Drama, Elegance and Theatrics at Haute Couture Week 2026
As we finally leave the dreariness of January behind and enter the fashion month of February, it would be simply rude not take a moment to reflect on the history that unfolded on the runways of Paris last week.
It was – to phrase it lightly – a monumental Haute Couture week – one which spanned over four days and oversaw landmark debuts from Jonathan Anderson at Dior and Matthieu Blazy at Chanel. The pair and their media-driven rivalry have dominated headlines since their appointments, and this past week was no exception. In the case of both designers, it was not only their inaugural couture shows with their respective houses, but the first Haute Couture collections they had ever produced full stop.
Anderson was the first of the two to set the scene, and what an incredible scene he set. The show was staged in a simple white pavilion nestled within the sculpture garden of Musée Rodin – a fitting location given the floral influence present within the collection. When questioned on what acted as the key influence behind the looks, Anderson explained his main source of inspiration laid with cyclamen flowers gifted to him by none other than John Galliano – who left the industry open-mouthed when he attended the show. Ultimately, it was an array of colour and texture that exploded on the runway, with Anderson reimagining the classic Dior silhouette and allowing the horticultural influence to seep through. The closing look with Mono Tougaard as the bride – well that requires no real words.
Dior Spring Couture 2026
The highly anticipated Chanel show was held the following day, and with the weight of the world on his shoulders, Blazy once again delivered. The Grand Palais was transformed into a whimsical forest featuring giant mushrooms and pink weeping willows, somewhat reminiscent of the extravagant sets used by one of his predecessors, Karl Lagerfeld. However, the collection was a clear return to Coco’s Chanel, with a 1920s influence trickled throughout. Birds were also used as a key source of inspiration, which was reflected through the use of light, airy materials and the inclusion of feathered details.
Chanel Spring Couture 2026
Whilst the Dior vs Chanel debate defined the week, there was much excitement elsewhere. Daniel Roseberry perhaps even overshadowed the two, with a stellar collection for Schiaparelli – his lucky number 13th for the house – maintaining his position as one of Paris’ top courtiers. His show – largely inspired by a trip to the Sistine Chapel – was a living definition of the phrase ‘fashion is art’, as he so skilfully played with shape, movement and structure. The drama of wings sprouting from the back of a strapless dress and claws emerging from the breasts was everything haute couture should be – artistic, experimental and verging on the edge of strange.
Schiaparelli Spring Couture 2026
Meanwhile at Valentino, despite a star studded front row featuring the likes of Tyla and Dakota Johnson, eyes were firmly on the clothes with a quirky runway design, with the models placed in abstract pods as guests peaked in for a glimpse. Held mere days after the passing of Valentino Garavani, the show acted as a beautiful tribute, with Alessandro Michele reminding the world why he is one of the top players in fashion. The opening look was rather tame – a deep plunging gown in the iconic Valentino red that debuted in 1959, but as the show developed, avant-garde silhouettes and thrilling headpieces came into the conversation. An art-deco theme was present throughout, as were the bold patterns and colours we’ve come to love Michele for.
Valentino Spring Couture 2026
A final standout show came from Robert Wun. Entitled ‘Valor: The Desire to Create and the Courage to Carry On’, the idea that theatrics would be involved wasn’t a far stretch, and it was certainly theatrics that would follow. Sharp, precise lines, pointed shoulders and breasts combined with a touch of graceful femininity (with the inclusion of Wun’s famous butterflies), proved to be the perfect formula. The standout look however was an encrusted gown, weighing an astounding 40 kilos – this is hardly shocking though, given it featured an estimated 3 million glass beads.
Robert Wun Spring Couture 2026
Long story short, Haute Couture week was diverse and captivating. We witnessed excitement as certain designers found their footing at top houses, whilst others produced the masterclasses we have grown to expect from them. As we look forward to fashion month looming on the horizon and the hundreds of ready-to-wear collections that will be sent down the runway, don’t neglect to remember the craftsmanship that has been demonstrated from these designers in their highly coveted couture.