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Paris Fashion Week’s Fall/Winter 2026 collections couldn’t arrive at a better time — as temperatures drop and wardrobes shift, the city’s runways are delivering exactly the kind of considered, covetable dressing we need heading into the colder months. With 67 ready-to-wear shows packed into just over a week, it’s been a whirlwind of standout moments — from Jonathan Anderson’s sunshine-drenched presentation at Dior to the experimental energy at Hodakova and Zomer. And with Louis Vuitton, Chanel, Celine and Loewe still to come, the best may be yet ahead. Here are the moments you might have missed.
Chloé
At the auditorium of Maison de l’UNESCO, Chloé delivered a breezy, heartfelt collection that felt rooted in craft and community. The front row, featuring Oprah Winfrey and Gayle King alongside Olivia Rodrigo, Alexa Chung and Brooke Shields, watched as airy balloon sleeves, rustic florals and trousers cinched neatly at the ankle floated down the runway. Hair was worn long and natural, cheeks fresh and freckled, giving everything creative director Chemena Kamali’s effortless Chloé ease. Styling offered a playful twist for the cooler months with strappy sandals layered over socks and sturdy wooden clogs grounding the romance. The overall mood? Soft, soulful and optimistic.
Guachere
With a refreshingly intimate series of salon presentations in her Rue de Rivoli ateliers, Gauchere designer Marie-Christine Statz – often considered the queen of Right Bank minimalism – doubled down on the precise tailoring that has earned her a devoted following among fashion insiders and celebrities – think Vittoria Cerretti, Cate Blanchett, and Hailey Bieber – alike. Statz built the collection around sculptural construction and controlled volume. A mineral palette of black, grey, burgundy and taupe was punctuated with flashes of butter yellow and acid olive, while sharp tailoring met fluid silk pieces that moved with the body.
Camilla & Marc
To round out the day, at the Camilla and Marc ‘residence’, guests gathered for an intimate cocktail preview of the Australian label’s Autumn Winter 2026 collection. The apartment, curated by Pierre Augustin Rose, overlooked the Jardin des Tuileries and a glittering Eiffel Tower in chic, softly lit surroundings that felt more Parisian salon than fashion event. Martinis, margaritas, potato chips and caviar circulated as editors and friends of the house mingled for a relaxed moment amid the pace of fashion week.
Tom Ford
An Instagram teaser of Kristen McMenamy devouring an orchid set the tone for Tom Ford, a collection that was decadent, slightly dangerous, and unapologetically sexy. At Place Vendome, to guests including Kate Moss and Odessa Azion, the show opened deceptively prim with a neat ivory jacket and matching skirt falling just below the knee, punctuated by a single white glove – but the mood sharpened quickly. A devilish red lip, platinum buzzcut, sheer tights and razor stilettos gave the look bite (polka-dot tights emerged as a winter style note).
Low-slung trousers with razor-thin belts worn directly on the skin, 80s business shirts tucked into mid-rise tailoring and sharply cut suits for both men and women kept the offering streamlined. Elsewhere, transparent PVC skirts, trenches and cropped jackets delivered a rain-ready story, (with just a touch of something Patrick Bateman) while plush chocolate furs, animal prints and fuzzy striped knits softened the edges. Knee-high stiletto boots returned and the overall result was sexy, controlled, and tailored within an inch of its life.
Alaïa
For his final collection at Alaïa before his move to Versace, Pieter Mulier framed the moment with intimacy. Invitations arrived as leather pattern pieces packed into a briefcase, assembling into a sculptural torso, an homage to the house – and founder’s – devotion to form and hand-crafted assembly. A few hours before the show, Mulier released a small book of portraits celebrating the atelier and studio teams behind the collections – pattern cutters, seamstresses, and collaborators he affectionately refers to as “my family.”
With a front row including Chanel’s Matthieu Blazy and Prada’s Raf Simons, as well as friends of the house and staff, models including Aussie Gemma Ward, Alex Consani and Mariacarla Boscono who glided through sleek silhouettes, fluted volumes and sculptural folds in Mulier’s signature balance of control and release. The finale – a rust-orange bustier dress with cascading volumes, anchored by one of Mullier’s signature ankle straps – and no doubt his entire tenure at Alaïa, earned a rare standing ovation.
Dries Van Noten
On Day three of Paris Fashion Week, and just over a year into his tenure at Dries Van Noten, creative director Julian Klausner continues to sink into the house’s richly textured universe. The presentation, at the Lycee Carnot in Paris’ 17th arrondissement, saw the collection unfold like a slightly eccentric, Saltburn-worthy countryside gathering in tweed suiting, plaid down jackets and school uniform-inspired outerwear layered over printed silk. Colours seemed to draw from classic hunting greens and fireside ambers, while Flemish still-life prints and embroidery – also seen in blown out pixels – nodded to the brand’s Belgian roots.
The house thrives on maximalist, unexpected pairings as seen in the collection through brocade meeting sportswear, denim cut into prim jackets, and topcoats with elasticated bomber collars. Frock coats with intricate metallic trims ended the presentation on a majestic bohemian note.
The Row
The Row remained characteristically elusive this season. Details from the show were scarce but guests did share one small, telling touch — neat little white boxes filled with individually wrapped blackberries and cherries. Minimal, discreet, and precious, very much in keeping with the brand’s famously private approach. Watch this space as we find out more.
Hodakova
Rounding out the first official day of Paris Fashion Week, Swedish brand Hodakova turned inward on a darkened, mirrored set at the Carrousel du Louvre, in a study of what we reveal and what we withhold. Tailored coats and razor-sharp blazers projected composure from the front, while backs fell away to expose skin. The beauty inspiration – ‘sweaty pianist’ – was inspired by a musician who lost herself in the moment. Models walked barefoot, as if caught mid-dressing, grounding the collection in intimacy before riding boots and wedge heels reintroduced a note of structure.
The LVMH Prize winner drew upon her signature upcycling practice to recast household textiles, such as tea towels, rugs and upholstery fabrics, as skirts and sculptural layers. Glass accents, developed with bottled water company Icelandic Glacial, refracted light, upcycled silver spoons became jewellery, teacups doubled as a bra, horsehair violin strings curled into blonde bodices.
zomer
Paris-based Dutch label zomer staged its presentation in collaboration with La Watch Party by Ly.as, an initiative designed by the fashion influencer to democratise fashion through large-scale public screenings of runway presentations. This time, the concept evolved to include an actual runway presentation, one that threaded through the audience seated at the Theatre du Chatelet, collapsing the distance between spectacle and spectator.
The clothes followed suit with garments spliced, reversed, reconsidered. Pockets bulged with matchboxes, pearls, feathers, yarn and even old calculator watches (which were also used to secure shoulder drapes). Silk square patterns exploded at necklines and deep v-necks were pushed down to be worn at the waist, morphing into skirt panels with armholes doubling for pocket access, and blankets trailed from coat backs like superhero capes.
Saint Laurent
Ahead of the show, Saint Laurent teased rare artefacts from the Yves Saint Laurent-Pierre Berge collection, including a Roman marble torso and a garnet-studded agate cup, circa 1660, hinting at a house in conversation with its own mythology. Rounding out day two on the runway, that reverence translated into control. Eight slouchy, yet sharply tailored dark suits opened – replete with slicked-back hair and eighties-ready crimson lips (Robert Palmer would be proud) – and a single suit closed, bookending a collection that unravelled into sheer lace and lots of leather in burnt orange, tobacco, brown, and black.
Slip dresses clung and skirts split high on the leg, channelling 1980s power sensuality. Lace gowns swelled unexpectedly at the hip, rare volume against otherwise slinky lines in the rest of the fabric story, and plush, grizzly furs added a maximalist swagger. Beneath the glitter of the Eiffel Tower, where Saint Laurent has shown since 2017, Bella Hadid walked her second show of the season as Kate Moss, Michelle Pfeiffer, Zoe Kravitz, Rosé and Francois Arnaud of Heated Rivalry looked on.
The post All The Moments You Need To Know About At Paris Fashion Week appeared first on ELLE.
