Couture week is my favorite week in the fashion calendar for obvious reasons. Over the course of five days, shows are distilled and reserved for only a handful of couture houses to show their collections. The result? Less noise, more beauty. This season, the sentiment felt more relevant than ever as we bore witness to not one but two debut couture collections from Jonathan Anderson at Dior and Matthieu Blazy at Chanel.
Each of these designers are two of fashion's leading golden children at this stage in their careers, and both of their first ever respective couture collections assured us of why. Each display of similar ideas: of creating a dialogue between the body and the natural world brought heaping spoons of delight into a week that has been otherwise underscored by heavy themes on a geopolitical scale.
And then over at Schiaparelli, Daniel Roseberry flexed his well-seasoned muscles to offer up a collection that felt both animalistic and of religious proportions, not dissimilar to some of the silhouettes at Alessandro Michele's Valentino couture, which was witnessed through tiny squares in the walls of a circular “kaiserpanorama” set up at the Tennis Club de Paris.
Though all distinctly different designers, there were a few themes this season that provided a through-line across the week. Below, are all of the trends we spotted at Paris Spring/Summer 2026 Haute Couture Week.
Minty Fresh
Chanel Haute Couture SS26
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Valentino Haute Couture SS26
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Armani Privé SS26
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Mint unexpectedly showed up in various places across the week. At Chanel, Matthieu Blazy sent out a procession of looks made of silk mousseline, all layered and transparent and embroidered with birds and mushrooms, while at Valentino, the cool green shade appeared across column dresses, gown linings, and peplum skirts. Most distinctly it was the color of choice at Armani Privé, where 70% of the exits were rendered in celadon in various iterations: organza, beading, silk, and suiting. A theme that underscored the week was "freedom", so it makes sense, here, why a colour that offers so much levity would be indulgently used for Spring.
Birds Of A Feather
Schiaparelli Haute Couture SS26
Schiaparelli
Dior Haute Couture SS26
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Chanel Haute Couture SS26
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On the topic of freedom, an emphasis on birds was evident on the runways this week. At Chanel, it was the starting point for Matthieu Blazy, who based the collection on a simple Haiku, "Bird on a mushroom / I saw the beauty at once / Then gone, flown away." This alchemized on the runway via featherlight silk mousseline before turning more literal, with various scalloping, tweeds, and real feathers forming bird-like silhouettes. Over at Jonathan Anderson's Dior debut, which relied heavily on symbolism to the natural world, scalloped materials gave the illusion of pelts of feathers, while some draped tops were crafted of the real thing. And then onto Schiaparelli, which opened and closed with wing motifs. The closing look, most notably, was a jacket made entirely of gold and green feathers, a wing jutting out of the left shoulder, and a crystal bird figurine perched on the model's head.
Florals For Spring
Valentino Haute Couture SS26
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Schiaparelli Haute Couture SS26
Schiaparelli
Dior Haute Couture SS26
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Not groundbreaking, but breathtaking nonetheless. Spring/Summer 2026's expression of flora took on a new depth this season, via myriad interpretations of mother nature. At Valentino, oversized florals were beaded in gold and silver onto a high-necked black gown. Elsewhere, cherry blossoms were printed onto a strapless dress and clusters of sequin pink flowers adorned a sheer kimono. At Schiaparelli, it was more subtle, with tiny white floral appliqué appearing on the sheer bodice of a gown. Over at Dior, where Jonathan Anderson gave himself full permission to lean into the natural elements he does so well, everything was drawn from Monsieur Dior's obsession with gardens.
Take Me To Church
Schiaparelli Haute Couture SS26
Schiaparelli
Schiaparelli Haute Couture SS26
Schiaparelli
Valentino Haute Couture SS26
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Daniel Roseberry's jumping off point for Schiaparelli this season was reportedly a trip to Rome, where he visited the Sistine Chapel, thusly evoking a series of silhouettes that looked like something out of a Michelangelo. Wings were propped up at the collars of jackets, and otherwordly horns sprouted from the chests of others. Then, over at Valentino, somewhere between Hollywood Glamour and Paul Poiret was a nod to the Madonna, complete with an angelic gold headdress and a wafty, pleated organza and lace cape. Take me to church!
