That’s a wrap on Spring 2026’s creative director shuffle. Nicholas Aburn stepped into the top position at Area, while Louise Trotter (a.k.a. one of the few women helming a luxury house) took the reins at Bottega Veneta. All eyes were on Paris Fashion Week as the fashion capital welcomed a …
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We’re in fashion’s Paris heartland at the late Karl Lagerfeld’s former Left Bank home, the ornately splendiferous Hotel Pozzo de Borgo, and we’re here for the spring 2026 show of Thom Browne, that most American of American designers, though really we’re somewhere else—deep space, light years away. We’re about to have a Close Encounter of the Third Kind at Browne’s show, which offered up a wildly entertaining and witty fantasy of fashion’s meeting with alien life. The tiniest downside to doing this review of Browne’s exquisitely wrought collection is that I will now out myself as a mega-nerd, because I spotted quite a few of his nods and references. I may be the only person in that audience, save for perhaps Hamish Bowles and the Costume Institute’s Andrew Bolton, also Brits d’un certain age, who for instance knew that the eerie swooping and throbbing electronica on the soundtrack at one point was Delia Derbyshire’s radiophonic theme for the British sci-fi show Dr. Who. (I may never live this down.)
Browne’s show opened with a phalanx of silver-haired and silver-skinned figures in his trademark gray tailoring, a green Mekon face embroidered onto the jackets’ breast pockets, solemnly walking through the corridors where Karl once presided, handing out cards at random to those in the audience. I didn’t get one, but I had a squint at Anna Wintour’s; it said …We Come In Peace… Meanwhile, the Close Encounters call and response music from Steven Spielberg’s movie was playing, building to a crescendo as the first of Browne’s collection landed on terra firma: his new jacket shape, here in gray seersucker, cut to hug the torso, with a shoulderline which curves forward, echoing that of the inset of a raglan sleeve; a fractional alteration of line which changed everything. “We were in a fitting and just playing with the shoulder,” Browne said at a preview. “I knew I wanted to develop a new shape. Will it feel different when you wear it? It does, yes. And then the proportion of the skirts, pleated, low slung above the knee… it feels very beautiful, and very young.”
Browne was right on both counts. His new jacket was worked a million different ways, while always retaining the essentially Thom Browne-ian East Coast athletic vibe, with his Americana seersuckers and repp stripes. The execution of so many variations in fabrications and techniques was impressive: tweeds light enough to float into the stratosphere; check formations woven out of silk chiffon; and, lined with striations of zippers or bands pierced with silver rings, these latter two giving a little punk hauteur, a kind of raw rebuke to the precision of their make. (It wasn’t just his jackets which had been lavished with work yet never lost their jauntiness; a series of coats towards the close of his show looked like they’d been dipped in constellations of beads or dripped with liquid mercury.)
That very first jacket, in gray seersucker, was one of several alien-like figures which punctuated the show. This one came with multiple arms, and narrow trousers also with multiple legs, accessorized with a green Mekon headpiece. This and Browne’s other strangely beguiling creatures in tailored form throughout the show were a testament to the terrific skills of his ateliers; a curving jacket and skirt which reminded me of the bulbous robot from Forbidden Planet, while others might feature a coat conjured out of a multitude of red striped varsity jacket sleeves, or a blue poplin and gray seersucker controlled explosion of a ball skirt—so big it could have its own gravitational pull—with chunky-knit chevron-striped preppie-ish sweaters.
“I like people to see both sides of how I design,” said Browne. “The conceptual and the real—but even with the conceptual pieces this season there’s something very real in how we approached them.” And Browne is even happier if you see beyond the dual expression of his work and interpret it through your own lens. After a grueling few days in Paris, his giddily fun show was a welcome moment of humor and joy. But of course, in his evocation of friendly, open armed aliens—we come in peace, indeed—it was hard not to see a sly yet serious comment on the state of the world right now; about who does and doesn’t get to be welcomed to a new world. But that’s just my interpretation. What we can all likely agree on: This was one terrific collection.
This may be the only collection where the humble, functional garb of the postal worker is a source of inspiration. (And actually, let’s hear it for postal workers, for their public service, sometimes against all odds.) But then this is Margaret Howell we’re talking about, the British designer who has raised the everyday and the familiar to an art form and made some of the best clothes—real, thoughtful, intelligent, sensitive clothes—of this or any season. These were most definitely not about the hoopla of spring 2026’s big reset or whatever we’re calling it; rather, the pleasure to be found when things go quiet and still after it, and we all get to thinking, Well, what are we actually going to wear?
“This collection is about ease and balance,” Howell said. “I wanted the clothes to be relaxed, with soft tailoring and generous shapes. It’s about proportion, always with a sense of wear. Pieces work quietly together comfortably.” Which takes us back to the mailman. Howell delivered a vintage uniform: short, zip-front jacket in crisp black wool, paired with matching tailored shorts—shorts were a recurring motif here, the basis for her vision of spring’s suiting, irrespective of gender—and worn with a striped shirt that, to the naked eye, looked conventional enough until one noticed the contrasting striped bands on its short sleeves.
In essence, this calibration of something prosaic was typical of the joys on offer here: The gray woolen sweater bonded so that while it looked like a conventional crewneck, it actually had a much sportier hand when you felt it, and the Ventile jackets with their storm-flap collars like cut-down trench coats, the roomy but abbreviated silhouette adding a bit of an edge. There was also Howell’s throwback to the ’90s, her ’90s, with small, neat jackets—in linen-silk, say, in a delicious shade of earthy brown, part of her palette along with parchment, pewter, chamomile, and a dusty pink so delicate it looked like the memory of the color—over a long, slim skirt with a deeper slit than in the past. The update was to make it easier to move in it, the result of the team trying it on and giving their feedback.
That’s not the only way Howell’s colleagues helped with the collection: The dotted silk scarf that popped up here and there came about because a long-term employee of Howell’s had been wearing hers, which is decades old, and seeing it on her, Howell wanted to bring it back. There’s something charming about that; a gesture of something treasured and used finding its way back into the spotlight, but without any of the attendant hoopla that has become so much the story of fashion today. Instead, for Howell, it’s a constantly measured and unshowy state of what’s past, what’s present, and what’s future.
After her highly-anticipated and acclaimed debut Givenchy show, Sarah Burton presented her sophomore collection for the storied French house and the follow-up was somehow even stronger and more distinct than we could have hoped. Titled “powerful femininity”, the collection was an ode to the strengths of women and it explored traditional archetypes and tropes of female dressing, from bold bejeweling to bra tops that actually function as bras to delicate, frothy dresses made from mesh and sheer fabrics.
What made the show especially noteworthy, however, was the celebrity turnout, both on and off the runway. The front row read like the roll call at the Oscars or Emmys, with Jenna Ortega, Charlize Theron, and Cynthia Erivo in attendance and while it’s standard practice to dress celebrities in looks from the brand, Givenchy took it one step further and dressed a number of its A-list guests in the very looks about to be staged. Models, too, featured a cast of both O.G. and modern heavyweights, from Naomi Campbell to Kaia Gerber. Here, discover everything to know about the Givenchy spring 2026 show during Paris Fashion Week.
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
“I wanted to explore the strengths of women through feminine archetypes,” Burton writes in the show notes to her sophomore collection titled Powerful femininity. “It started with peeling back the structure of tailoring to reveal skin and a sense of lightness and ease—then exploring the female vocabulary of dress and undress,” continues. Her idea best comes through in look 18’s a bra top and leather maxi skirt, but can also be seen in the way a trench coat or simple shirt dress are manipulated to reveal more décolletage. Burton’s point? That power need not always come through masculine silhouettes like sharp suiting (although the collection did feature several remarkably strong suits) but instead that traditionally feminine silhouettes have their own innate sense of strength and force.
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
Burton has clearly hit her stride at Givenchy with a spring collection that continues to evolve the ideas she put forth in her debut last season. The jewelry arrived in bold costume-like strings of rhinestones as necklaces, drop earrings, and in some cases, even body armor. They’re a clear throughline from the found objects and craft-like assemblage of the fall 2025 collection.
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
The front row may have featured an impressive star power, but it was rivaled only by that of the model casting. Superstars Naomi Campbell, Liu Wen, and Eva Herzigová were accompanied by the new guard of supers that included Alex Consani, Vittoria Ceretti, and Kaia Gerber who closed out the show.
(Image credit: Launchmetrics Spotlight/Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
The new era of Givenchy is working overtime to make its mark on Hollywood and based on how the debut collection made its way onto the red carpet this year, there’s no question that this runway will be an automatic pipeline from the atelier to celebrity stylists’ offices. If I were the betting type, I’d put my money on the mesh dresses and babydoll numbers as the frontrunners for red carpet appearances. I’d even venture to guess that stylists are already texting to secure their top picks as we speak.
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
(Image credit: Givenchy)
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The Río Magdalena, Colombia’s majestic river, flows northward through the country’s western half, carrying centuries of history, from pre-Columbian cultures to Spanish colonization. Named after Mary Magdalene, it remains a powerful symbol of the nation’s spirit and continuity. Johanna Ortiz drew from this legacy for her spring collection, called Magdalena, an homage to her Colombian roots.
Her most tangible gesture of support for Colombia’s heritage lies in her ongoing commitment to local craftsmanship and artisanal culture. At her Cali atelier—founded to employ and empower regional talent—around 480 artisans, 78% of them women, bring her designs to life. The atelier also houses a school where traditional techniques are taught and preserved. While silks and jerseys are sourced from Italy, every piece is entirely crafted in-house, grounding Ortiz’s vision in the authenticity of Colombian handwork.
This season, her prints echoed the lush textures of tropical landscapes. Earthy, sun-warmed tones defined sporty cropped jackets worn over her signature long, fluid dresses cinched with high-waisted corset belts woven from natural fibers; languid silhouettes were often layered under matching shawls or shimmering with sequined panels. Ortiz also infused personal memories into the styling with pieces from her private collection of mochila bags—traditional basket designs meticulously handmade by the Kankuamo community of the Sierra Nevada. “I really relate to the river at this point in my life,” said Ortiz. “Sometimes we keep circling back, pushing ourselves a little too hard. But right now, I’m learning to let things flow. This collection reflects that moment—living one day at a time, allowing each new day to bring its own adventure and magic.”
Paris came alive as Creative Director of Alexander McQueen Seán McGirr, Sarah Burton’s successor, unveiled his interpretations of the uniform for the spring 2026 runway show during fashion week. To the upbeat sounds of pop and EDM, models strutted down the runway in reimagined British military jackets, corset details “liberated from tradition,” fringe handbags, and sensual low-rise bottoms. McGirr drew inspiration from Robin Hardy’s The Wicker Man, with strong tailoring of clean lines and contrasted deviations from the conventional uniform and suit.
Spring next year seems to promise rebellion in the realm of fashion as McGirr enthusiastically encourages diving into desire. “We push against nature, tempering instinct in the name of order. 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?” the creative director asked in the show notes. Ahead, see the key trends and celebrity front-row style moments from McGirr’s subtly erotic collection for spring 2026.
According to McQueen, spring and summer 2026 will be all about low-rise bottoms, from “professional”-looking pencil skirts to Y2K-style skinny and straight-leg jeans. Hip-hugging bottoms rather than waist-hugging will be a fashion-crowd favorite. High-waisted bottoms have been on the outskirts of the fashion set’s mind for a few seasons now, but next spring will be a full commitment to low-rise.
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
British military jackets, as well as blazers, were made casually cool on the McQueen runway. Lapels sat curved, patch pockets were included, and tailoring was still hitting the mark throughout McGirr’s subversions.
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
Rather than extra-tight corsets, McGirr included looser variations of the Victorian-era detail on not just tops but also full-length dresses, boots, and deconstructed skirts. This level of detail is a telling sign of where trends are heading in the upcoming year
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
Many of the runways this fashion month have debuted an iteration of the fringe trend, but McQueen’s has been the most intriguing thus far. Long- and short-handle bags in various shapes, from large bucket bags to mini triangular-shape bags, graced the runway. The materials of each bag were also different, but from the same vein, including chain-link metal, leather, and multicolor PVC.
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
(Image credit: Spotlight Launchmetrics)
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Akris Spring 2026 Ready-to-Wear
Pier Paolo Pasolini was an Italian filmmaker, poet, and writer whose work often examined topics like class, sexuality, religion, and politics. In 1975, during World War II, he published a letter about fireflies, exploring their ability to endure even in the darkest conditions. This idea of resilience and hope captivated Alessandro Michele, who drew from Pasolini’s intellect to create Valentino’s spring 2026 collection.
The collection titled “Fireflies” was displayed under flashing lights, mimicking the flicker of fireflies, which heightened the drama and matched the inspiration. The show notes were read over a loudspeaker by Pamela Anderson, who sat in the front row. It urged attendees to “disarm the eyes and reawaken the gaze.” And noted that fashion, in this sense, can help us by bringing light and meaning back into our lives.
The collection of 80 looks showcased a mix of textures and juxtapositions, through lace, tulle, sequins, and beads, as well as silk fabrics that illuminated the dimly lit space. Lively pops of color and floral adornments brought a sense of enjoyment, while statement necklaces and chandelier earrings caught the eye as if a firefly was passing by in the night sky. For more on Michele’s collection, keep scrolling.
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Launchmetrics)
(Image credit: Valentino/Launchmetrics)
Michele didn’t rely solely on the strobing venue lights to illuminate the collection. The light also came from the garments themselves, through a carefully chosen, emotionally charged color palette. There was bubblegum pink and tangerine, which added bursts of energy; violet and lilac, which were poetic, aligning with Pasolini’s background; mustard yellow for moments of groundedness; cerulean blue, expansive and airy; and lemon yellow, a pure light—along with many others.
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
Bows served as a unifying motif throughout the collection. From the opening look—a muted blue long-sleeve tunic featuring a bow at the neckline and another at the hem—it was clear that Michele intentionally placed them. This is because they were also seen in his spring 2025 haute couture and ready-to-wear collection for Valentino (think the Bowow pumps). More bows emerged on open-toe pumps, along with larger bows on the collars of minidresses—both blazer and tiered ruffled styles. Like fireflies, small yet impactful, bows may look delicate and soft, but they are precise, luminous, and powerful.
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
In the latter half of the collection, Michele increased the intensity, shifting from romantic tailoring and soft bows to bold, embellished ensembles, featuring sequins, beads, and crystals. For menswear, there was a sheer polo shirt with crystal fringes hanging from the collar, a gold sequin blazer paired with black trousers, and even a metallic long-sleeve sequin zip-up layered under an orange blazer. For womenswear, there was a variety of floor-length sequin and beaded dresses in silver and gold. Other notable items included a green sequin blouse featuring gold teardrop shapes and floral-beaded bags, similar to designs seen now on the Vain bag.
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
For a designer long known for maximalism and eclecticism, Michele’s spring 2026 collection distinguished itself with more pared-back silhouettes and sleek structures achieved through sharp tailoring. This was reflected in single-breasted blazers, long coats, and minidresses featuring broad and defined shoulders. Both menswear and womenswear featured straight-leg, tailored pants in neutral gray and black, as well as bold cobalt blue and fuchsia. The collection also included fitted pencil skirts made from silk, satin, velvet, and lace.
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
If one thing is clear, it’s that Michele wants us to have fun with our accessories, as shown by snake-embellished heels and beaded butterfly brooches. Even fringe bags added a sense of movement. However, the real star of the show was the jewelry. Oversized chandelier earrings cascaded from the earlobe to the shoulder, creating a dramatic effect with every turn. Dainty butterfly necklaces were elegantly draped down the models’ backs, adding a touch of ethereal beauty. Cuff bracelets, resembling pieces of ancient armor, were finished with vibrant stones, while bold metal pendant necklaces accentuated the décolletage of both men and women.
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
(Image credit: Valentino/Launchmetrics)
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