This season of Paris Fashion Week felt suspended between two forces: nostalgia for already canonized eras and the quiet pragmatism of commercial fashion. Most houses are not trying to invent a new language. Instead, they are refining their codes, polishing familiar ideas until they reach a state of absolute clarity.
Some shows unfolded like carefully directed spectacles, others relied on obsessive attention to detail. But across the board, one strategy was evident: less risk, more control over aesthetics.
The new FW26 collection by Saint Laurent offers little in terms of revolution - and that is precisely its strength. The waistline dropped even further this season, including on fur coats. Beyond that, the brand continues to perfect its signature formula: razor-sharp tailoring, lingerie-inspired silhouettes, and a quiet but unmistakable sensuality.
It’s an intensely seductive collection that operates through atmosphere rather than novelty. There is something almost hypnotic about a Saint Laurent show. Even when the ideas remain largely unchanged from season to season, the desire to exist inside this aesthetic never fades.
The latest collection from Acne Studios feels like a collage of contemporary fashion references. Hints of Miu Miu appear alongside echoes of Jonathan Anderson and his work at Loewe. Deconstruction meets corporate dressing, creating a deliberately hybrid aesthetic.
Instead of a rigid DNA, the brand embraces a different strategy: merging the season’s strongest ideas into one accessible wardrobe. Combined with slightly more approachable pricing, it explains why Acne Studios continues to resonate with fashion insiders.
The new collection from Tom Ford evokes a cinematic narrative. One imagines a couple living in a vast house filled with leather cube sofas, panoramic windows, and black-and-white photography. They are bound not by love, but by a quiet, almost icy desire.
Many looks subtly reference the era when Tom Ford himself reshaped Gucci - especially in the sharply tailored suits and razor-thin belts. Nothing revolutionary, yet undeniably elegant.
For Alaïa, this season marked the closing chapter of Pieter Mulier’s tenure. The collection remained loyal to his aesthetic: sculptural dresses, intellectual sensuality, and a rich palette of saturated colors. Mulier’s signature lies in his mastery of silhouette, and this finale stayed true to that vision. There were no surprises - only beauty. Now the industry waits to see who will take the house forward and how Mulier will shape the future of Versace.
The FW26 collection by Schiaparelli continues its exploration of the boundary between the human and the animal. The sculptural looks are particularly striking, with silhouettes that highlight the human body in almost anatomical ways. For ready-to-wear, such complex construction remains rare. Some silhouettes echo previous seasons, yet they are executed with such precision that the repetition hardly feels noticeable.
The new season at Mugler proposes a different form of sensuality. Creative director Casey Cadwallader focuses on sculpted silhouettes and a restrained kind of rebellious minimalism. The color palette occasionally echoes the flamboyance associated with Versace.
While the theatrical spectacle historically linked to Mugler has softened, the collection feels carefully constructed and strategically positioned for commercial success.
The influence of Demna Gvasalia on Balenciaga is undeniable. He transformed the house into a cultural phenomenon and redefined its public image.
Yet such a powerful era inevitably casts a long shadow. Without the theatricality and provocation that once defined the brand, new collections risk fading into the background. The FW26 collection includes strong outerwear and leather pieces inspired by the structural legacy of Cristóbal Balenciaga. Still, without hype or controversy, the brand’s magnetic pull seems diminished.
The latest collection from Chanel, designed by Matthieu Blazy, experiments with the house’s iconic codes. Tweed suits appear in abundance, sometimes bordering on exaggerated nostalgia. The lingerie aesthetic is explored in a deliberately complex way. Yet the collection gradually finds its rhythm through voluminous red dresses, elegant mermaid silhouettes, and beautifully treated white tweed.
There is also an unusual take on prep styling, where elongated tops meet shortened bottoms - almost echoing the micro-skirts of Miu Miu. For now, the collection feels more like a phase of experimentation than a clear evolution.
And finally, Miu Miu. There is a simple rule in fashion: if people talk more about the show’s set and celebrity guests than about the clothes themselves, the collection may not be particularly groundbreaking.
The looks feel familiar - something we have already seen in both Miu Miu and Prada. But commercial success seems almost guaranteed. The styling is cleaner, more accessible, and perfectly tuned to the brand’s audience. For the Miu Miu girl, that is more than enough.
