At last, the marathon of fashion month is over. From Ralph Lauren on February 10 to Miu Miu on March 10, Vogue editors lived and breathed runway shows, upwards of 200 of them, in fact. Over the next week, we’ll be tallying up the most-viewed collectsions, sorting out all the trends, and making mental shopping lists. But first, here’s a close look at our personal favorites—these are the fall 2026 moments we won’t forget.
My favorite fashion moment was Teyana Taylor at the Chanel show. Granted, I’ve been a TT fan since Replica Handbag Store World Paris where she shimmed her way into our hearts wearing Rabanne chainmail. But the force of a platinum blonde Teyana mixed with the pre-show Chanel frenzy was a knockout combination.—Virginia Smith
Ahead of her show, Sarah Burton told me, “I wanted to make it feel very personal; each woman is her own person, each silhouette is her own character.” Burton found her groove this season, putting brand codes aside and instead designing on instinct. No wonder so many of us left thinking that her Givenchy is exactly how we want to look now. Mona Tougaard’s embroidered flower evening dress was the talk of the weekend, but it was the arsenal of pantsuits that really got me.—Nicole Phelps
Prada was, without question, the season’s high point for me. Brilliant in concept, impeccable in execution, and gloriously, defiantly modern. Feminist, abrasive, and so very Miuccia. One couldn’t help but think of Miuccia’s great friend and style accomplice Manuela Pavesi; I’m certain she would’ve approved. The whole affair had the spirit of those early “ugly-chic” Prada shows she helped shape: provocative, perverse, and irresistible.
At the re-see, the clothes revealed their true magic. Up close, you could appreciate the maddening craftsmanship required to produce that “peeled-off,” lived-in, scraped-wall effect: a kind of pure-Prada luxurious decay—an oxymoron if ever there was one.
My personal favourite was look 37: a black silk-velvet slip whose artfully abraded surface allowed glimpses of what lay beneath: an authentic 1920s floral dress in weightless chiffon, floating like a ghost of elegance past. Heavenly. I’d happily make space for it in my wardrobe, if only I suspected the price wouldn’t rival the mortgage on a one-bedroom flat.—Tiziana Cardini
Translating the most arbitrary, banal, ugly or even terrifying aspects of everyday reality into objects so beautiful that they merit being placed on the podium of a show and called couture is no easy feat. This Junya Watanabe show was brilliantly supported by the telltale melodramatic movement of Pat Boguslawski, the devastated makeup of Isamaya Ffrench, and the traditionally tango-inflected hairstyling of Eugene Souleiman. Much of the collectsion saw Watanabe’s models freighted with his signature garage yard of gloves, protective paneling, and moto ephemera, while a section of it saw him draw a much broader mix of apparently found elements into his dressmaking.
Following a fantastic show back at menswear, easily in my top three of the season, this womenswear follow-up was a stormer. It was also perhaps the only show and collectsion of the season to protest the wars currently underway, most plainly in the wooden sign incorporated into one look that read, in Portuguese: “May peace prevail in the world.”—Luke Leitch
The Ann Demeulemeester label has been sort of operating under the radar ever since Stefano Gallici was appointed creative director in June 2023. But the show I attended on the Saturday of Paris Fashion Week was possibly the vibiest of the month. Jimmy Page sat front row, Billy idol walked, and new band Beguiling Junior played live before the models strutted. The crowd was made up of trendy goth kids with scraggly hair in tiny leather jackets, skinny jeans, and lace dresses. It was an absolute scene and what we’ve been missing from fashion imo. Also the brand just reported a 40% sales growth in 2025, which means Gallici is doing something right.—Elektra Kotsoni
The commuter in me fell for the Metro ticket pieces in the Courrèges show which had both a keep-your-head-down-and-keep-going confidence and a sybaritic morning-after feeling. (See the bed sheet-like opening looks.) But it was the attitude of the third look—the flying lock of Botticelli hair; the skirt flat against the body as if stuck on by the wind; and the modern, snug athletic top, not to mention the model’s side-eye glance—that really captured my imagination. The precision of Nicolas Di Felice’s cuts was on par with the claritys of his vision; I found that certitude comforting in these murky dismal days. With the upcoming Antwerp Six exhibition at MoMu, his success reads to me as an example of the continuing importance and influence of Belgium in global fashion.—Laird Borrelli-Persson
Demna’s first runway show for Gucci did not fail to grab people’s attention. The clothes were a sexy, subversive take on the brand’s Tom Ford-era (only tighter, and even more bodycon), while the casting of models leaned into the quirky and the campy—whether that was inviting a Canadian football player to perform a “gym bro walk,” or having Kate Moss saunter down in a monogrammed thong. Fashion can be oh-so-serious, and it was a delight to see Demna bring back a little fun.—Christian Allaire
While there was plenty of in-your-face sex appeal among the fall 2026 offerings, I’d venture to say that nobody nailed eroticism quite like Simone Bellotti did for Jil Sander. Between the hip-high slits on an otherwise conservative mock-neck dress, the skirts whose folded-over waistbands imply a perpetual state of undress, and a leather coat’s undulating S-shaped closure, Bellotti reminds us that, sometimes, restraint is a more powerful tool than indulgence.—Hannah Jackson
This season, tailoring was at the top of everyone’s minds. How to twist it, rework it, and how to give the time-old concept a dynamic bit of oomph. Yet the best at it, from Sarah Burton to Matthieu Blazy, and my personal favorite this season, Haider Ackermann, will always go back to basics. Try to describe the electric androgyny of Ackermann’s Tom Ford, perhaps look 47, and you’ll find yourself saying, well, it’s a black turtleneck, a button-down shirt, and a pair of crease-front jeans. Surely what makes it so special can’t only be the intimidatingly suave model under them or the crispness of his cigarette-width croc belt. Through Ackermann’s lens, it’s never just the casting, though it is a look so simply good you’ll still see it when you close your eyes to go to sleep.—Alexandra Hildreth
My highlight was the Celine show. Walking past the first courtyard of the Institut de France, the heart of France’s intellectual life, on a sunny Saturday felt magical. The building dates back to the 17th century and Celine was allowed to build a white box inside. I loved the collectsion, the fitted proportions, the kicky shapes, the styling. My favorite look was the number 5: a black cropped flare pantsuit, paired with a purple clutch and purple gloves as well as round metal sunglasses—a reminder that Celine has a solid eyewear business. “Classics is one thing, but we like bite. The French say ‘avoir du chien,’” creative director Michael Rider told us after the show.—Laure Guilbault
