Christian Dior Spring 2026 Couture, Photo by Launchmetrics Spotlight for The Impression
This Paris Couture Week will be remembered as the most polarizing in recent memory due to a clash between traditional, opulent couture expectations and experimental, often chaotic designs, alongside a broader industry pivot away from “soft luxury.”
The tension between artistic expression and commercial viability in a challenging economic climate has made this season particularly contentious, with many differing opinions, especially regarding Matthieu Blazy and Jonathan Anderson, who are tasked with revitalizing major heritage houses (Chanel and Dior, respectively) during a period of significant industry reset.
The sheer volume of opinions stems from the fact that they are steering fashion into a new era, and not everyone agrees on whether they prefer the new direction. The central conflict lies in whether a designer should strictly uphold a house’s legacy or aggressively reinterpret it for a new era.
Fans of the new direction argue that Blazy and Anderson are restoring integrity to luxury by focusing on quality. Critics of the new direction (or those who prefer the previous era) may feel that these designers are too intellectual or quiet, and that they miss the fun, “instant-hit” fashion of previous, more logo-driven, celebrity-focused designers. Everyone seems to have an opinion, whether or not they are qualified.
The overall sentiment is that Dior, under Anderson’s tutelage, is moving in a positive, more creative, and unburdened direction, successfully balancing its immense heritage with modern, wearable, and romantic fashion, grounded in its roots.
Anderson has stopped overintellectualizing, resulting in a lighter, more confident, and less rigid collection than in previous seasons. Yet, his designs are often viewed as either genius, avant-garde art, or confusing, impractical buffets of ideas.
Christian Dior Spring 2026 Couture, Photo by Salvatore Dragone for Gorunway.com
While the massive, 63-piece, ambitious Dior show occasionally felt as if it were still finding its single, defining line among its strong parts, the overall, first-rate collection impressed and convinced observers. A beautiful, dreamlike flower fantasy, this was my hands-down favorite show of the season.
Christian Dior Spring 2026 Couture, Photo by Salvatore Dragone for Gorunway.com
I thought it was a breath of fresh air; bold, inventive, eclectic, quirky, surprising, and visually stunning. I love the sculptural silhouettes, the sense of spontaneity and freedom Anderson exudes, his irreverent use of casual sportswear mixed in with haute couture, the color mixes, and the great styling tricks.
Christian Dior Spring 2026 Couture, Photo by Spotlight Launchmetrics for The Impression
Not many of us can afford haute couture, but we can all use tips on how to enliven a simple black coat, add visual interest to hefty tweeds, or elevate a thick knit cable sweater. All you really need this season is a pair of humongous headphone-sized flower earrings, an oversized corsage, or some fancy footwear.
Taking over at Chanel brings immense scrutiny. Some critics feel Matthieu Blazy successfully brings a “childlike wonder” and modernity to the house, while others struggle to reconcile his design language with Chanel’s traditional, glamorous codes.
Chanel Spring 2026 Couture, Photo by Filippo Fior for Gorunway.com
The show, set in a “whimsical mushroom field,” was lauded as a confident reinterpretation, marking a new orbit for the brand. Blazy received largely positive, rave reviews for his refined, wearable, and modern interpretation of Chanel’s house codes, although some deemed it too safe or quiet.
Chanel Spring 2026 Couture, Photo by Filippo Fior for Gorunway.com
I appreciate the featherweight tweeds, the craftsmanship, artistry, subtle elegance over overt spectacle, Blazy’s refusal to wallow in nostalgia, and his use of mature models with natural hair and makeup, but I was often a bit underwhelmed. In fact, this was probably my least favorite of Blazy’s past three collections for Chanel.
Chanel Spring 2026 Couture, Photo by Filippo Fior for Gorunway.com
Moreover, I found it a bit too sheer; many of the silhouettes were droopy and unflattering for mature women who would benefit from more coverage and structure.
The Valentino Spring 2026 Haute Couture show, moving away from the traditional, theatrical, and open runway experience, was generally seen as a profoundly emotional, somber, and reflective tribute to the late founder, Valentino Garavani, following his passing. At the same time, it was somewhat claustrophobic.
Valentino Spring 2026 Couture, Photo by Alessandro Lucioni for Gorunway.com
The collection, characterized by theatricality, high drama, glitter, and romantic silhouettes, blended Alessandro Michele’s signature maximalism with the house’s heritage, creating a peepshow experience that drew both admiration and critical scrutiny. It often looked too costume-y, old-fashioned, and outdated. Alessandro is at his best when he uses restraint.
Gaurav Gupta Spring 2026 Couture, Photo by Danielle Oberrauch for Gorunway.com
Gaurav Gupta’s collection, “The Divine Androgyne,” was highly regarded for its avant-garde craftsmanship, featuring a show-stopping opening look that illuminated the runway with bioluminescent elements. The collection focused on wearable art with sculptural, fluid silhouettes that explored cosmic duality and gender-fluid themes, including reptilian embroidery and temple-statue corsetry.
I think we can all agree that Schiaparelli’s Daniel Roseberry pushed the boundaries of fashion as art, delivering a highly emotional, technically masterful, and visually dramatic spectacle.
Schiaparelli Spring 2026 Couture, Photo by Acielle for Style Du Monde
Titled “The Agony and the Ecstasy,” the collection was marked by a raw, instinctive approach, with many viewing it as a highlight of Paris Couture Week that anchored itself in intense, dark glamour.
The appearance of Anna Wintour and Lauren Sánchez at shows like Schiaparelli and their joint lunch at The Ritz is a major hot-button topic that almost overshadows the shows themselves.
Lauren Sanchez arriving at Dior, Photo Getty Images
Wintour is heavily championing Sánchez as a new, influential figure in the fashion world. This represents the formal, high-profile integration of tech-billionaire influence into the highest echelon of fashion, overriding traditional elite fashion gatekeeping.
As of early 2026, rumors persist that Jeff Bezos and Lauren Sánchez are acquiring Condé Nast, potentially as a wedding gift or to expand their cultural influence, with speculation that Anna Wintour is involved in a deal. These claims remain unconfirmed, and the Newhouse family, which owns the company, has historically denied that the company is for sale.
Critics argue this allows the billionaire couple to “buy cultural legitimacy” and fashion influence, and the backlash is amplified by their prominent, fashion-focused presence at Paris Fashion Week. Ugh! It almost makes me want to stop buying on Amazon, which is hard because, darn, they have everything and deliver so damn quickly!
Nonetheless, Sánchez’s conspicuous presence, often styled (by Law Roach) with high-end brands, has drawn primarily sharp criticism, with many observers (moi included) arguing that her style lacks class and that she often looks cheap and tacky.
Truman Capote once remarked, “Babe Paley never had an unchic day in her life.” In my opinion, Lauren Sanchez never had a chic day in her life.
