16 Things We Saw and Loved on the Runways

The crowds, the commotion, and, of course, the collections of Paris Fashion Week can feel like a seven-day blur. How does one celebrate all the best parts of the final stretch of the season, especially the smaller—but no less thoughtful—details that might go unnoticed? Below, we’ve rounded up every little thing we saw and loved during the spring 2026 runway shows and presentations.

Americans in Paris

The French are known for their innate chicness. But let an American loose in Paris and they just might bring some newness to the runway. Jack McCollough and Lazaro Hernandez’s debut at Loewe; Polo Ralph Lauren’s presentation; Michael Rider at Celine—it was a spring 2026 filled with U.S. designers infiltrating the city of light. The result? A new take on classic prep, with just a hint of that Parisian je ne sais quoi. Loewe’s version came in primary colors, with a yellow V-neck over a red polo and blue socks peeking out of brown suede shoes. (McCollough and Hernandez’s show resulted in a standing ovation.)

At Polo Ralph Lauren, a slick red Members Only-esque jacket was paired with a preppy straw hat and a bandanna tied around the hips. Rider, who presented his second collection for Celine this season, put an artful spin on modern prep with his final look: tailored, cuffed slacks and a collared shirt underneath a billowing, sculptural crewneck sweatshirt. Don’t forget the metal belt made of coins and Celine logos!

The Ballgown Procession at Saint Laurent

To cap off his spring 2026 runway show, designer Anthony Vaccarello sent out a fleet of 15 final gowns—massive ruffle dresses that rippled in the breeze, and came in all kinds: with a sheer panel at the front; corseted; featuring waterfalls of frills.

Statuesque and with a major physical presence, these frocks were a reference to the 1976 Ballet Russes collection designed by Yves Saint Laurent himself. They were glam beyond belief, but not precious—the dresses were made of nylon, which means no need to worry about creases.

Wicker Man Comes to Life

McQueen designer Seán McGirr took us to a land filled with Celtic mythicism and haunting romanticism for spring. The set for the show—his first womenswear-only offering—was inspired by the 1973 film The Wicker Man, a cult folk-horror flick set on a remote Scottish island.

The film is rife with pagan traditions, sex, and unbridled nature, a perfect accompaniment to the collection, whose clothing exuded a primal appeal. Next to the runway were floor-to-ceiling strips of wicker topped with bushels of wheat.

Go, Jonny, Go!

Turning the page is the essence of a designer debut, but Loewe alum Jonathan Anderson’s first Dior womenswear show did something almost unheard of. It began with an Adam Curtis–directed documentary short projected on a pyramidal screen recapping the maison’s many chapters written before Anderson. The horror-meets-homage film wove together moments from Dior’s seven previous creative directors, including Christian Dior’s “flower women,” Yves Saint Laurent’s dynamic trapeze shape, Gianfranco Ferré’s bold, architectural jewel tones, and John Galliano’s theatrical millinery. Anderson paid special tribute to his immediate predecessor, Maria Grazia Chiuri, with three clips capturing her art-world gravitas: the Penny Slinger fall 2019 couture dollhouse dress, and the Orlando-inspired fall 2025 mise-en-scène staged by the late Robert Wilson. It was the perfect way to start a runway show that brought Dior’s house codes into the future.

The Bags at Louis Vuitton, Full Stop

All of the accessories Nicolas Ghesquière put out this season were incredible, but the bags truly took our breath away. Here are a few of our favorite styles from the runway:

Cartier’s LOVE Unlimited

W magazine rang in the start of Paris Fashion Week with Cartier on September 29, hosting a dinner attended by Charli xcx, Jacob Elordi, and more stars.

PFW aside, the cause for celebration was twofold—the jewelry brand (which just named Elordi as its newest house ambassador) released its LOVE Unlimited collection, a take on the classic Love bracelet style, now in a fully flexible form. The visible screws, a hallmark aspect of this style, are still firmly in place.

Rick Owens’s Big Splash

We talk about dramatic stagings all the time in fashion, but Rick Owens’s latest presentation at the Palais de Tokyo for spring 2026 managed to outdo even his most dramatic ones from seasons’ past. The designer created a full fountain and pool to serve as his runway. The models splashed and strutted through the water, trains and scarves floating behind them. Who knew it could be so fun?

The Voice of God

Pamela Anderson may have found her next gig: voice actor. The star proved her chops during Alessandro Michele’s Valentino show, where she sat front row—but more notably, her voice filled the room when the lights went down; she read Michele’s show notes in a soft but still powerful voiceover that reverberated in the cavernous space.

“We need to disarm the eyes and reawaken the gaze,” she said. The collection was inspired by Italian filmmaker and writer Pier Paolo Pasolini’s 1941 letter on fireflies, which he said were metaphors for revolution—they continued to glow, even in the face of strife. “The gloom of our present is actually woven with light swarms of fireflies: hints of worlds to come,” Anderson continued. “Fashion, in this sense, can become a precious ally. Its task is to illuminate what loves to hide, revealing signs of future. These are fleeting sparks in the dark.”

Chloé’s Casting

We were overjoyed to see Caroline Polachek make her Paris Fashion Week runway debut. It was so hot it hurt our feelings.

In the Stratosphere

Matthieu Blazy’s mise‑en‑scène for his debut Chanel collection was a revelation—one that lifted the veil on his reply to long‑serving creative director Karl Lagerfeld’s infamous Chanel rocket: an entire Chanel solar system.

Ambient astronomical music—from Claude Debussy’s “Clair de Lune” to Isao Tomita’s electronic rendition of Gustav Holst’s The Planets—set the mood at the show as guests in their bouclé best posed for selfies beneath spheres that recalled images captured by spacecraft—the rings of Saturn, the atmospheric bands of Jupiter, and the blue marble of Earth. Chanel star Sofia Coppola, who was running late for the evening, dashed to her seat just as the house lights dimmed and fairy‑light stars twinkled above, heralding Blazy’s celestial reveal.

Naomi’s Run

Naomi Campbell was booked and busy in Europe this season. At London Fashion Week, she walked for Richard Quinn and Dilara Findikoglu, then sat front row at Burberry. For Paris, she hit Torisheju and was the opening look at Sacai. We love a working legend.

Fresh Fringe at Alaïa

Alaïa’s spring 2026 collection was full of surprises—every ensemble demanded a second look. This was made clear from the get-go, when the show opened with a series of fringe leg coverings that, at first glance, appeared to be slim-fit trousers. But the models’ movements showed they only reached mid-thigh, like stockings (albeit with truly spectacular grip).

Pierpaolo Piccioli’s Riffs on Balenciaga House Codes

For his debut at Balenciaga, Pierpaolo Piccioli took on the French label’s storied codes and colorful history—from Cristóbal Balenciaga’s pioneering silhouettes like the sack dress and cocoon coat to Demna’s contemporary streetwear edge. The two legendary former designers’ aesthetics were married in the below looks: a baby pink bubble-hem dress and a black gown, each worn with a pair of huge, bejeweled sunglasses.

A New Maison for Roger Vivier

In the heart of Saint-Germain-des-Prés, you’ll find Roger Vivier’s new Parisian home: Maison Vivier, located in an 18th-century hôtel particulier on Rue de l’Université. The permanent location for the footwear brand offers all the latest styles, but also features an archive of house styles curated by Inès de la Fressange that stretches back to the ’50s. Vivier’s creative director, Gherardo Felloni, celebrated the grand opening with a party attended by Tracee Ellis Ross, Shailene Woodley, Sarah Paulson, Naomi Campbell, and more.

Sunday in the Park With Celine

On October 5 at midday in Paris, Michael Rider presented his second Celine offering on a light and tree-filled runway at Parc de Saint-Cloud.

His open-air set design on a gorgeous day was quite literally a breath of fresh air for the house—and for exhausted attendees during a nonstop week of shows and events.

From the Top!

The first Maison Margiela ready-to-wear womenswear collection led by new creative director Glenn Martens featured a perfectly off-kilter (and off-key) orchestra of 61 child musicians. Each kid was aged 7 to 15; some were only in their second month of music school. Still, their chaotic mix of Beethoven, Mozart, and Tchaikovsky, drumsticks flailing, had guests smiling from ear to ear. It was also a nod to the label’s infamous early spring 1990 presentation in which kids of all ages joined the runway festivities (and decorated the invitations with hand-sketched drawings). How perfectly, playfully, Martin.