Paris —
The world of high fashion is becoming more accessible than ever. With just a phone and an internet connection, anyone can catch a front-row view of fashion week, connect with their favorite designers, and explore the virtual spaces of luxury brands. However, despite increased visibility and engagement, this digital buzz is not always translating into sales.
Industry leaders are grappling with a global luxury slowdown and scrambling to find new strategies to stay relevant, rebuild connections with customers, and improve their bottom lines. The impact of this slowdown was particularly apparent at the Spring-Summer 2026 shows in Paris, where many designers opted for simpler presentations—fewer seats for guests and more modest set designs—despite an unprecedented number of new designer debuts.
A record 111 fashion brands were featured on the nine-day Paris Fashion Week schedule, which wrapped up on Tuesday. While front rows were packed with A-list celebrities and influencers, and show content flooded social media, the challenge remains: how can each brand cut through the noise and reach consumers who are navigating rising living costs and economic uncertainty in a rapidly evolving landscape?
But some designers managed to break through the noise. Throughout the week, a few houses left a lasting impression by creating moments that sparked meaningful conversations, showing how fashion’s influence could extend beyond the runway and inspire what people actually wear on the streets.
Clothes Women Want to Wear
The concept of clothes—especially luxury ones—looking good on the wearer shouldn’t be revolutionary. Yet, in recent years, some designers have become more focused on expressing artistic creativity or generating shock value rather than designing for broad appeal. This wasn’t the case at Spanish house Loewe, where co-creative directors Jack McCollough and Lazaro Hernandez introduced their first collection of joyful, highly wearable pieces. Meanwhile, Pierpaolo Piccioli’s debut for Balenciaga showcased a masterful return to the brand’s elegant roots, steering away from the oversized streetwear aesthetic it had become associated with in recent years.
The same could be said for Michael Rider at Celine, who presented his second collection for the French brand to an audience that included actors Uma Thurman and Natasha Lyonne, as well as South Korean singer Kim Tae-Hyung, known professionally as V. Rider’s collection featured flattering party dresses, mannish trousers, long coats, and Celine-branded accessories with its signature “Triomphe” monogram. Much like his debut at the men’s shows in July, Rider’s womenswear pieces felt classic and preppy, reflecting his American roots (having formerly designed for Polo Ralph Lauren) in Parisian fashion. The looks felt accessible and relatable—several models walked the runway with their jackets and bags tucked under their arms, evoking the image of a person on the go.
Backstage, Rider explained that he worked on both the men’s and women’s collections simultaneously, which contributed to the sense of “continuity” in his designs. He expressed his commitment to creating timeless pieces with a consistent, understated appeal. “We’ll never be a brand that jumps from concept to concept,” Rider said. “You may not always be the person wearing the most outrageous piece that you might throw away, but you’ll have the best coat, and you’ll have the attitude to wear it.”
Rider emphasized his focus on creating pieces that stand the test of time. “There’s a discretion at Celine that I really appreciate, and I think there’s a tension between that and being at Paris Fashion Week, which isn’t very discreet anymore,” he added. This sentiment speaks to the brand’s core philosophy of elegance and quiet sophistication—qualities that are sometimes drowned out in the noisy spectacle of modern fashion shows.
Equally unobtrusive is Nadège Vanhee’s vision for Hermès, and this year marks over a decade in her tenure as the French brand’s creative director. Hermès is a brand with much lore around its leather goods, primarily handbags, which represent its core business and fuel its prestige. Some of those featured on the sandy catwalk created for the Spring-Summer 2026 show, alongside caramel-hued garments in tactile textures like suede and quilt. The designs leaned young — the opening look was a leather bra top with chain detailing that hung down the front, paired with Bermuda shorts, an open coat and knee-high boots — but, overall, the quiet confidence of Vanhee’s shows offers a reminder that there is strength in restraint.
Sex that stood out
There were nudity and overt expressions of sex across the runways this season, reflecting the skin-baring age we are living through — see pop stars performing in lingerie and the ever-present “nude dress.” So when Tom Ford designer Haider Ackermann presented just enough sex to leave onlookers wanting more, we leaned in. His interpretation of sexy was subtle — it was about a mood, not an exposed body part. Models walking his sultry runway seduced the audience in beautiful suiting, a dress with a plunging neckline that mirrored an equally high slit. There was lace and leather, of course, and a series of skirt suits and trenchcoats — perhaps with nothing underneath? — finished to give a lacquered, glistening effect.
Backstage, Rider explained that he worked on both the men’s and women’s collections simultaneously, which contributed to the sense of “continuity” in his designs. He expressed his commitment to creating timeless pieces with a consistent, understated appeal. “We’ll never be a brand that jumps from concept to concept,” Rider said. “You may not always be the person wearing the most outrageous piece that you might throw away, but you’ll have the best coat, and you’ll have the attitude to wear it.”
Rider emphasized his focus on creating pieces that stand the test of time. “There’s a discretion at Celine that I really appreciate, and I think there’s a tension between that and being at Paris Fashion Week, which isn’t very discreet anymore,” he added. This sentiment speaks to the brand’s core philosophy of elegance and quiet sophistication—qualities that are sometimes drowned out in the noisy spectacle of modern fashion shows.
Equally understated is Nadège Vanhee-Cybulski‘s vision for Hermès, which continues to exude the quiet elegance that the French luxury house is known for. This year marks over a decade in her tenure as creative director, and her designs remain in line with Hermès’ commitment to craftsmanship and timelessness. Known for its iconic leather goods, particularly handbags, Hermès’ Spring-Summer 2026 show showcased a series of garments in tactile, sumptuous materials like suede and quilted fabric. The collection, with its caramel-hued tones, leaned toward a youthful vibe—highlighted by an opening look that paired a leather bra top with chain detailing, Bermuda shorts, an open coat, and knee-high boots. Yet, in true Vanhee-Cybulski fashion, the overall mood of the collection was one of quiet confidence. The simplicity and restraint in her designs are a reminder that there is great power in understatement.
In stark contrast, Haider Ackermann’s show for Tom Ford brought a bold, sultry energy to the runway. While nudity and overt expressions of sexuality have become common across fashion, Ackermann’s interpretation of sexiness was far more subtle—focused on creating a mood rather than exposing the body. The designer played with the tension between allure and restraint, as models walked in sultry, beautifully tailored suits, a dress with a plunging neckline and high slit, and various looks featuring lace, leather, and glossy finishes. The emphasis was on seduction, with some pieces—like a skirt suit or trenchcoat—suggesting that perhaps there was nothing underneath. The result was a collection that left onlookers captivated and eager for more.
Reinvention in fashion has become a key theme as the industry grapples with its relationship to nostalgia. While trends from the 70s, 90s, and Y2K continue to influence collections, there’s a growing shift toward reinventing these eras, rather than simply rehashing them. The season’s standout collections have demonstrated a forward-thinking approach, blending elements of past styles with fresh perspectives, creating a sense of evolution rather than mere recreation.
Designers are not simply looking back for inspiration, but are using those influences as a foundation for something new—mixing historical references with contemporary sensibilities to reflect a changing world. The goal is no longer just to evoke a sense of nostalgia, but to recontextualize those moments of the past, giving them new life and meaning in today’s context. This approach speaks to the fashion industry’s resilience, as it navigates its own identity crisis, constantly reinventing itself to stay relevant in an ever-evolving cultural landscape.
Fashion is undergoing a major shift, with reinvention taking center stage as the industry navigates its complex relationship with nostalgia. While styles from the 70s, 90s, and Y2K continue to shape current collections, there’s a noticeable pivot toward reimagining these past eras rather than simply recycling them. This season’s standout collections have demonstrated a more forward-thinking approach, seamlessly fusing historical influences with modern sensibilities, creating an organic evolution rather than a straightforward revival.
Rather than merely drawing from past styles, designers are using them as a springboard for innovation, blending vintage references with contemporary vision to reflect the dynamic changes of today’s world. The focus is no longer about evoking nostalgia but about reinterpreting it—transforming past moments into something new and relevant in the context of the present. This approach highlights the fashion industry’s resilience, continuously reinventing itself to remain vital and connected to the pulse of our ever-changing cultural landscape.
