Paris Menswear Fall/Winter 2026/27 (officially January 20–25, but the full schedule and previews started rolling out earlier) delivered one of the most cohesive and quietly revolutionary seasons in recent memory. The week opened with Louis Vuitton setting a tone of refined futurism and closed with Jacquemus pulling at heartstrings in a way only he can. In between came Jonathan Anderson’s second collection for Dior Homme, which instantly became the most talked-about show of the entire calendar.
The season’s overarching mood was a deliberate shift away from loud statements toward something more introspective: tailoring that felt personal rather than performative, textures that invited touch, and colors that leaned into deep charcoals, midnight blues, forest greens, and flashes of warm camel and burgundy. Oversized yet precisely cut coats, layered knits, wide-leg trousers, and soft-shouldered jackets dominated. Accessories were understated—leather gloves, slim scarves, heavy boots—but carried weight. It was menswear that felt lived-in, emotional, and adult in the best possible way.
Louis Vuitton opened the week with a collection that continued Pharrell Williams’ exploration of American sportswear through a distinctly Parisian lens. Damier patterns were reimagined in subtle tonal variations, varsity jackets got luxurious shearling linings, and denim was treated with artisanal distressing. The show was held in the brand’s new Rue du Faubourg Saint-Honoré space, transformed into a minimalist arena with soft lighting and a live string quartet. Standout moments included a camel overcoat with built-in scarf and the return of the Speedy in a slouchy weekend version.
Here are three defining looks from the Vuitton opening show:
Jonathan Anderson’s second outing at Dior Homme was the week’s undisputed highlight. He built on his debut by deepening the dialogue between poetic softness and sharp tailoring. Rodin-inspired draped knits were layered under structured blazers, trousers were cut with a gentle flare, and outerwear featured cocoon shapes in wool-cashmere blends. Colors stayed muted—slate gray, tobacco, deep navy—with occasional pops of crimson in silk scarves. The show closed with a single model in a floor-length wool cape, walking slowly to a haunting piano score. It was intimate, almost confessional, and left the front row silent for a beat before the applause erupted.
Key Dior Homme moments that everyone is still talking about:
Other strong showings included Dries Van Noten’s final menswear collection before his retirement (a poignant mix of heritage prints and modern cuts), Rick Owens’ ongoing exploration of volume and asymmetry, and emerging names like Jeanne Friot, who presented a debut collection of gender-fluid tailoring with hand-embroidered details that felt both historical and futuristic.
The week ended on an emotional high with Jacquemus. Simon Porte Jacquemus staged his show in a historic Parisian theater, inviting guests to sit on velvet seats under dim chandeliers. The collection was deeply personal—dedicated to his late grandmother—with oversized blazers worn as dresses, knit cardigans belted at the waist, and wide trousers that moved like liquid. The soundtrack featured spoken-word poetry in Provençal dialect, and the final walk was accompanied by a live guitarist playing a melancholic rendition of a French folk song. It was raw, tender, and one of the most moving menswear presentations in years.
Standout Jacquemus pieces from the closing show:
Street style outside the shows was equally compelling: editors in long wool coats over hoodies, models in layered knits and heavy boots, and influencers mixing high-low pieces with effortless French nonchalance. The energy felt grounded—no one was chasing viral moments; they were just dressing for winter in Paris.
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This season Paris Menswear reminded us that fashion can be quiet without being boring, emotional without being sentimental. It set the tone for a year where menswear feels less like performance and more like personal expression.
