マックイーンでクラックが復活！パリファッションウィークウィメンズウェアで見逃したすべてのこと

In the immortal words of Kamala Harris: we did it, Joe. Paris Fashion Week SS26 has finally been completed. Though the Paris shows are already a mammoth task – with their enormous schedules and ridiculous hours – this season was especially gargantuan thanks to all of those designer debuts. With Gucci, Versace and Bottega Veneta all taken care of in Milan (click here for more on those), first up was Jonathan Anderson’s Dior womenswear debut, which enlisted filmmaker Adam Curtis for a heritage supercut at the start of the show. Following that, Miguel Castro Freitas remixed Mugler’s archive for his own debut; Jack McCollough and Lazaro Hernandez went bright and bold at their first Loewe outing; Glenn Martens hired an orchestra of children to soundtrack his Margiela ready-to-wear debut; Pierpalo Piccioli did away with almost every trace of Demna at Balenciaga; while Duran Lantink shocked and provoked with his Jean Paul Gaultier debut. For all of the other non-debut shows you might’ve missed, scroll through our Paris SS26 round-up below.

This season, Paris Fashion Week was rapt with archival references. Piccioli brought back Cristóbal Balenciaga’s sack dress, Freitas dusted off Thierry Mugler’s nipple ring gown, and, over at the house of McQueen, creative director Seán McGirr recommissioned Lee’s signature bumster silhouette. Seen on a variety of different models, the crack was back via low slung denim, pencil skirts, cutout gowns and cargo shorts, while the collection as a whole seemed to re-summon the vibe of McQueen’s SS03 Irere show, which began with a section of shipwrecked pirates.

Besides the bums, McGirr’s latest collection began with two questions, which he laid out in show notes. “What happens when we give way, satisfying our deep-seated desires and innate impulses? What does it take to stir and submit to that primal drive?” This gave way to an overtly sensual offering, with leather dresses slipping from shoulders, nippled corsets coming undone, matador jackets with nothing underneath, and all models covered in a glistening, sweat-like sheen.

Shiny silver halter tops, tiny skirts covered in poker chips, and graphic baby tees stamped with the words ‘TAX FRAUD’ – just a few pieces from Laura Andraschko’s SS26 collection that we’re bound to see cross the Instagram feeds of It-girls like Charli xcx or Addison Rae come summer. For her newest collection titled Monte Carlo, the Berlin-raised, London-based designer, who’s become well-loved for her tongue-in-cheek designs taking digs at the ultra-rich, says she’s levelled up from emerging label to full-blown luxury. Set in Paris’ low-lit Raspoutine cabaret club, this season’s offering depicts the darker side of high society, with Andraschko’s models-slash-socialites wearing embossed python leather jackets, mini dresses built entirely from playing cards, completely sheer sequinned gowns, and ‘Monaco’-rhinestoned polos. “The tailoring is sharper, the fabrics richer, and the overall spirit more mature,” the designer explained in the show notes. In fact, this season also marked the label’s menswear debut, with Andraschko welcoming “sleazy bad boys” into her exclusive, high-society world with a handful of men’s looks scattered throughout the collection. So what does the Laura Andraschko man look like? See: Graphic hoodies left open, dark green velvet blazers paired with joggers, and tiny, poker chip-printed Speedos.  

It’s not a De Pino collection without a nostalgic call back to the “old days” of fashion, and this season, the label’s Paris-based designer Gabriel Figueiredo was looking straight to the 2010s. Titled Sex, the collection aimed to break down the “fun, mystery, and unbridled sex appeal” of skin-tight, form-fitting clothing; most specifically, the 2010s item that had everyone in a chokehold: the pencil skirt. Throughout the collection, De Pino deconstructed the item into a number of iterations, from white, mid-thigh versions fit with a singular, asymmetrical legging underneath, to fully naked versions with matching sheer leggings, and black classic skirts designed with leather pants fixed to their front. Elsewhere, models’ hair was either side-swept across their eyes to recreate a “walk of shame” look, or hidden behind XXL train conductor hats. They slowly stomped the runway in white dresses embroidered with trompe-l’œil crocodile print, trench coats built with giant, rounded shoulders, or simple black bra tops and cropped jackets with peplum hems.

SS26 brought Haider Ackermann’s second season at Tom Ford, after his big, sexy AW25 debut drew in a big kiss at the end of the catwalk from Mr Ford himself. Following last season’s themes, Ackermann penned a poem to sensuality in the collection’s show notes. “To seduce is to see and to be seen by the object of one’s desire, drawing close, enticing touch,” he wrote. “Desire is ingrained in the spirit of this house, suffused like a heady scent in the rooms in which I keep on dancing.” The result: black, brown, and bright green Matrix-y trenches cinched at the waist and covered in smooth sequins that you’d want to run your hands over; thin, slinky gowns with necklines that dip far below the belly button; skin that flashes through tiny board shorts with black thongs peeking out from the waistline; and sheer dresses that loop across the torso with just a string of fabric. The collection was modelled by an all-star cast, including Anok Yai, Mona Tougaard, and Mariacarla Boscono, while Ackermann’s expertise in razor-sharp tailoring shone throughout. Elsewhere, collarless blazers slipped over barely-there dresses, blue silk suiting rippled over the body like liquid, while leather harness sandals were embellished with a very suggestive metal ring.

With candy-coloured dresses bursting with flowers, bikini tops depicting sunny seaside landscapes, and half-zipped wetsuits pulled open to reveal board shorts, Rabanne’s SS26 collection The Wakening was all about escapism. From what, you might ask? According to the show notes, creative director Julien Dossena looked back to the decade before Rabanne was founded – the 1950s – drawing a line between the “societal currents” of that era and today. “[It’s] aspirational domesticity, glamorous screen sirens, opulent holiday escapism… all outward signals of prosperity amidst deeper tensions and the challenges to come,” he explained in the show notes. On the runway, Dossena translates this tension as looks shift from bright, pastel colours towards dark leather mini dresses, skirts covered in silver flower embellishments, and black, corseted gowns – perhaps signalling towards something less like a beach holiday and more like a White Lotus stay.

On Thursday night (October 2), an A-list audience – from Rosalía to Kylie Jenner, FKA twigs, Manu Ríos, and Honey Dijon – filed into the dimly-lit Centre Pompidou gallery to catch a glimpse of Schiaparelli’s latest collection from the front row. While creative director Daniel Roseberry admitted that he always wants Schiaparelli runway shows to feel like the artistic spectacle, he explained in the show notes that this season’s collection would also address the tension between commercial profit and creativity in fashion. “Schiaparelli RTW has always existed at the crossroads of commercial potential and creative catharsis,” Roseberry said, noting that Elsa Schiaparelli herself was neither an “architect of new silhouettes” nor a “brand marketing genius”, but someone who engaged with culture through her collections.

For SS26, Roseberry set out to explore the house founder’s love for tension and friction within her designs, showing a collection of sharp-shouldered “Schiaparelli” jackets, black, white, and crimson slip-on column gowns, and “tromp d’oeil” knitwear based on three months’ worth of Roseberry’s own drawings. Elsewhere, Alex Consani walked in a long, sheer slip dress, Tougaard modelled a shimmering gold gown sprouting with diamonds, and Kendall Jenner closed out the show in a black, polka-dotted naked dress with matching gloves.

This season, Issey Miyake’s Satoshi Kondo asked audiences: “What if garments are conscious?” Treating his SS26 offering as if it was full of living, breathing beings, the creative director showed looks that crinkled and draped – and he even hid objects like toilet roll, stacked-up mugs, and coloured markers across models’ bodies. Together, classic silhouettes and style codes were completely subverted: emerald suit jackets splayed out of suit trousers, padded t-shirts left shoulders shrugged-up to ear-length, dresses puckered out at the chest and waist or tangled around the body, zipped-up hoodies formed models’ heads into alien-like, geometric shapes, and rollneck jumpers were layered one-over-the-other with extra sleeves, neck holes, and arm holes hung across the garment. And as for accessories – besides some models carrying cardboard Camper x Issey Miyake shoe boxes under their arms in lieu of handbags – looks were topped off with thick plastic-y, acid green visors, thin belts hanging half-off the waistline, and tube socks, each paired with a matching series of sleek, clog-like kitten heels.

Peter Mulier proclaimed in the SS26 show notes that this season was a continuation of the brand’s previous collection at Alaïa – a concept passed down by its founder Azzedine Alaïa, who eschewed traditional fashion timelines with his own runway schedule and ideas for the maison. That being said, if AW25 played with extreme, sculptural shapes, then this season was a study of extreme sleekness, minimalism, and precision. Just see Consani’s look – perhaps one of the most shared moments from this PFW – fully comprised of a giant pair of shoulder-height tan silk pants, which glued the model’s arms by her sides. Later, a similar iteration was seen on Yai, instead cut in black with a high neck, as well as multiple slinky, semi-sheer dresses that stretched against the body and looped around models’ heels. Elsewhere, a series of fringed looks bounced down the catwalk – styled as red, navy, and emerald thigh-high leg warmers under straight-cut blazers, twisted as tassels on midi skirts, or consuming the body with faux-feathers in oversized coats. “Movement seems to fracture pieces – choreographies of fringe create silhouettes that shatter and regroup,” wrote Mulier, describing the offering as “clothes that cry”.

Most people remember drawing at one point or another during childhood. For some, this might have meant scribbling clashing colours outside the lines, but for others, shapes like stars, spirals, and smileys were reinvented on paper into beloved, fantastical creatures. This season at Noir Kei Ninoyima, creative director Kei Ninomiya sought to bring the nostalgia and joy of childhood colouring to life. “It was something very playful. Happiness. Like childhood, the first drawing. And it makes this idea of the collection,” the Japanese designer said via translator after the show. Aptly titled, Pure and Playful, the SS26 offering showcased ballet-style skirts styled with silver chainmail star tops that poked out like birthday hats, suiting cut with star collars and laid beneath leather harnesses, geometric dresses that turned the body itself into 3D star shapes, and giant, cloud-like tulle gowns that circled their wearers. Transforming models into a series of whimsical characters, each look was topped off with a colourful, ruffled headpiece – from neon-yellow and pink antlers to unidentifiable tangles of fabric shaped over models’ entire faces, and a white mask bearing a similar expression as Edvard Munch’s The Scream.

In the immortal words of Kamala Harris: we did it, Joe. Paris Fashion Week SS26 has finally been completed. Though the Paris shows are already a mammoth task – with their enormous schedules and ridiculous hours – this season was especially gargantuan thanks to all of those designer debuts. With Gucci, Versace and Bottega Veneta all taken care of in Milan (click here for more on those), first up was Jonathan Anderson’s Dior womenswear debut, which enlisted filmmaker Adam Curtis for a heritage supercut at the start of the show. Following that, Miguel Castro Freitas remixed Mugler’s archive for his own debut; Jack McCollough and Lazaro Hernandez went bright and bold at their first Loewe outing; Glenn Martens hired an orchestra of children to soundtrack his Margiela ready-to-wear debut; Pierpalo Piccioli did away with almost every trace of Demna at Balenciaga; while Duran Lantink shocked and provoked with his Jean Paul Gaultier debut. For all of the other non-debut shows you might’ve missed, scroll through our Paris SS26 round-up below.

This season, Paris Fashion Week was rapt with archival references. Piccioli brought back Cristóbal Balenciaga’s sack dress, Freitas dusted off Thierry Mugler’s nipple ring gown, and, over at the house of McQueen, creative director Seán McGirr recommissioned Lee’s signature bumster silhouette. Seen on a variety of different models, the crack was back via low slung denim, pencil skirts, cutout gowns and cargo shorts, while the collection as a whole seemed to re-summon the vibe of McQueen’s SS03 Irere show, which began with a section of shipwrecked pirates.

Besides the bums, McGirr’s latest collection began with two questions, which he laid out in show notes. “What happens when we give way, satisfying our deep-seated desires and innate impulses? What does it take to stir and submit to that primal drive?” This gave way to an overtly sensual offering, with leather dresses slipping from shoulders, nippled corsets coming undone, matador jackets with nothing underneath, and all models covered in a glistening, sweat-like sheen.

Shiny silver halter tops, tiny skirts covered in poker chips, and graphic baby tees stamped with the words ‘TAX FRAUD’ – just a few pieces from Laura Andraschko’s SS26 collection that we’re bound to see cross the Instagram feeds of It-girls like Charli xcx or Addison Rae come summer. For her newest collection titled Monte Carlo, the Berlin-raised, London-based designer, who’s become well-loved for her tongue-in-cheek designs taking digs at the ultra-rich, says she’s levelled up from emerging label to full-blown luxury. Set in Paris’ low-lit Raspoutine cabaret club, this season’s offering depicts the darker side of high society, with Andraschko’s models-slash-socialites wearing embossed python leather jackets, mini dresses built entirely from playing cards, completely sheer sequinned gowns, and ‘Monaco’-rhinestoned polos. “The tailoring is sharper, the fabrics richer, and the overall spirit more mature,” the designer explained in the show notes. In fact, this season also marked the label’s menswear debut, with Andraschko welcoming “sleazy bad boys” into her exclusive, high-society world with a handful of men’s looks scattered throughout the collection. So what does the Laura Andraschko man look like? See: Graphic hoodies left open, dark green velvet blazers paired with joggers, and tiny, poker chip-printed Speedos.  

It’s not a De Pino collection without a nostalgic call back to the “old days” of fashion, and this season, the label’s Paris-based designer Gabriel Figueiredo was looking straight to the 2010s. Titled Sex, the collection aimed to break down the “fun, mystery, and unbridled sex appeal” of skin-tight, form-fitting clothing; most specifically, the 2010s item that had everyone in a chokehold: the pencil skirt. Throughout the collection, De Pino deconstructed the item into a number of iterations, from white, mid-thigh versions fit with a singular, asymmetrical legging underneath, to fully naked versions with matching sheer leggings, and black classic skirts designed with leather pants fixed to their front. Elsewhere, models’ hair was either side-swept across their eyes to recreate a “walk of shame” look, or hidden behind XXL train conductor hats. They slowly stomped the runway in white dresses embroidered with trompe-l’œil crocodile print, trench coats built with giant, rounded shoulders, or simple black bra tops and cropped jackets with peplum hems.

SS26 brought Haider Ackermann’s second season at Tom Ford, after his big, sexy AW25 debut drew in a big kiss at the end of the catwalk from Mr Ford himself. Following last season’s themes, Ackermann penned a poem to sensuality in the collection’s show notes. “To seduce is to see and to be seen by the object of one’s desire, drawing close, enticing touch,” he wrote. “Desire is ingrained in the spirit of this house, suffused like a heady scent in the rooms in which I keep on dancing.” The result: black, brown, and bright green Matrix-y trenches cinched at the waist and covered in smooth sequins that you’d want to run your hands over; thin, slinky gowns with necklines that dip far below the belly button; skin that flashes through tiny board shorts with black thongs peeking out from the waistline; and sheer dresses that loop across the torso with just a string of fabric. The collection was modelled by an all-star cast, including Anok Yai, Mona Tougaard, and Mariacarla Boscono, while Ackermann’s expertise in razor-sharp tailoring shone throughout. Elsewhere, collarless blazers slipped over barely-there dresses, blue silk suiting rippled over the body like liquid, while leather harness sandals were embellished with a very suggestive metal ring.

With candy-coloured dresses bursting with flowers, bikini tops depicting sunny seaside landscapes, and half-zipped wetsuits pulled open to reveal board shorts, Rabanne’s SS26 collection The Wakening was all about escapism. From what, you might ask? According to the show notes, creative director Julien Dossena looked back to the decade before Rabanne was founded – the 1950s – drawing a line between the “societal currents” of that era and today. “[It’s] aspirational domesticity, glamorous screen sirens, opulent holiday escapism… all outward signals of prosperity amidst deeper tensions and the challenges to come,” he explained in the show notes. On the runway, Dossena translates this tension as looks shift from bright, pastel colours towards dark leather mini dresses, skirts covered in silver flower embellishments, and black, corseted gowns – perhaps signalling towards something less like a beach holiday and more like a White Lotus stay.

On Thursday night (October 2), an A-list audience – from Rosalía to Kylie Jenner, FKA twigs, Manu Ríos, and Honey Dijon – filed into the dimly-lit Centre Pompidou gallery to catch a glimpse of Schiaparelli’s latest collection from the front row. While creative director Daniel Roseberry admitted that he always wants Schiaparelli runway shows to feel like the artistic spectacle, he explained in the show notes that this season’s collection would also address the tension between commercial profit and creativity in fashion. “Schiaparelli RTW has always existed at the crossroads of commercial potential and creative catharsis,” Roseberry said, noting that Elsa Schiaparelli herself was neither an “architect of new silhouettes” nor a “brand marketing genius”, but someone who engaged with culture through her collections.

For SS26, Roseberry set out to explore the house founder’s love for tension and friction within her designs, showing a collection of sharp-shouldered “Schiaparelli” jackets, black, white, and crimson slip-on column gowns, and “tromp d’oeil” knitwear based on three months’ worth of Roseberry’s own drawings. Elsewhere, Alex Consani walked in a long, sheer slip dress, Tougaard modelled a shimmering gold gown sprouting with diamonds, and Kendall Jenner closed out the show in a black, polka-dotted naked dress with matching gloves.

This season, Issey Miyake’s Satoshi Kondo asked audiences: “What if garments are conscious?” Treating his SS26 offering as if it was full of living, breathing beings, the creative director showed looks that crinkled and draped – and he even hid objects like toilet roll, stacked-up mugs, and coloured markers across models’ bodies. Together, classic silhouettes and style codes were completely subverted: emerald suit jackets splayed out of suit trousers, padded t-shirts left shoulders shrugged-up to ear-length, dresses puckered out at the chest and waist or tangled around the body, zipped-up hoodies formed models’ heads into alien-like, geometric shapes, and rollneck jumpers were layered one-over-the-other with extra sleeves, neck holes, and arm holes hung across the garment. And as for accessories – besides some models carrying cardboard Camper x Issey Miyake shoe boxes under their arms in lieu of handbags – looks were topped off with thick plastic-y, acid green visors, thin belts hanging half-off the waistline, and tube socks, each paired with a matching series of sleek, clog-like kitten heels.

Peter Mulier proclaimed in the SS26 show notes that this season was a continuation of the brand’s previous collection at Alaïa – a concept passed down by its founder Azzedine Alaïa, who eschewed traditional fashion timelines with his own runway schedule and ideas for the maison. That being said, if AW25 played with extreme, sculptural shapes, then this season was a study of extreme sleekness, minimalism, and precision. Just see Consani’s look – perhaps one of the most shared moments from this PFW – fully comprised of a giant pair of shoulder-height tan silk pants, which glued the model’s arms by her sides. Later, a similar iteration was seen on Yai, instead cut in black with a high neck, as well as multiple slinky, semi-sheer dresses that stretched against the body and looped around models’ heels. Elsewhere, a series of fringed looks bounced down the catwalk – styled as red, navy, and emerald thigh-high leg warmers under straight-cut blazers, twisted as tassels on midi skirts, or consuming the body with faux-feathers in oversized coats. “Movement seems to fracture pieces – choreographies of fringe create silhouettes that shatter and regroup,” wrote Mulier, describing the offering as “clothes that cry”.

Most people remember drawing at one point or another during childhood. For some, this might have meant scribbling clashing colours outside the lines, but for others, shapes like stars, spirals, and smileys were reinvented on paper into beloved, fantastical creatures. This season at Noir Kei Ninoyima, creative director Kei Ninomiya sought to bring the nostalgia and joy of childhood colouring to life. “It was something very playful. Happiness. Like childhood, the first drawing. And it makes this idea of the collection,” the Japanese designer said via translator after the show. Aptly titled, Pure and Playful, the SS26 offering showcased ballet-style skirts styled with silver chainmail star tops that poked out like birthday hats, suiting cut with star collars and laid beneath leather harnesses, geometric dresses that turned the body itself into 3D star shapes, and giant, cloud-like tulle gowns that circled their wearers. Transforming models into a series of whimsical characters, each look was topped off with a colourful, ruffled headpiece – from neon-yellow and pink antlers to unidentifiable tangles of fabric shaped over models’ entire faces, and a white mask bearing a similar expression as Edvard Munch’s The Scream.