A joyful Matthieu Blazy at the show’s end, Chanel 2026 Ready-to-Wear, Photo Isadore Montag for Gorunway.com
The most important story of the season was the number of luxury houses introducing new creative leads.
Significant designer debuts in Europe included Matthieu Blazy at Chanel, Pierpaolo Piccioli at Balenciaga, Dario Vitale at Versace, Jonathan Anderson at Christian Dior, Louise Trotter at Bottega Veneta, Demna at Gucci, and Jack McCollough and Lazaro Hernandez at Loewe.
If nothing else, it caused some confusion. You almost needed a scorecard to keep track. There were many times I looked at Balenciaga and kept thinking it was Valentino because Pierpaolo Piccioli is so associated with that house, rather than Alessandro Michele, who, for so long, was linked to Gucci, where Demna is now creative director.
There was so much hype and anticipation surrounding some of these high-profile debuts; they were bound to disappoint. Almost nobody can live up to that level of scrutiny and expectation. As they say, anticipation is always better than reality.
Balenciaga Spring 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com
Take Balenciaga, for example. I wanted to REALLY love it because I’m such a huge Pierpaolo Piccioli fan. Yes, I liked it. PP has flawless taste, with some beautiful and notable designs, but I somehow found myself wanting more.
While Pierpaolo gave us an authentic and refreshing reinterpretation of the brand’s heritage, focusing on the founder’s architectural and sculptural couture techniques over the previous streetwear focus, the magic and emotion typically associated with PP’s work at Valentino were lacking. It was a bit like “Valentino Lite”.
Balenciaga Spring 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com
Moreover, I was surprised that Piperpaolo chose to accessorize with Demna era bug eye sunglasses. There were too many bare midriffs, and I felt he overused beach-like thongs on the runway. I am certain that in the future (particularly with couture), I will see more of the Pierpaolo I have come to love.
Dior Spring 2026 Ready-to-Wear Photo by Acielle for Style Du Monde
There were many things about Dior that I liked, especially JW Anderson’s irreverent, playful approach to fashion, the way he thinks out of the box, and the element of surprise always injected into his designs, keeping the audience engaged and intrigued. On the other hand, I found it often catering too much to the very young, and there were some real clinkers and headscratchers.
Loewe Ready-to-Wear Photo by Acielle for Style Du Monde
I’ve always been a huge fan of Lazaro Hernandez and Jack McCollough at Proenza Schouler, and their show is always a highlight of New York Fashion Week, so of course, I wanted to adore Loewe. The scuba jackets are great, as is the leather denim and their use of color blocking. I love that the collection favors utilitarianism and sportswear. However, for me, the collection often felt a bit forced and stiff (trying too hard?), and overall, it did not have the luxurious ease I was hoping for. I am certain the duo will find their footing going forward.
Jean Paul Gaultier Spring 2026 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression
Duran Lantink’s Spring/Summer 2026 debut for Jean Paul Gaultier was shockingly bad and insulting. Hairy bodysuits, anyone? The collection, Lantink’s first since being appointed permanent creative director, moving past the brand’s recent guest-designer model, resembled a lookbook for Halloween costumes, and it should never have seen the light of day.
Bottega Veneta Spring 2026 Ready-to-Wear, Photo by Dominique Maitre for WWD.com
Louise Trotter hit the right note with her superb debut for Bottega Veneta. The collection is fashion-forward, playful, joyful, and exuberant, making it both wearable and fun. The clothes have a luxurious ease, and Trotter effectively balances the houses’ classic craftsmanship and artisanal handwork with modern, effortless, and comfortable pieces, not to mention a refreshed approach to iconic bags.
Chanel Spring 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression
Fashion is a universal language, but there is perhaps no brand that is more universal than Chanel. There’s no question that the Chanel Spring 2026 show, marking Matthieu Blazy’s debut, was arguably the most anticipated event of the season, with media, industry experts, and celebrities expressing high levels of excitement for the new era of the iconic French house.
Like everything else these days, thanks to social media, there is no shortage of opinions. Everyone is an editor and journalist. While the reviews were generally positive, there was also a lot of criticism citing unflattering silhouettes, calling the collection dowdy, un-modern, and un-Chanel.
There were many unfavorable comparisons to Lagerfeld, who modernized Chanel and added pizzazz and youthfulness to the house. Someone noted that the only one who can do that now is Galliano. Hey, let’s give Matthieu a chance to settle in.
Chanel Spring 2026 Ready-to-Wear Photo by Isadore Montag for Gorunway.com.
Clearly, Blazy understood the assignment. I found the collection to be elegant, luxurious, feminine, and quite lovely, a word I would not use to describe many others. I love the slouchiness and the ease of the clothes. Even in their high heels, the models moved briskly.
That’s more than I can say about some of the models at Thom Browne. Hey Thom, can we finally say goodbye to those unwieldy, dangerous platforms? There is nothing attractive or modern about not being able to walk.
Richard Quinn Spring 2026 Ready-to-Wear, Photo by Umberto Fratini for Gorunway.com.
I like that Matthieu is not trying to appeal to the Kardashians, the hip hoppers, or the teenyboppers. He is not overly reverential, and he used restraint. It looks like Chanel without hitting you over the head. If camellias are what you’re after, check out Richard Quinn, whose beautiful collection in London looked very Chanel in that obvious way.
It was a well-balanced collection of daywear and eveningwear; reality and fantasy. Blazy did not resort to camp or irony, a la Karl, although either of those elements would make for a more youthful playfulness. This balance inspires the audience to imagine new ways to incorporate these elements into their own style.
Celine Spring 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression
Although Michael Rider’s official debut for Celine was in July during Paris Couture Week for resort 2026, I’ve already become a huge fan. With the Celine spring 2026 collection, Rider continues to build on his distinctive American-influenced polished prep sensibility blended with Philo’s minimalist chic.
Celine Spring 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression
Once again, the styling is fantastic, and Michael’s distinctive accessories are put to great use. Rider has a strong, decisive point of view and a signature. I can look at the Celine runway and absolutely know who the designer of the collection is. Most importantly, it is believable, wearable, yet elevated enough to be highly distinctive.
Really, what more can you ask?
