Chanel Fall 2026 Ready-to-Wear, Photo by Spotlight Launchmetrics for The Impression
The fall-winter shows in Paris normally set the stage for what nominees and presenters will wear to the Oscars. Celebrities and their stylists are in Paris to secure specific runway looks (often directly off the catwalk) before they are seen by the public. This makes PFW the final, most crucial sourcing event for Hollywood’s biggest night.
With Paris Fashion Week ending just days before the Oscars, there is unprecedented potential for an immediate runway-to-red-carpet transformation. This timing should guarantee Oscar ensembles reflect Paris’s freshest trends with vivid immediacy.
Christian Dior, Fall 2026 Ready-to-Wear, Photo by Daniele Oberrauch for Gorunway.com.
Of course, there are notable exceptions (we will probably see some of them on Sunday night), but the problem is that this is one of the least traditionally red-carpet-focused fashion months I can recall.
The fall 2026 runways have seen a reduction in grand or conventional ballgown-style evening dresses, favoring a more understated, intimate form of glamour instead.
Zoe Kravitz arriving at Saint Laurent dressed in Saint Laurent, Photo by Wire Image
This shift is driven by a reaction to the world’s chaotic state, moving fashion toward more personal, wearable looks instead of overt displays of wealth. As a result, the Fall 2026 season emphasizes clothes with precision and edge, rather than traditional Hollywood red-carpet glamour.
Currently, major trends prioritize high-impact street style and individual expression over traditional luxury. Instead of conspicuous opulence, designers now elevate subtlety and refined craftsmanship.
Alaia Fall 2026 Ready-to-Wear, Photo Courtesy of Alaia
The new mood is perfectly exemplified by Pieter Mulier’s minimalist swan song, which focuses on refined body-con silhouettes and sculptural tailoring rather than theatrics.
The collection emphasized pure, essential forms, using materials such as jersey, raw-cut wool, and velvet to highlight impeccable construction and form-fitting design. It serves as a poignant and controlled farewell to the atelier’s craft.
Givenchy Fall 2026 Ready-to-Wear, Photo Courtesy of Givenchy
Many designers are rejecting standard red carpet codes for practicality, structure, and “real life” dressing. This season replaces familiar glamour with tailored, wearable luxury—suits (“Le Smoking” looks better than ever), cocoon coats, and resilient pieces for today’s realities. It is a focus on reality over fantasy. Designers are favoring dressing with intent over traditional luxury spectacle.
Lanvin Fall 2026 Ready-to-Wear, Photo by Acielle for Style du Monde
Collections focus on pragmatism, comfort, and protection. High, sculptural collars and protective headwear are the order of the day. It looks as if the American Academy of Dermatology (AAD) sponsored some of the shows, given the use of large-brimmed hats that would act as perfect protection from the sun’s UV rays.
Jean Paul Gaultier Fall 2026 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression
I’m glad to see a return to the hourglass shape and a greater focus on the waist, which is vital in fashion and looks especially good after seasons of oversized, shapeless clothes.
Highlighting the narrowest part of the torso defines the figure, adds shape to loose clothing, creates the illusion of curves or a longer leg line, and prevents outfits from looking baggy, ensuring a polished, confident appearance.
Chanel Fall 2026 Ready-to-Wear. Photo by Spotlight Launchmetrics for The Impression
I’m also glad to see the return of the knee-length coat, so modern, practical, and always a favorite of Miuccia Prada. This season, Chanel’s Matthieu Blazy showed a number of different proportions and lengths, but many of his skirt suits and coats hit at the knee.
All about the mix, Prada Fall 2026 Ready-to-Wear, Photo by Umberto Fratini for Gorunway.com
There is a noticeable emphasis on mixing day and evening, which I always think is the most modern way to go—party on the top, business on the bottom, or vice versa. It’s all about the eccentric, quirky mix, adding surprising elements to personalize.
Left: Celine Fall 2026 Ready-to-Wear, Photo courtesy Celine; Right: Norman Norell’s “Subway Costume”
At Celine, brilliantly designed by Michael Rider, a seemingly plain tan raincoat serves as the perfect cover-up for a jazzy paillette-encrusted dress. It reminds me of Norman Norell’s “Subway Costume” designed for Lauren Bacall in 1958.
Meanwhile, a few more thoughts. If there is any question about how difficult and challenging it is for a designer to take over an established fashion label, this season exemplifies it. Michael Rider makes it look easy. As a designer, he doesn’t overthink.
Not only is Michael talented and highly consistent, but his innate instinctual good taste also serves him well as he moves effortlessly into his role as Celine’s creative director.
Balenciaga Fall 2026 Ready-to-Wear Photo by Filippo Fior for Gorunway.com
On the other hand, Pierpaolo Piccioli’s once superb instincts seem to be failing him. The magic that put PP on the fashion map, his innate, instinctual elegance, and his joyful way with color while at Valentino, are sorely missing from Balenciaga.
It wasn’t that the show was horrible. There were some nice pieces. It was just ‘meh’!
Maria Grazia Chiuri, Pierpaolo’s former Valentino co-designer, is now creative director of Fendi. While I admit to being a bit underwhelmed by the show in Milan, to her credit, Maria’s hand is so apparent in Fendi’s designs that I look at images and still think it’s Dior, where she served as creative director from 2016 to 2026.
When I look at Balenciaga, I still see Demna! I now look at images of Balenciaga, and keep thinking it’s being designed by Demna Gvasalia rather than Pierpaolo, and that’s a problem!
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