All the moments you need to know about at Paris Fashion Week

Paris Fashion Week’s Fall/Winter 2026 collections couldn’t arrive at a better time — as temperatures drop and wardrobes shift, the city’s runways are delivering exactly the kind of considered, covetable dressing we need heading into the colder months. With 67 ready-to-wear shows packed into just over a week, it’s been a whirlwind of standout moments — from Jonathan Anderson’s sunshine-drenched presentation at Dior to the experimental energy at Hodakova and Zomer. And with Louis Vuitton, Chanel, Celine and Loewe still to come, the best may be yet ahead. Here are the moments you might have missed.

Hodakova

Rounding out the first official day of Paris Fashion Week, Swedish brand Hodakova turned inward on a darkened, mirrored set at the Carrousel du Louvre, in a study of what we reveal and what we withhold. Tailored coats and razor-sharp blazers projected composure from the front, while backs fell away to expose skin. The beauty inspiration – ‘sweaty pianist’ – was inspired by a musician who lost herself in the moment. Models walked barefoot, as if caught mid-dressing, grounding the collection in intimacy before riding boots and wedge heels reintroduced a note of structure.

The LVMH Prize winner drew upon her signature upcycling practice to recast household textiles, such as tea towels, rugs and upholstery fabrics, as skirts and sculptural layers. Glass accents, developed with bottled water company Icelandic Glacial, refracted light, upcycled silver spoons became jewellery, teacups doubled as a bra, horsehair violin strings curled into blonde bodices.

zomer

Paris-based Dutch label zomer staged its presentation in collaboration with La Watch Party by Ly.as, an initiative designed by the fashion influencer to democratise fashion through large-scale public screenings of runway presentations. This time, the concept evolved to include an actual runway presentation, one that threaded through the audience seated at the Theatre du Chatelet, collapsing the distance between spectacle and spectator.

The clothes followed suit with garments spliced, reversed, reconsidered. Pockets bulged with matchboxes, pearls, feathers, yarn and even old calculator watches (which were also used to secure shoulder drapes). Silk square patterns exploded at necklines and deep v-necks were pushed down to be worn at the waist, morphing into skirt panels with armholes doubling for pocket access, and blankets trailed from coat backs like superhero capes. 

Saint Laurent

Ahead of the show, Saint Laurent teased rare artefacts from the Yves Saint Laurent-Pierre Berge collection, including a Roman marble torso and a garnet-studded agate cup, circa 1660, hinting at a house in conversation with its own mythology. Rounding out day two on the runway, that reverence translated into control. Eight slouchy, yet sharply tailored dark suits opened – replete with slicked-back hair and eighties-ready crimson lips (Robert Palmer would be proud) – and a single suit closed, bookending a collection that unravelled into sheer lace and lots of leather in burnt orange, tobacco, brown, and black.

Slip dresses clung and skirts split high on the leg, channelling 1980s power sensuality. Lace gowns swelled unexpectedly at the hip, rare volume against otherwise slinky lines in the rest of the fabric story, and plush, grizzly furs added a maximalist swagger. Beneath the glitter of the Eiffel Tower, where Saint Laurent has shown since 2017, Bella Hadid walked her second show of the season as Kate Moss, Michelle Pfeiffer, Zoe Kravitz, Rosé and Francois Arnaud of Heated Rivalry looked on.