Paris Fashion Week Men’s F/W 2026

We’ve cut through the spectacle, the hype collaborations, and the couture-level denim to bring you the highlights from the Fall/Winter 2026 Men's season.

“Everything we do delivers a message. In this particular collection, I wanted to show the power of Latin talent and celebrate diversity in every sense,” says Willy Chavarria to METAL after the show. Those words set the tone for what would become impossible to forget. The designer delivered his biggest presentation to date — not only in scale, but in meaning. The expansive venue and the emotionally charged live performances by Mon Laferte, Mahmoud, Latin Mafia, and Feid were not the focus themselves but the structure supporting the brand’s long-term vision.

Inclusivity, in every possible form, defined the fall/winter collection. Chavarria revisited his signature ’90s-coded office wear: sharp, authoritative, and familiar. Followed by streetwear silhouettes, the show moved through Chicano-inspired uniforms and into dramatic couture gowns, each transition reinforcing the idea that identity is fluid, layered, and unapologetically expansive. The Adidas collaboration also continued its narrative, this time reimagined as a special Mexican football kit unveiled ahead of the World Cup, blending sport, culture, and heritage into a powerful visual moment. More than a grand-scale performance or a love story unfolding before our eyes, ETERNO was the fashion novela we can’t stop thinking about.

We know we can always count on Anthony Vaccarello, right? For this season, Vaccarello extended a continuing exploration of the masculine identity that has quietly defined his menswear. Building on previous collections that have refined sleek silhouettes and structural precision, this latest Saint Laurent lineup was deeply inspired by James Baldwin’s Giovanni’s Room, using the novel’s intimate, introspective themes to shape a wardrobe that balances secrecy and exposure, strength and vulnerability. 

The result was a collection anchored in the ritual of dressing translated into lean, protective tailoring with sharp, exaggerated shoulders and a dominant black palette that have set the “YSL archetype” for the past collections. Vaccarello’s signature smoking jackets appeared like formal armour, grounded by high boots that lent purpose to softer, almost worn textures, while touches like silk scarves and low-slung knits were the perfect match. In context, this feels like a continuation rather than a departure from his tailored thesis.

Dries Van Noten delivered a beautiful collection, one of those that does not need further explanation because you simply get it. The perfect layering, styling, and a match made in heaven between tonalities and patterns (the more the better, according to Julian Klausner) felt like a nostalgic yet forward-looking wardrobe that drew on memories of actual lived-in pieces. Echoing the idea of sentimental garments like a coat, a jumper, or a school jacket, the show translated that intimacy into richly mixed prints and patchwork sensibilities that felt both personal and poetic. 

From being the coolest office worker to going on a side quest under Dries’ “armario”, this was a spot that had been empty until this collection. While the attention at the venue went to the technical aspects (and the biker boots), the undeniable winner of this collection was the exceptional work in knitwear: ribbed cardigans with structured shoulders, intriguing Fair Isle and geometric panels, and knit collars woven into coats that anchored the whole narrative.

The IM Men showing at Collège des Bernardins on a Thursday felt less like a runway and more like a secular ritual. Stepping into the vaulted stone space, the atmosphere possessed a rare, high-stake gravity that only deepened as the first looks emerged. This collection was about the brand’s relentless, decade-long grip on consistency. The tailoring arrived with surgical precision, headlined by a deconstructed coat that might just be the most realised garment of the season. Draped finishes and voluminous, "pouched" silhouettes offered a softer counterpoint to the technical rigour, while the injection of degraded, rich-hued textiles anchored by futuristic eyewear and those iconic, unshakeable Issey boots hit a specific sweet spot between archival reverence and total dystopia. Even the "TO GO" coffee cup leather bags felt like a necessary wink, providing a sharp, pop-inflected punctuation to a collection that proved, yet again, that IM Men is operating on a level most brands are still trying to map out.

Right in the midst of an identity evolution under the audience’s hands and constant, non-stopping expectations, Rick has consistently pushed his vision to its limits. For F/W 2026, he has shown an “armour wardrobe” that feels as equal as it is liberating. The Tower is nothing but a metaphorical way to escape through deconstruction, distortion, and grotesquely exaggerated proportions, while at the same time being held together by the most powerful tool: fabrics. This collection is an ode to possibilities and experimentation while keeping the DNA that makes you instantly understand Rick’s lexicon.

Anchored in the duality of protection and parody, Tower translates prayer into material force: Kevlar coats, bloated police boots, transformable leather outerwear, felted alpaca and mélange wools sourced from generations-old mills across Italy, Japan, and India. Craft, sustainability, and collaboration (from hand-crocheted silk-cashmere knits to macramé masks) reinforce Rick’s vision of armour not as enforcement, but as resistance, hope, and radical self-definition.

If there’s one favourite from this season, it’s Sacai, showing one of its strongest proposals to date. Leather was worked and blended with fluffy details; rich silhouettes elevated the typical tailored pieces with skirts or shorts over the typical suit from the perfect balance of fabrics, like mixing patchwork jackets, knitwear sweaters, and leather jackets to a sporty (boxer core) and utilitarian inspo seen in some garments like the bomber jackets or the trousers. From relaxed silhouettes to tight proportions, floral dresses to tribal patterns, we definitely can’t stop thinking about the perfect delivery of denim, head-to-toe looks that are an evolution of past collections, and of course the renaissance core of the closing looks with opulent skirts and Napoleon shapes.

'Rebirth as a way of escapism' is the perfect sentence to define EgonLab's latest collection, Lazarus, which staged a cinematic resurrection on the Fall/Winter 2026 runway. Florentin Glémarec and Kévin Nompeix utilised the show as a visceral sanctuary against a world that prioritises corporate efficiency over creative dissent, opening with a haunting spoken-word manifesto by Jameela Jamil that reframed darkness as a site of power rather than fear. The garments themselves felt caught mid-metamorphosis, with asymmetrical tailoring, trompe l’oeil distortions, and "crushed" textures suggesting a body in the process of becoming something entirely new. Beyond the structural mastery of the oversized shoulders and doubled jackets, there was a deeper, more visceral motive at play throughout the show. From the hand-woven Converse artisanal rework to the Tinder collaboration, Lazarus had it all.

Continuing with our highlights this season, Juun.J gave us a new take on techwear, marrying the brand’s signature exaggerated proportions with a new version of formalwear, turning classic tuxedo elements into bold, architectural statements through structured leather ruffles and broad-shouldered denim tuxedo blazers paired with relaxed jeans. The runway was dominated by oversized bombers, leather jackets, balloon trousers and wide-leg silhouettes, with styling that juxtaposed a sea of ties against open-collared tuxedo shirts for a deliberately tousled elegance. The collection peaked in a high-octane collaboration with Alpinestars RSRV, unveiling all-leather motocross silhouettes and technical biker gear that fused racing-inspired protection with Juun.J’s dramatic tailoring, introducing us to his NEWSTALGIA era.

For Songzio’s Fall/Winter 2026, Jay Songzio weaponised the concept of Crushed, Cast, Constructed, turning the runway into a kinetic collision between early 20th-century formality and the violent energy of industrial detritus. Inspired by the crushed-steel sculptures of John Chamberlain, the collection stripped the cliche of the modern man: regimented frock coats and high-collared shirts, only to torque and distort them into hyper-modern silhouettes that felt both scarred and harmonious. Beyond the technical intrigue of the layered painting technique and the huge volumes, there was a deeper, more visceral motive at play throughout the show. Songzio effectively staged a tactile revolt; by treating a garment as a "lighthouse" for the wearer, he steered the collection back toward the messy, empathetic reality of the human experience and away from the cold, automated noise that has come to define the industry’s current output.