Paris Fashion Week Men's autumn/winter 2026_ the verdict

If this Fashion Week was expected to push boundaries_ the answer lay elsewhere. Rooted in a tangible reality_ the autumn/winter 2026 season played it safe. Brands were not seeking to invent the fashion of tomorrow. Instead_ they aimed to dress the modern man by asserting their signature with practical and rational pieces. Here is a look back at some of the most notable shows.

Louis Vuitton: more than just clothes

At Louis Vuitton_ the observer's eye was drawn more to the set than to the collection itself_ which consisted of useful and unpretentious clothing. A prefabricated house designed by Pharrell Williams_ positioned in the middle of the set_ sold the dream of a high-end home. This staging was designed to establish Louis Vuitton as a cultural brand_ where clothing is just one element among many.

IM Men: fashion that envelops

IM Men_ the brand from the Japanese group Issey Miyake launched in 2021_ delivered what was expected of it. It presented loose-fitting fashion with cleverly calculated pleats_ reflecting the technical vision of the Japanese engineers who design it.

The brand's product-focused approach (IM comes from 'im product'_ an Issey Miyake brand from the late 1970s) was expressed through large_ cosy coats that looked as if they were cut from duvets. There were also capes made from an accumulation of soft scarves; beanie-stoles; and a multitude of enveloping pieces that will delight those who feel the cold.

Jeanne Friot: “it_s never too late to fight fascism”

Few designers this season used their shows as a platform for protest and activism. Jeanne Friot therefore stood out_ true to her genderless vision_ mainly for presenting queer fashion on dancer-models with combative choreography.

“In response to contemporary attempts to freeze bodies – to shape them_ to make them legible_ docile and normalised – the show celebrates movement_” read the notes for her autumn/winter 2026 show.

With this show_ Jeanne Friot reinforces her position as a spokesperson for minorities. She displays her message on slogan T-shirts proclaiming_ for example_ “It_s never too late to fight fascism” (already on sale on the brand's e-shop). The house codes were also stronger and more intense. These included tartan covered in sequins; kilts that were lengthened or widened; and her iconic pieces made of belts_ seen in almost every silhouette. They appeared on everything from bustier dresses and the collar of a coat to a bomber jacket_ a skirt and thigh-high boots.

Dries Van Noten: a parallel with Jonathan Anderson's Dior style

Going against the oversized trend_ the show opened with a fitted coat_ reminiscent of the dandy and aristocratic spirit introduced by Jonathan Anderson in his first men's show for Dior in 2025. However_ like the house of Dior_ artistic director Julian Klausner was careful to modernise the distinguished look with casual details. We noted the presence of denim; 'Peruvian beanie' style hats; fringed brooches; rolled-up sleeves; brightly coloured jacquards; and_ of course_ a multitude of prints_ the brand's signature.

Kenzo: betting on reissues

There was no show for Kenzo this season. Instead_ there was a presentation on Stockman mannequins in Kenzo Takada's former home_ a Japanese-style house in the Bastille district. This was likely a less expensive choice_ accompanied by a creative approach in keeping with the times_ involving a strong and acknowledged return to the house's archives.

The press release_ like a restock list_ speaks for itself: “The tiger_ emblematic of the Kenzo Jungle collection from the 1980s_ makes a comeback and now adorns shirts”; “Two-tone neo-tailoring makes its grand return_ revisiting archive silhouettes from the 1990s_ last seen in the autumn/winter 2022 collection”; “The 1986 Kite bag makes its grand return in an exact replica and is available in new contrasting colour-block leather versions”.

The result is a collection with preppy_ wearable and sensible accents that clearly moves away from the streetwear culture that is the signature of Nigo_ Kenzo's artistic director since 2021.

Dior: young aristocracy as the core target

Dior is not hiding its strategy. The flagship brand of the LVMH group and its creative director_ Jonathan Anderson_ are targeting the young aristocracy_ in other words_ the new global elite_ to sell its collections. “This young aristocracy with a Dior spirit establishes new stylistic connections_ guided by joy and spontaneity_ sporting spiky yellow hair_ embroidered epaulettes and a sense of eclectic opulence_” stated the show notes.

In the mishmash of this collection with its often shimmering silhouettes_ we noted the presence of several dresses and skirts for men. This intensified the gender freedom already present in Jonathan Anderson's previous collection (spring/summer 2026). This was a gender and stylistic freedom that carefully distanced itself from a conservative aristocracy. It aimed to better meet the desires of a youth more eager for relaxed luxury than the rigid three-piece suits of their grandparents.

Ami Paris: a collection for now

Opting for a see now_ buy now strategy would have made a lot of sense for Ami Paris_ whose show unveiled a collection that was as current as it was wearable. “The collection evokes a real wardrobe_ representative of life_ built up over time_” said the show notes. This practical approach translated into everyday clothes that respond to today's trends. We could therefore see oversized coats; wide-leg trousers; striped shirts; and classic jumpers. In short_ nothing revolutionary_ but many practical pieces.

Jacquemus: locking down the codes

The French brand closed Paris Fashion Week with a collection true to its DNA. It featured a catchy title (“Palmier”); a sensual silhouette; and a touch of humour (the palm tree hairstyle consists of a ponytail worn straight up on top of the head).

At Jacquemus_ as elsewhere_ the emphasis was on the house codes_ even to the point of making explicit allusions to the archives. Thus_ in this autumn/winter 2026 collection_ we found geometric shapes in circular hats and rounded shoulders. A childlike spirit was present in a red_ blue_ yellow and black confetti pattern_ while the fitted shapes were_ according to the show notes_ a new interpretation of the 'La Bomba' collection.

Beyond recalling its codes_ the event also served to justify a price positioning and legitimacy in the face of luxury giants. The brand thus cited its (renowned) suppliers_ Maison Février and Maison Lemarié_ in the press release. It did not hesitate to use complex materials such as taffeta_ ostrich feathers and rocaille embroidery.