posture, style as attitude, style as inheritance passed through instinct and silhouette. A museum becomes a mirror and a garment becomes a ghost. There’s a gesture here, a lift of the shoulder, a tilt of the head, a pause in the fabric that allows the wearer to become someone they met once in a book or a dream or a hallway with too much velvet. Style lives in that space between and Dior stretches the horizon, Jonathan Anderson tapes it back together with thread dyed in memory.

Every model walks like they’ve done this before, in another life, under another monarchy. Formalwear tells jokes only archives understand and the trench coat plots. The shirt sighs, the trousers hold secrets without flinching and nothing tries to be wearable. Everything demands to be worn.

The music glows beneath it all, the kind that touches the hem of ceremony. There are no instructions. There are no summaries. Dior sends out clothes with blood in their pleats and novels in their pockets. The audience watches, some lean forward, some breathe through their teeth and others already remember this from a future they haven’t reached yet. Anderson moves like a curator lost in his own collection. Every piece arrives curated, arranged, unraveled slightly. The hemline flutters with purpose.

DIOR MEN'S
Summer 26

DIOR MEN'S
Summer 26

DIOR MEN'S
Finals, Summer 26
seen by Adrien Dirand

credits for images
(c) DIOR / scenography and finale images seen by ADRIEN DIRAND

Christian Louboutin *PFW

Pin Me Down, I’m Louboutin
*Everyone at Hôtel de Crillon Was Looking at Shoes, Obviously

written AMANDA MORTENSON
documented BELLA SPANTZEL

They set up shop at Hôtel de Crillon. Three salons. Carpeted floors. High ceilings. Everything smelling faintly of inherited wealth and new soles. Louboutin called it Sartorial. No one asked what that meant. Everyone nodded.

First room: Batailles. Men hunched over shoes like the Enlightenment depended on it. One was patina-ing. Another was glazing. Someone whispered something about “le glaçage” and nodded like they were at a wine tasting. In a corner: butterflies. Not metaphorical. Real ones, stitched from organza and rhinestones and beads and sequins and probably quiet guilt. Maison Lesage. 55 hours per shoe. Do the math. No one blinked.

Second room: Salon des Aigles, where four men—beautiful in that way people are when they look like they’ve never waited in line for anything—were performing something loosely resembling a day in the life of someone too stylish to explain their job. They moved just enough to make it clear they were alive, but not enough to suggest they had anywhere to be. On their feet: Lord Chamb boots with a vaguely horsey superiority, the O Louvre loafers wrapped in moiré gros-grain like they just stepped out of an inheritance, and the Circus Booty Perla, which looked like a party trick from 1973 involving 10,000 rhinestones, some pearls, suede, and a memory of a harlequin no one really invited but everyone admired. Around them: glass vitrines displaying dissected shoes like scientific curiosities—Farfaman and Farfarock cracked open in slices, frozen mid-explanation. Someone near the back said “craftsmanship” under their breath like it was a secret. Someone else took a picture, shook their head slightly, and walked into the next room without looking up.

Third room: Salon Marie Antoinette, where the vibe shifted from performative to ceremonial. A green billiard table, because of course, held the entire Chambeliss line arranged like disciplined heirs waiting for the will to be read. Derby, Moc, Monk, Monk Boot, and one that looked like it simply couldn’t decide. The shoes didn’t speak, but they absolutely judged. All were adorned with the Chambelink, a sharp little metal pin stretched across the upper like a smirk—some minimal, some dripping in rhinestones, 200 if anyone’s counting, but no one was.

Each shoe had a matching shirt collar placed beside it, as if the collar had decided to go solo and the shoe was still getting over it. Someone whispered something about tailoring. Someone else responded with “elegance,” but their voice gave out halfway through, probably because the shoes were too close and listening.

There was a general atmosphere of reverence mixed with mild confusion, the kind where everyone agrees something is brilliant without needing to understand why. The shoes gleamed under the light like they had somewhere better to be, the rooms carried themselves like sets from a film where no one makes eye contact, and outside, Paris didn’t notice because Paris was busy being Paris. Christian Louboutin didn’t explain. There were no speeches, no signs, no marketing slogans. Just rooms filled with shoes that fully expected to be looked at.

all visuals produced for LE MILE .Digital
Bella Spanzel / www.bellaspantzel.com

Paris Fashion Week AW25

THE FABRIC OF NOW
*Paris Fashion Week 2025 Highlights

written ALBAN E. SMAJLI

Paris Fashion Week Fall/Winter 2025-2026 unfolded as an encoded manifesto, where fabric became language and silhouettes spoke in tongues. Designers unearthed buried histories, reconstructing past blueprints into a future without borders.

The runway was an evolving stage—DIOR dismantled gender constructs, LOUIS VUITTON mapped the velocity of movement, VALENTINO engineered intimacy as spectacle. Vans infiltrated Valentino, threading rebellion through the needle of luxury. This was a transmission. CHLOÉ reactivated an artifact, the Paddington bag, as an emblem of memory in motion. ZIMMERMANN stretched the seams between myth and reality. Vans infiltrated Valentino, threading rebellion through the needle of luxury.

Paris Fashion Week FW25
VALENTINO Show

VALENTINO Ready-To-Wear Fall/Winter 2025/2026

Alessandro Michele’s Fall/Winter 2025-2026 collection for VALENTINO continued his redefinition of the house’s identity, expanding on the foundations set in his debut. The show, titled Le Méta-Théâtre Des Intimités, transformed the runway into a dystopian, Lynchian space, evoking the surreal ambiance of a public restroom—an environment stripped of traditional constructs, where personal and collective identities dissolve.

Structured ‘70s-inspired suits, sculptural coats, and richly embellished dresses unfolded in deep VALENTINO red, ivory, and ink black, carrying an almost ritualistic quality. The collaboration with VANS introduced a new dimension, reworking the classic Authentic sneaker in bold checkerboard patterns and an “I Love My Vans” motif intertwined with VALENTINO’s logo. Lace veils layered over raw-edged tailoring, gloves extended beyond the elbow, and sculptural accessories punctuated the silhouettes with a sense of quiet subversion. Michele’s vision explored intimacy as a performative space, where identity is neither fixed nor singular but constantly in flux, layered like fabric, revealing and concealing with each movement.

Paris Fashion Week FW25
VALENTINO Show

Paris Fashion Week FW25
VALENTINO Show

Paris Fashion Week FW25
VALENTINO x VANS

Paris Fashion Week FW25
DIOR Show

Paris Fashion Week FW25
DIOR Show

DIOR Ready-To-Wear Fall/Winter 2025/2026

Maria Grazia Chiuri's Fall 2025 collection for DIOR was a sartorial journey through time, drawing inspiration from Virginia Woolf's "Orlando" to blur the lines between masculinity and femininity. The runway transformed into a theatrical spectacle, with models navigating a set adorned with mechanical pterodactyls and looming icebergs, evoking a sense of timelessness and evolution.

Chiuri revisited the archives, paying homage to predecessors like Gianfranco Ferré and John Galliano. The reimagined white shirt, a nod to Ferré's architectural approach, became a canvas for exploration, featuring detachable ruffled collars reminiscent of Elizabethan ruffs, symbolizing the fluidity of identity. The collection's palette transitioned from somber blacks to ethereal whites, mirroring the narrative of transformation. Lace gowns juxtaposed with military-inspired coats underscored the harmonious blend of strength and delicacy. The revival of the "J'adore Dior" T-shirt, an emblem of Galliano's era, was recontextualized, bridging past and present. Chiuri's exploration of gender-bending silhouettes and the interplay of historical motifs with contemporary aesthetics reaffirmed Dior's commitment to innovation while honoring its rich legacy.

LOUIS VUITTON Ready-To-Wear Fall/Winter 2025/2026

Nicolas Ghesquière's vision for LOUIS VUITTON's Fall/Winter 2025-2026 collection was a love letter to the golden age of train travel, encapsulating the romance and anticipation of journeys. Staged at the historic Gare du Nord, the show immersed attendees in the bustling ambiance of a Parisian train station, complete with the rhythmic hum of Kraftwerk's "Trans-Europe Express."

Ghesquière presented an eclectic array of silhouettes, from voluminous midi skirts paired with heavyweight knit vests to pinstriped boiler suits accented with vivid scarves. The accessories were a testament to LOUIS VUITTON's legacy in travel, with models clutching steamer-inspired handbags and oversized duffel totes, reminiscent of classic luggage pieces.

The collaboration with set designer Es Devlin resulted in a runway that mirrored the transient nature of travel, with models embodying characters from various walks of life, each telling their own story. This new collection celebrates the art of travel, highlighting the brand’s connection to movement, heritage, and design, with historical elements woven into a contemporary vision that unfolds as a continuous narrative.

Paris Fashion Week FW25
LOUIS VUITTON Show

Paris Fashion Week FW25
LOUIS VUITTON Show

CHLOÉ Ready-To-Wear Fall/Winter 2025/2026

Under the creative direction of Chemena Kamali, CHLOÉ's Fall/Winter 2025-2026 collection was an ode to the multifaceted nature of femininity, exploring the interplay between strength and softness. Kamali studied the archives, reviving the iconic Paddington bag, a beloved accessory from the early 2000s, now reimagined for the modern woman.

The runway showcased a harmonious blend of opulence and practicality, with lavish, embellished dresses juxtaposed against pared-down, utilitarian pieces. Broad logo belts cinched sheer, low-rise maxi skirts, adding a touch of structure to the ethereal ensembles. Ballet flats, poised to become the season's must-have, offered an effortlessly chic touch, embodying the brand's signature blend of elegance and ease. Kamali's exploration of plurality and the influences that shape women's identities resulted in a collection that felt very personal and universally relatable, resonating with women across generations.

Paris Fashion Week FW25
CHLOÉ Show

Paris Fashion Week FW25
CHLOÉ Show

Paris Fashion Week FW25
CHLOÉ Show

Paris Fashion Week FW25
ZIMMERMANN Show

ZIMMERMANN Ready-To-Wear Fall/Winter 2025/2026

Nicky Zimmermann’s Fall 2025 collection, Hypnotic, built a world where storytelling unfolded in fabric, silhouette, movement. Inspired by the haunting atmosphere of Picnic at Hanging Rock on its 50th anniversary, the collection absorbed the film’s lingering sense of mystery without directly referencing its costumes. Instead, elements from the narrative were distilled into textures, structures, and motifs that shaped each look with quiet precision.

Lace-trimmed lingerie dresses, pinstripe suits, and structured wool coats introduced a balance of softness and strength, while hidden details—maps of Mt. Macedon printed on silk, hand-drawn Valentine’s Day cards stitched between layers of chiffon—wove subtle fragments of the story into the collection. The use of Mongolian shearling, leather-wrapped boots, and braided trims reinforced a tactile complexity, adding depth to the compositions without overpowering their fluidity. A shift in palette from soft, sunlit hues to deep moss greens and midnight blues signaled an evolving mood, with textures becoming richer and silhouettes taking on a more dramatic form.

Polished stone jewelry and an almond-shaped suede bag introduced grounding elements to the collection, serving as counterpoints to the weightlessness of chiffon and the elongation of sleeves. ZIMMERMANN shaped Hypnotic with an attention to atmosphere, allowing the garments to move between clarity and enigma.

Paris Fashion Week FW25
ZIMMERMANN Show