Following the Autumn-Winter 2026-2027 menswear collections, it is now Haute Couture Week’s turn to keep us on the edge of our seats. In a Paris already worn out, the shows will run from Monday 26 to Thursday 29 January 2026 to present the Spring-Summer 2026 bespoke collections. From Georges Hobeika to Schiaparelli, via Zuhair Murad, here is our daily round-up of the silhouettes that made the biggest impression on us this season.
The standout Haute Couture silhouettes of Spring-Summer 2026
Day 1 – Monday 26 January:
The Georges Hobeika show
On this first day of Haute Couture Week, as it is known, the Lebanese brand Georges Hobeika invites us to spread the love… On our seats, an enigmatic sign read: “Why did you create me? So that you might love. Why must I love? So that you might understand”. The message was clear: emotion was in store for us inside the American Cathedral in Paris.
In their collection, the father-and-son duo of creative directors Georges and Jad Hobeika thus echo everything that it means to be human: to feel, to love, to share, to cherish. These different states of love flow through the silhouettes via meticulous embroidery, revealing at times flowers, at times abstract, almost celestial forms. They are also recognisable by the colour palette which, as usual, evolves as the minutes pass: white, beige, gold, then more joyful and expressive shades such as yellow, pink, or even purple.
When we look at the entire collection by Georges Hobeika, a guest member of the Chambre Syndicale de la Haute Couture since 2017, one silhouette in particular leaves us spellbound. And yet it is not the most romantic. Quite the contrary.
In our own interpretation, look no. 42 expresses another facet of love: that of a gilded cage. From the outside, it appears ideal but is in reality suffocating. This idea is perfectly captured in the dress, which is both flawless and constrained by its golden bars—elements that lend structure to the ensemble yet, at the same time, imprison the wearer. A particular vision of love, which is unfortunately part of many people’s lives, yet remains underrepresented and misunderstood.
The Schiaparelli show
Whilst on a creative retreat near Rome, Daniel Roseberry, Schiaparelli’s creative director, was inspired during a visit to the Sistine Chapel. It was there, as he explains, that the central theme of this Spring-Summer 2026 haute couture collection came to him, whilst he spent hours contemplating its iconic frescoed ceiling, Michelangelo’s The Last Judgement. On Monday 26 January, at the opening, he unveiled it to a panel of celebrities, including Carla Bruni, Demi Moore and Teyana Taylor.
Based on his interpretation of this sacred site, the foundation of this new line, Roseberry starts from a clear principle: Michelangelo does not narrate, he evokes emotion. So, this spring, the American designer does the same by depicting, on his own ceiling, the Schiaparelli muses. Before our watchful eyes, they reveal themselves as reptilian, avian, abyssal and arachnid creatures. True chimeras that take up space and command volume, become venomous with sharp fangs, adorn themselves with beaks and feathers, or even cover their entire bodies in spikes.
In this very Schiaparelli-esque harmony, one silhouette stands out: look no. 9. On the catwalk, it instantly brought to mind the figure of Medea, renowned in Greek mythology as the mistress of poisons and daughter of Hecate. With its organza scorpion tail, its striking high collar and other meticulously embroidered details, the piece is undoubtedly one of our favourites of the week…
The Dior show
A cabinet of curiosities filled with artefacts and wonders of nature… This is what Dior announced ahead of the debut of its new creative director, Jonathan Anderson, at the brand’s Haute Couture studio. For this brand-new masterstroke, the Irish designer has clearly drawn inspiration from Mother Nature and her wonders.
For Spring/Summer 2026, as you’ll have gathered: flowers, and more flowers. We could easily have muttered, “Florals? For spring? Groundbreaking.” But we didn’t have time, as our breath was taken away. The first looks are more subdued, revealing pleated balloon dresses, yet executed with great finesse. Then, things really take off and we find ourselves in a sort of garden of wonders where flowers come to life like wild goddesses. Carnations cover dresses entirely, green pods spill out from skirts and rhubarb leaves are worn like a sceptre (a big nod to Loewe).
Under the Dior greenhouse, a haute couture piece makes us see life through rose-tinted glasses: look no. 33. It is built around an ultra-sculptural XXL bustier that gives the impression of a bouquet, enhanced by a few forgotten herbs, tied around the bust. Below, the dress falls naturally, almost floating, in an ivory shade that allows the top to express itself unhindered. A very couture result, which brings us back to the very beauty of the nature that surrounds us.
The Tony Ward fashion show
For the Spring-Summer 2026 season, Tony Ward has chosen a raw material unlike any other: light. At the heart of the Gallery of Geology and Mineralogy, the Lebanese designer explores the idea of diffraction and transformation through some 58 couture silhouettes.
In the collection, he echoes this by covering his dresses in crystals, stones and ‘faceted glass’ effects. Further on, the looks, in a way, reshape the body to the rhythm of the reflections, using iridescent fabrics. The colour palette also follows this intention: shades of gold, silver, blue, yellow, pink and even violet.
The silhouette that best represents Tony Ward’s celestial inspiration is, in our view, No. 22. With its corset of golden threads forming a mosaic, its shimmering cape draping over the shoulders, and its skirt with holographic reflections, the piece becomes the perfect candidate for the ‘sun-coloured dress’ from Jacques Demy’s feature film Peau d’Âne, designed by costume designer Jacqueline Moreau…
The Tamara Ralph show
Much like her colleague Tony Ward, Australian designer Tamara Ralph has created a collection that plays with light and the precision of couture craftsmanship. For her eponymous label, she continues to refine her art through silhouettes with an almost architectural construction, where the pleats evoke origami and every movement is carefully considered, never left to chance.
Light, as mentioned, runs through the pieces like a common thread: pearlescent sheen, soft golds, metallic embroidery, and so on, without ever veering into excess. The show also unveiled Tamara Ralph’s first collaboration with T Henri, a bespoke eyewear house. An exclusive capsule collection presented on the catwalk, due to be available shortly.
In the designer’s couture world, at least for this season, one silhouette particularly stands out: look no. 3. This features a bustier adorned with embroidered gold beads, a sculptural mermaid silhouette and a white feather headpiece mysteriously concealing the face.
Day 2 – Tuesday 27 January:
The Giorgio Armani Privé show
On this second day of Haute Couture Week, Giorgio Armani Privé unveiled its bespoke vision for Spring/Summer 2026. For the brand’s collection following the passing of its founder, his niece Silvana has taken the reins, unveiling ‘Jade’ at the Palazzo Armani, with all the emotion one would expect.
In detail, the line proved to be quite understated, featuring suits playing with transparency, flowing or draped dresses, and tops featuring meshwork or drapery. What really stands out, in fact, is the sea of greens running through the entire collection, which creates a sense of calm and balance. As for accessories, the slim, understated glasses added a little twist to certain looks that were too classic.
The collection was shorter than usual, allowing us to really linger over each piece, and naturally concluded with the traditional wedding dress… A quiet yet ultimately powerful tribute to Giorgio, whilst allowing Silvana’s personal touch to shine through for Giorgio Armani Privé.
The look that made the biggest impression on us during this show was this strapless dress: a perfect embodiment, in our view, of the essence of ‘Jade’. The perfect balance between an embroidered strapless top that subtly reveals the décolletage and a chiffon skirt that floats lightly, concealing the lower half of the body. The embroidery here creates a ‘stream of light’ effect, evoking illuminated jade. This piece could also be seen as reflecting a moment of transition within the house: Giorgio’s timeless elegance combined with Silvana’s fresh perspective.
The Roger Vivier presentation
Far from a typical silhouette, yet very close to Haute Couture. At its new address, the Roger Vivier house invites us to take a break during this Fashion Week to discover Atelier Animalier, its Pièce Unique collection. But what exactly is a Pièce Unique? Just like the clothes, the bags are also made to measure at Vivier, under the guidance of its artistic director, Gherardo Felloni.
Each season, he therefore presents a range of completely unique bags – as you will have gathered – which are undeniably works of art. For the Spring-Summer 2026 collection, the Italian designer draws inspiration from animal prints, one of Roger Vivier’s founding codes. On an immersive journey through the heart of the Atelier Vivier, we discover each of the eleven Efflorescence Jewel bags.
A true signature of the house, each piece becomes a canvas for experimentation, enhanced by feathers, exceptional embroidery, crystals and other hand-painted surfaces. Entirely handcrafted, these creations celebrate exceptional craftsmanship and a vision of luxury untethered from the seasons, where Roger Vivier’s heritage continues to express itself through the present.
For our part, we’ve fallen for the ‘ Zèbre Bonbon ’ bag, whose soft palette of pink and white offers a luminous, fresh and serene take on animal print. The circular sequins edging the bag, echoing a pair of heels designed by Roger Vivier in 1964, add a sparkling, joyful movement, lending the piece a fairy-tale air, full of delicacy and poetry. We can’t help but agree!
The Chanel show
Just as with Jonathan Anderson at Dior, this season marked Mathieu Blazy’s haute couture debut at Chanel. With a theme more or less similar to that of his Irish counterpart, the Franco-Belgian designer set his show against a very natural backdrop, another version of the garden of wonders. Here, however, it is not flowers that dominate, but mushrooms!
The first look sets the tone: a suit comprising a mid-length skirt, a blouse and a slim-fit blazer, all crafted from sheer fabric, revealing what lies beneath. Could the lingerie trend also apply to bespoke tailoring? Clearly so, if Mathieu Blazy is to be believed.
Further on in the collection, the designer seems to move further away from the house’s codes to present his own take on Chanel: more expressive, more dreamy (at times), and decidedly more couture. We see a translucent dress with mushroom embroidery, a graphic tweed ensemble, a textured yellow and black print, a knitted dress featuring a feather skirt, another with a myriad of textures, and so on.
Taking a step back from his Spring-Summer 2026 collection, it was incredibly difficult to choose just one look from the 54. In the end, we settled on No. 33 and its spectacular appeal. The volume around the head, crafted from feathers, forms a sort of organic ruffle that complements the collection’s overall aesthetic. Moreover, it offers a far more fantastical take on the world of Chanel than usual, and that is precisely what makes it so addictive today.
The Yanina Couture show
It is a Yanina Couture quite unlike any other that we discover on Tuesday 27 January at the Pavillon Cambon Capucines. For the Spring-Summer 2026 season, its designer, Yulia Yanina, retraces the legendary story of the young Gabrielle Chanel: from the orphanage, marked by silence and solitude, to the blossoming of a woman who invented her own luxury rather than inheriting it, as many did.
Through its silhouettes, the Russian label thus depicts an inner rebirth, in memory of the fashion icon. First and foremost, strict, more austere lines, oscillating between black and white, in reference to the Abbey of Aubazine, in Corrèze, where Coco Chanel stayed for several years during her childhood. Then, little by little, an awakening takes place: an assertion of self, a femininity that regains the upper hand, with more expressive pieces, tinged with ivory, beige and gold.
Among our favourite looks, we particularly note look no. 20. In our view, this look perfectly embodies the House’s artistry: its speciality in embroidery. On this silhouette, Yulia Yanina celebrates the ear of wheat as a talisman of luck, strength and growth. Just like the star that guided Gabrielle Chanel through her troubled childhood, the wheat here takes over the black sheath dress, moving it away from the classic and elevating it to a couture finish.
Day 3 – Wednesday 28 January:
The Robert Wun show
For our part, we could have bid farewell to Haute Couture Week at the Robert Wun show, such was its memorability. For, after all, why carry on when perfection has already been achieved? Through his fourth Haute Couture collection, ‘Valour’, the Hong Kong-born designer continues his ‘dark romance’ DNA and even takes it to the extreme.
For Spring/Summer 2026, Robert Wun presents his bespoke line as a narrative in three chapters. First, Library explores the birth of ideas and research, with misty silhouettes ranging from black to white. The second part, Luxury, illustrates desire and its cravings: velvet, romantic red, sheer fabrics, rhinestone masks and epaulettes take centre stage. The final chapter, Valour, takes its name from the collection and explores the notion of courage with bold and sophisticated pieces.
Among the 25 silhouettes—exactly the number required to meet Haute Couture label regulations—look no. 24 leaves one utterly spellbound. The penultimate look makes a powerful statement: a gold mask, a piqué collar and a coat that envelops the petticoat. Almost like a statue, the model dominates the collection and will leave an indelible mark on Robert Wun’s style and archives for years to come.
The Zuhair Murad show
Among the family of Lebanese designers who transcend Haute Couture, we call on Zuhair Murad… On Wednesday 28 January, a few hours after his colleague Elie Saab, the 54-year-old couturier unveiled his new Spring-Summer 2026 collection. Within the walls of the Palais de Tokyo, alongside a gigantic chandelier installed there, the silhouettes underwent “a silent renaissance, born after the dark ages, when art asserts itself as a necessity”, states a press release.
Upon the shoulders of his muses, Zuhair Murad places the memory of collapsed worlds and the promise of those yet to be rebuilt. He draws inspiration from past renaissances, such as the Italian Renaissance and the 1950s, plays with decades in his cuts, and also celebrates the splendour of human genius with a nod to his workshops. The collection features voluminous draping around the hips, tapered corsets inspired by the 1950s, sculpted waists, as well as blue or pink satin, intricate constructions, crystals scattered across the body, and embroidery that embellishes the fabrics to the point of turning them into works of art in their own right.
Of the 45 silhouettes in total, one in particular embodies for us this marriage of craftsmanship and memory: No. 14. This dress is a true architectural trompe-l’œil, as if Zuhair Murad had placed an Italian Baroque ceiling directly onto his model’s body.
The top, the least exciting part, consists of a ‘shell-shaped’ draped bustier in pale green satin. The skirt, however, is the heart of the piece, with its mermaid cut, its arabesque gilding and its motifs reminiscent of mouldings, frames and architectural symmetries, all creating a stunning three-dimensional effect. In short: not just a dress, but a setting in its own right, echoing history whilst also demonstrating the teams’ meticulous care, anchoring it in time.
The Juana Martín show
During Paris Haute Couture Week, Juana Martín unveils “Presagio”, a collection in which the Spanish horse becomes both muse and symbol. Each silhouette expresses power, movement and transformation, through volumes reminiscent of armour and lines inspired by the energy and majesty of the horse.
To bring this vision to life, the Spanish designer has surrounded herself with her trusted artisans and collaborators to blend tradition and modernity in her silhouettes. From Málaga de Moda to the Association of the Purebred Menorcan Horse, via Calzados Franjul and Loha Spain, every detail reinforces the narrative. With Presagio, Juana Martín also asserts her international presence by bringing an even stronger Andalusian touch.
It’s impossible to overlook this dress, look no. 16, so captivating is it with its grace and quiet presence. The lightness of the sheer tulle, the fluidity of the silhouette and its ruffles, and the delicacy of the silver embroidery on the corset create a subtle, intoxicating balance. It does not seek to be spectacular, but moves the viewer through its movement and the emotion it exudes on the catwalk.
The Viktor&Rolf show
On this third day of Haute Couture Week, the Amsterdam-based house Viktor&Rolf presented its Spring-Summer 2026 collection, ‘Diamond Kite’: a couture offering characterised by elevation and imagination.
Inspired by childhood memories and the symbolism of the kite, the designers present a vision of freedom that is both poetic and structured, where each silhouette seems to converse with the air. True to their taste for theatricality and technical prowess, they explore here the delicate balance between concept and execution, as well as between dream and structure.
Notably, there is an intriguing contrast between black, graphic and almost monumental silhouettes, and lighter elements crafted from coloured tulle and airy volumes. These deliberately spontaneous touches of colour infuse the collection with a sense of freshness and optimism. The show concluded with a suspended finale, a deliberate nod to the world of Kate Bush, leaving an impression of floating between heaven and earth. With Diamond Kite, Viktor&Rolf present a collection that is both demanding and emotional, where the rigour of the construction never prevents the imagination from taking flight.
Before moving on to the next show, how could we not mention the final look, the one that literally had us with our heads in the clouds? Suspended as if outside of time, this final apparition sent ripples through the room with its monumental kite-like form. An explosion of colour, enhanced by airy volumes and meticulously precise geometric construction, all creating a spectacular moment of couture that set the tone for the rest of the week…
The Elie Saab show
Every season, this is one of our most eagerly awaited haute couture shows… For the occasion, the Lebanese label Elie Saab whisked us away from the grey of Paris to a warm summer evening bathed in golden hues. For this enticing event, we rediscovered (and discovered) his silhouettes at the Cité de l’architecture et du patrimoine.
Once the violinists had taken their places and the first notes had sounded, the “Golden Summer Nights of ’71” show was able to begin. In a decidedly hedonistic vein, rare in the world of haute couture, we discovered looks inspired in turn by the jet set of the 1970s, as well as the barely concealed glamour of summer evenings. As if she were casting a spell on “artists and adventurers wherever she goes”, says the house, the Elie Saab woman appears in metallic knits embellished with crystals, feathered dresses evoking her wild side, but also sheer voiles that grant her total freedom.
Of what we’ve seen, silhouette no. 45 stands out in particular. Not so much for its cut or its sparkle, but for the craftsmanship it represents. Thousands, if not hundreds of thousands, of hand-embroidered beads which, when brought together, reveal a stunning surface reminiscent of sand. With the added touch of beaded fringes that bring movement, this look perfectly embodies the inspiration of warm summer evenings, from Milos to Marrakech, where the sun warms the sand before night falls. A promise kept: we were completely transported!
Day 4 – Thursday 29 January:
The Miss Sohee show
In a different style to Hobeika’s, Miss Sohee presents a collection for Spring/Summer 2026 centred on emotion. Following an opening led by the theatrical Canadian model Coco Rocha, the silhouettes continued in a gentle dance within the Shangri-La hotel.
Look after look, we discover the vision of the London-based house with its Korean heritage. For the season, its designer and creative director has created masterful dresses with regal sashes, shorter styles with flowing feathers, golden olive branches covering the chest, and even embroidery echoing the aesthetic of blue and white Chinese ceramics.
By far our favourite look: this multi-layered sheer tulle dress, punctuated by a few white feathers that add volume to the hem. It’s not the most elaborate look, we admit, but the layers concealing the intimate details, the simple yet dramatic effect and, above all, the elegant white peacock as an accessory, make the whole thing simply addictive. As if such lightness had been missing from our Haute Couture week.
The Rami Al Ali show
On this fourth and final day of Fashion Week, we wholeheartedly endorse Rami Al Ali’s “Fragments in Harmony”, where fracture is transformed into poetry. Inspired by Rumi, the collection speaks of repair and transformation, without ever veering into the literal. The silhouettes breathe, move with the body, fragment and then reassemble. We’re absolutely smitten with this work on movement, which brings couture to life. The contrasts are masterfully handled: clean lines softened by light layers, sheer fabrics and embroidery that bind the pieces together like precious stitches…
The luminous palette (ivory, powder pink, sage, delicate blue) soothes and uplifts, punctuated by golden and pearlescent accents that bring the whole ensemble to life. Special mention for the textile work: mosaic-style embroidery, floating organza and lace, and deliberately visible seams. Here, mending becomes a noble gesture. And what of the original music by Shora Karimi? It envelops the show and transforms it into a complete sensory experience!
In this final look, it was look no. 3 that struck us, almost instinctively: a silhouette that single-handedly embodies the idea of reassembled fragments. The golden bands wrap around the body like precious ties, creating a sensual structure. We love this play on asymmetry, the bare shoulder, the masterful cut-outs and this textured fabric that catches the light with every step. The movement is fluid and alive, and the dress seems to take shape as you walk. It is a statement look: powerful, feminine, resolutely couture…
Translated by Bethszabee Garner
