Paris Fashion Week Men’s A/W 2026: live updates from the Wallpaper* team

At Auralee, Ryota Iwai finds joy in winter

‘What makes winter joyful?’ asked Ryota Iwai with his latest Auralee collection, which marked the first runway show of Paris Fashion Week Men’s. Staged at Musée de l'Homme – its position gives a dramatic view of the Eiffel Tower out of its floor-to-ceiling glass windows – the answer came in a melange of textures (coats with fluffy innards; featherweight sheer shirts; buttery leather with the slightest sheen) and motifs that suggested comfort, like garments which recalled plaid blankets, or appeared well-loved with wear. But it was colour that, as ever, Iwai excelled – soft beiges and blues met bolder hues of yellow, signal red and rich purple were used to ‘conjure moments of warmth, joy, and a luminous sense of happiness that lingers in the eye and the heart,’ as the designer described. JM

Pharrell Williams reveals new ‘living concept’ Drophaus at Louis Vuitton

Cementing his multi-hyphenate status, this evening in Paris, Pharrell Williams used his latest menswear show for Louis Vuitton to reveal his latest project – a prefabricated home in glass and wood, which he titled ‘Drophaus’. Made in collaboration with Not a Hotel – a Japanese company which creates architect-designed vacation homes – the ‘timeless future living concept’ sat in the centre of the showspace, backdropping the A/W 2026 collection.

Constructed from wood and compacted glass – and surrounded by verdant, Japanese-style gardens – Williams says he designed the structure to recall a drop of water. ‘I grew up around water, I’m drawn to it, I build and create my best work close to it,’ he told Wallpaper*. JM

READ: At Louis Vuitton, Pharrell Williams reveals ‘future living concept’ designed in collaboration with Not a Hotel

Highlights from the first night of Paris Fashion Week Men’s

Yesterday evening marked the start of Paris Fashion Week Men’s, kicking off with two very different shows in the French capital. Ryota Iwai opened the week with a restrained co-ed display for Auralee at Musée de l'Homme – where the glittering silhouette of the Eiffel Tower was visible through the windows – revealing a collection that sought levity, ease and joy in the oft-depressing depths of winter. Then Pharrell took fashion crowds to the Louis Vuitton Foundation in the west of the city, where a sleek house constructed from wood, glass and a Japanese garden set the scene for a collection that explored menswear codes through the decades. Stay tuned through the week for our picks of Paris’ standout shows.

READ: The standout shows of Paris Fashion Week Men’s A/W 2026 – as they happen

Acne Studios celebrates 30 years with a love letter to denim

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Launched in Stockholm in 1996 with 100 pairs of raw denim jeans, Acne Studios has managed to maintain a youthful heart through three decades of business. At the turn of such a milestone, its core identity has been on the mind of founder Jonny Johansson, though the designer has cleverly resisted getting too nostalgic. Instead, his A/W 2026 collection – presented with an intimate display at the brand’s Paris headquarters this morning – asked how young men today want to dress and move through the world.

The collection revisited the straight-legged denim staples that made Acne Studios a global force, reimagining them through the lens of a younger generation through ripping and taping motifs that symbolise a subversion of the past. Mixed in with these denim pieces, vintage-inspired tailoring celebrated the ageless ceremony of dressing up, seen through double-breasted blazers and slender and precise wool outerwear – shapes that never go out of style. ‘Heading into 2026, I began thinking about these last 30 years,’ Johansson said in a statement released with the collection. ‘You start off as the young brand; then suddenly, you have a legacy. Ours has formed from exploring the soul of denim and what this means to us. Denim has an eternally youthful identity, while being worn in such a way that its surface speaks to lived experience.’ OB

A closer look at Dior’s A/W 2026 show invitation

Ahead of his sophomore men’s collection for Dior, Jonathan Anderson sent attendees an ornately pleated white collar finished with silk grey ribbons. Perhaps hinting at themes of historical dress, clues as to what his A/W 2026 show might explore also came via Instagram, where the designer shared a video of a man running through the streets of Paris to a plaque commemorating French couturier Paul Poiret (filmed by rising image-maker Jessica Madavo) and a series of curiously textural accessories that included a stone necklace and a wooden rose bangle. What all this might mean shall become clear at the Musée Rodin in less than an hour. OB

Jonathan Anderson shows his second menswear collection for Dior

For his sophomore menswear show for Dior, Jonathan Anderson imagined a troupe of ‘aristo-youths’ in a collection which played on codes of ‘history and affluence’ in the designer’s always-idiosyncratic style.

The work of French couturier Paul Poiret – and his famous dress-up parties – inspired the fluid line of sequinned silk vests, meeting undone riffs on the bar jacket in denim and luminous yellow wigs. Meanwhile a sense of opulence emerged in enormous furry cuffs and dramatic caped silhouettes for what the designer described as a collection where ‘old and new collide with spontaneous ease’. JM

At Solid Homme, a study of the modern man’s alter egos

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Like many of Paris’ historic buildings, the Maison des Métallos has gone through several identity changes through the eras – it was once a musical instrument factory, then a metalworkers union, and now stands as a performing arts centre. The building’s layered past made it the perfect stage for Korean designer Madame Woo’s latest Solid Homme collection, which explored the multiple identities worn by the modern man. Presenting a study of several complex characters, the collection included a barista who codes through the night, an accountant who builds furniture after hours, and a creative director who returns home to be a dad. Looks themselves were vibrantly hued – bright primary shades, colour block pastels and deep neutrals – while styling shuffled up smart and casual garments to create a series of impulsively arranged looks. It was, said the brand, ‘one wardrobe’ made for ‘many lives’. OB

IM Men was a study in colour and form

Presented at Paris’ Collège des Bernardins this morning, IM Men’s latest collection was a vivid study of colour and form that imagined the movement from dusk to dawn. ‘Moments when something begins, and when something ends,’ described the brand, which is part of the Issey Miyake family. As such, the collection shifted from a poetic opening act in black and white towards vivid expressions of colour, while silhouettes reimagined formal codes in expansive new forms. JM

Rick Owens makes steamy display at Palais de Tokyo

Rick Owens has used the Palais de Tokyo as a stage for all manner of theatrical spectacles over the past decade, making models wade through the site’s fountains or walk beneath perilous swinging balls of fire. This afternoon, the American designer’s latest fantasy was staged indoors at the historic museum where, inside a steam-filled room, he presented a collection titled ‘Tower’. A series of tough, industrial figures emerged through the fog in looks that twisted military archetypes through Owens’ structured, body-accentuating codes: ‘bloated’ police boots, action-ready bodysuits made from kevlar fabric (used in modern armour), and transformable outerwear cut from waxy cowhides sourced in Japan. In his distinctive show notes (which are always written in caps) the designer spoke of the fraught times we are living in. ‘The world around us is impossible to ignore so the only way is parody,’ he observed, offering the collection up as a ‘prayer for love and hope.’ OB

Dries Van Noten’s A/W 2026 show was a coming of age

Julian Klausner said that his A/W 2026 collection for Dries Van Noten, presented last night in Paris’ 14th arrondissement, was about a ‘coming of age’ moment – ‘not in a dramatic or romantic way, but praising the joy of new beginnings,’ he elaborated in the collection notes. Imagining his protagonist leaving home with clothing from the past – something passed down from their grandfather, or a sweater from childhood – what followed was an expressive and eclectic collection unafraid of print and colour (both are hallmarks of the house). Reviving motifs from the Dries Van Noten archive alongside vivid stripes, fairisles and chevrons – often patchworked into a single garment – there was a joyful feel to the offering, which was nonetheless bolstered by beautiful tailoring and overcoats (the latter narrowing at the waistline or with caped silhouettes), as well as some very desirable accessories, like a brogue with the proportions of a low-pro sneaker. JM

Catch up on the latest shows

Over the past few days, Paris has witnessed a slew of shows from some of the industry’s most significant names. Following Jonathan Anderson’s expressive tribute to French couturier Paul Poiret, held at the Musée Rodin on Wednesday – where a crew of neon-haired ‘aristo-youths’ walked to the yearning vocals of rockstar McGee – yesterday a global group of designers were behind the most talked about moments. The design trio behind Issey Miyake brand IM Men staged a poetic display that used the spectral colours of dawn as a springboard for inventive riffs on formal dress, while Rick Owens presented a dystopian ‘parody’ of combat uniforms in a smoke-filled room at the Palais de Tokyo. Dries Van Noten’s new creative director, Julian Klausner, closed out the day with yet another elegant and texturally inventive outing, recalling the feeling of a ‘coming of age’ moment – ‘not in a dramatic or romantic way, but praising the joy of new beginnings,’ he said following the show.

Catch up on more of the best shows of Paris Fashion Week Men’s A/W 2026 here.

A closer look at Jonathan Anderson’s latest Dior collection

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Today in Paris, a re-see at Dior’s HQ allowed editors to look at Jonathan Anderson’s latest men’s collection up close. Using tales of couturier Paul Poiret’s infamous dinner parties as a starting point – where Paris’ young artists would play dress up during La Belle Époque – the Irish designer crafted yet another deeply referenced and texturally eclectic collection for the French maison, which was revealed on Wednesday. As always with Anderson, details were where the magic lied – neatly pleated stiff white collars, brass belts in the shapes of antique mirror frames, shearling cuffs exploding from formal tailored coats, and prince-like bejewelled epaulettes on the shoulders of casual plaid shirts. OB

Willy Chavarria stages musical in a martial arts dojo

It was no ordinary runway show for Willy Chavarria this afternoon in Paris – instead, the American designer staged a musical epic that unfolded in a judo dojo on the outskirts of the city. Tales of love, loss and high drama defined the spectacle, which featured performances from the likes of Mahmood, while Julia Fox, Romeo Beckham and Goldie walked the runway. Alongside his signatures – namely, riffs on everyday workwear and uniforms – there was also a mood of nostalgic elegance to 1950s-inspired silhouettes. Ultimately, Chavarria said this was a collection about connection – like those everyday encounters on a city street. ‘The connection between us is powerful. We are in this together,’ he said. ‘All of us.’ JM

Kiko Kostadinov hits refresh with a study of ‘construction and material’

There was a feeling of refresh to Kiko Kostadinov’s latest collection: presented on the sunlit upper floor of Le Grand Plateau – a former university in Paris’ 5th arrondissement – the Bulgaria-born, London-based designer said that he wanted to ‘return to the primary language of construction and material’. As such, there was an almost uniform-like rigour to the season’s tailoring (though clever moments of drapery reminded of Kostadinov’s always-offbeat approach to pattern-cutting), which evolved towards the collection’s closing act, a series of sinuous coloured looks in striped knit and nylon designed to ‘transform on the body’. American artist Oscar Tuazon’s white-box sculptures provided the show’s backdrop and seemed to reflect the season’s mood: minimal and architectural in their construction, they still had an intriguing strangeness – much like the work of Kostadinov himself, who remains one of London’s most compelling talents. 'This is a collection that is happy being challenging,’ he said. ‘An emphasis on creating clothes that actually bring something new to the wardrobe.’ JM

A close look at Celine’s latest menswear collection

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In place of a runway show this season, American designer Michael Rider presented his latest collection for Celine in the house’s headquarters on Rue Vivienne (from the windows of the presentation space you could see the atelier below; the idea was to feel like you were walking into an impromptu fitting above). Buoyed by Celine-branded sandwiches and popcorn, guests explored the collection via a series of playful milieus, from enormous stacks of jeans and sweaters to a snake-like swirl of shoes (arranged, satisfyingly, in colour order), while looks from the collection hung on walls. Like his previous outings for the house (he debuted earlier this year, in June), it is a vision of Parisian style through an American’s eyes, mixing insouciant French glamour with moments of preppiness (for the latter, cue college sweaters, colourful silk ties and shirts, slippers and loafers). The result was something totally fresh and desirable – we wanted every piece. JM

Véronique Nichanian holds her swan song runway show for Hermès

‘Clothes for today and forever,’ described Véronique Nichanian of her A/W 2026 menswear collection for Hermès, which marks the French designer’s swan song at the house after a record 38-year tenure (she is the longest-running creative director of a major fashion house).

Taking place at Paris’ Palais Brongniart this evening, the show was a continuation of the thoughtful, considered approach to menswear she has honed during her time at the house – one that eschewed theatrics or ephemeral trends for collections which allowed clothing to speak for itself.

For her, the magic is found in a change of a centimetre on a pattern piece, an obscure colour shade, or what she would call the ‘sensuality of fabric’ (material innovations were at the heart of her Hermès project). Here, she riffed on menswear archetypes in her effortless style, from duffel and rain jackets to the tuxedo – several of which were inspired by pieces from her previous collections.

It ended with a rousing, minutes-long standing ovation – a testament to an extraordinary career. JM

Chitose Abe’s A/W 2026 collection for Sacai was about ‘breaking free’

This season, Chitose Abe said she was thinking about the idea of ‘destruction’ – ‘destroying and dismantling in order to create,’ as the Japanese designer described this morning. An image of Muhammad Ali was on the mood board: for Abe, he was emblematic of the ‘freedom associated with breaking free’, and in the show space a destroyed stud wall looked as if it had been punched through by an enormous fist (or, at least, been taken to with a hammer). In the collection, this figured through undone tailoring – unknotted ties hung around models necks – while hybrid silhouettes (a Sacai signature) met typically eclectic fabrications, from spliced shearling ‘fur’ to those adorned with sewn-on safety pins, buttons and studs. A sample from Queen’s I Want to Break Free rang out over the soundtrack: [It’s about] freedom of design, freedom of thinking [and] freedom of being,’ she concluded. JM

At Wooyoungmi, Madame Woo conjures icy South Korean winters

‘South Korean winters are cold,’ said Madame Woo as a preface to her A/W 2026 collection for Wooyoungmi, conjured in the Paris showspace with a faux-fur runway evocative of a fresh layer of powdered snow. The designer said she had been thinking about winters past, both in her native Korea and beyond: here, Edwardian double-breasted tailcoats were edged with astrakhan (or, at least, an illusory faux fur version), as were waistcoats, while more contemporary iterations of cold-weather attire – from faux-fur lined puffer jackets and elongated windbreakers – provided a counterpoint (such juxtapositions between modernity and tradition are found throughout Madame Woo’s work). Meanwhile playful flourishes came in the enormous beanie hats that teetered on models’ heads, oversized furry gloves, and a colourful clash of fairisle knits. JM