And Paris Fashion Week (PFW) is back in the spotlight. After Milan Fashion Week, marked by Dolce & Gabbana's much-discussed casting, Paris takes up the torch and unveils its vision for men's fashion for autumn-winter 2026-2027. From Tuesday 20 to Sunday 25 January, designers will take turns presenting their collections, from Jeanne Friot opening the show to Jacquemus closing it.
During this key week, when the eyes of professionals will not betray them, OniriQ will accompany you through the shows to decipher the silhouettes, trends and key colours that will shape the men's wardrobe of tomorrow. Here is our PFW Recap.
The key men's shows for autumn-winter 2026-2027
Day 1 – Tuesday 20 January: tartan, music and interiors
The Jeanne Friot show
What an opening! On Tuesday 20 January, as the PFW shuttle buses began to swarm around Paris, Jeanne Friot opened the Autumn-Winter 2026-2027 men's season with a promising venue: the Théâtre du Rond-Point in the 8th arrondissement. World-famous for designing the silver armour worn by the horsewoman at the 2024 Paris Olympic Games, the designer took over this venue, usually used for shows, to deliver a high-intensity fashion show.
The show opened with a particularly energetic dance performance, drawing its strength from the very title of the collection, Awake. On stage, while the dancers followed their choreography to the letter, several models emerged from the shadows to reveal the brand's new designs.
The common thread running through the collection? More or less the same as always (and that's precisely what we admire): a queer, militant, young, political DNA, with a confident touch of BDSM. Among the striking silhouettes, we particularly liked the T-shirts with the message ‘It's Never Too Late To Fight Fascism’ in several colours, the return of the Scottish kilt (for both women and men) as a symbol of rebellion, the omnipresent tartans, and the strapped and harnessed looks from head to toe.
In short, this was a show that communicated far beyond clothing, punctuated by a languid lesbian kiss on stage, which will continue to be talked about by the ignorant people that Jeanne Friot has been fighting since her launch in 2020.
The Études Studio show
While Jeanne Friot loudly proclaimed her commitments, Études Studio seems to have taken a different path: that of waves and vibrations. Presented at the IRCAM (Institut de Recherche et de Coordination Acoustique/Musique), the No.28 – Résonances collection was intended to be ‘a sensitive cartography, at the crossroads of eras and disciplines,’ according to a press release.
To the meditative notes of Canadian artist Jeremy Shaw, the silhouettes oscillated between the minimalist explorations inherited from John Cage and the emergence of Intelligent Dance Music in the 1990s. The result is a wardrobe inspired by the figure of the soundmaker, deliberately diverse: a touch of tailoring, bomber jackets with shirt collars and wide trousers, functional workwear details, and even touches of cowboy core with charms on trousers and loafers, as well as western hats with a decidedly modern twist.
We have to admit that with No.28 – Résonances, Études Studio offers a form of renewal that we like. Minimalism and monochrome take precedence, without erasing the artistic soul we know so well. The result is just right, masterful and convincing.
The Valette show
While some fashion houses seem to be sliding towards image and spectacle, Valette has chosen to return to craftsmanship and humanity. Presented at the Arab World Institute in Paris's 5th arrondissement, the autumn-winter 2026-2027 collection, Les Nouveaux Romantiques, explores a contemporary melancholy, where clothing regains its emotional and poetic dimension.
With structured silhouettes, the wardrobe oscillates between tailored wool, wool sheets and gauze, chevron denim, recycled leather and light veils. The volumes, meanwhile, are controlled. Sometimes softened, they let the material and the drape guide the form rather than the effect.
In terms of colours, white and powdery black, already present in the Spring/Summer 2026 collection, are joined by indigo blue, deep wine tones and luminous grey. However, a touch of novelty is added with electric blue, which brings a touch of vitality to the whole.
3D prints, embroidery on prints, and gouache and watercolour dyes, inspired by the make-up of David Bowie, Mick Jagger and the aesthetics of the 1980s, infuse rhythm and nuance without ever weighing down the interpretation of the garment.
Let's face it: with Les Nouveaux Romantiques, Valette has created a coherent and masterful collection that combines emotion, craftsmanship and modernity.
The Auralee show
No unnecessary showmanship here: soft shades, clean cuts and a wardrobe built to last. At a time when minimalism is emerging as a response to Loud Luxury, Auralee unveils its autumn-winter 2026-2027 men's collection at the Musée de l'Homme. Conceived as an almost poetic reflection on winter (too often associated with heaviness and darkness), the season is reinvented here with lightness, clarity and cosy comfort. A luminous vision that reminds us that the Japanese fashion house has never followed the minimalist trend, but has made it its own language since its foundation in 2015.
As you can see, this new line is no exception. With the Eiffel Tower as a backdrop, the silhouettes evoke a familiar wardrobe, as if borrowed from our elders. A reassuring feeling, in keeping with the idea of circularity that is dear to Auralee. Textured wool jumpers, supple leather jackets with a patina finish, straight-leg jeans and trousers, lightly coloured pea coats, discreet tailoring and total grey looks playing on materials: an everyday wardrobe, designed to be lived in rather than noticed.
The volumes are airy. Quilted leather jackets and sculpted jackets in ultra-supple calfskin seem to float over the body, while knits in ‘nep’ yarns, tweeds and herringbone wools add texture and depth. Layering appears in touches, in a controlled but highly adaptable way.
Where the surprise lies is in the colour palette. While soft beiges and pale blues lay the foundations for a calm winter, stronger bursts of colour disrupt the whole: bright blues, luminous yellows, bold reds and even purples. Just enough to inject joy and awaken the season, without ever breaking the subtle balance that defines the Japanese label's DNA.
The Louis Vuitton show
The highlight of the first day was the highly anticipated Louis Vuitton fashion show by Pharrell Williams. For the occasion, the Jardin d'Acclimatation, a stone's throw from the Louis Vuitton Foundation, was given a complete makeover with a lush garden and, above all, a huge wooden box: the DROPHAUS, created in collaboration with the Japanese studio Not A Hotel. It was a manifesto of a timeless art of living, intended to represent the designer's dandyish abode. Focused as much on heritage as on its extension and future in terms of lifestyle, the latter imposes the same rigour on fashion, because ‘the future is defined as much by what endures as by what evolves’, as the press release states.
In his collection, the American artist in charge of Studio Homme envisions the futuristic wardrobe not as an abstract concept, but as an essential necessity. This idea of Timeless Textiles can be found in classic tailoring that spans generations (houndstooth, herringbone, checks), innovative materials with thermo-adaptive textiles and chambray jackets, as well as other enduring classics that have been updated with aluminium-based textiles.
In the end, there are only 24 silhouettes awaiting us for autumn-winter 2026-2027. This is a very low number compared to Williams' previous proposals. Perhaps this is a sign that fashion has finally understood: a meaningful future is one where the wardrobe is limited, well thought out and sustainable.
Day 2 – Wednesday 21 January: non-conformists, culture and nerds
The Ami show
While fashion is increasingly focused on spectacle and theatricality, Ami has opted for the simplicity of everyday life as we know it. For autumn-winter 2026-2027, Alexandre Mattiussi, its artistic director, celebrates a lived-in, almost instinctive elegance, where clothing accompanies movement in the most beautiful way possible. Here, style is an attitude, that of a real, free and changing Paris. Just the way we like it, after all.
On the catwalk, the silhouettes seem familiar. Somewhere between preppy, the stereotypical nerd, or even the in-between of the office and after-work. The wardrobe is built around essential pieces: wool coats, soft blazers, striped shirts, knitted jumpers, plain ties, straight-leg denim. All in spontaneous, natural combinations.
It's an image that is surprisingly less polished than usual. Because yes, away from the catwalk, clothes crease and slip out of place. They live. In terms of colour palette, the collection favours sober, deep tones, rooted in timeless elegance, designed to last and be layered. The whole collection reinforces this impression of a timeless wardrobe, made to be worn, worn out and reinterpreted over time.
The Kenzo collection
Although it is not a fashion show, how can we not mention the Kenzo presentation, designed as a sensory immersion rather than a spectacular demonstration. In the Bastille district of Paris, in Kenzo Takada's former residence, Nigo stages a true return to the origins of his work and the brand itself.
From room to room, we discover a journey through art, literature, inspirations, drawings, fashion and even technology (with a digital interface allowing us to display the look of our choice). For this beautifully presented collection, the artistic director returns to the codes and emblematic silhouettes that marked his debut at Kenzo.
Autumn-Winter 2026-2027 is revealed in detail: silhouettes inspired by kimonos and European tailoring, plays on colours and patterns, cross-references to Americana, Japan and Paris. Far from the imposed rhythm of the catwalk, the presentation allows the clothes to be appreciated as living objects, made to be worn, touched and inhabited, emphasising the idea of ‘home’ that is so dear to the collection, understood as a mental and cultural space faithful to Kenzo's free, joyful and mixed spirit.
The Dior show
On this second day of Fashion Week, Jonathan Anderson continues his interplay between history and opulence at Dior with his latest show in Paris. The brand's young fans stroll around like modern aristocrats with spiky yellow hair, embroidered epaulettes and eclectic looks. The style mixes formal codes, references to Paul Poiret, denim and even parkas for a look that almost breaks with their social status.
The tailoring remains precise nonetheless: elongated jackets, slim blazers, tailcoats and Bar jackets are paired with fitted trousers and lavallière shirts. It is as if there were a certain dress code to be respected alongside the rebellion. Outdoor wear takes on a theatrical quality, with bomber jackets fused with brocade capes and enveloping coats, joyfully blurring the boundaries between masculine and feminine. Tweeds, shimmering velvets, luminous jacquards and sparkling embroidery further construct this sensory narrative where old and new meet with spontaneity.
While summer 2026 already revealed light and elegant strolls, this season asserts a stronger boldness: theatricality, unexpected combinations and joyful luxury that create a wardrobe that is both serious and playful. We have to admit it: Dior is having fun and it's a pleasure to see...
Day 3 – Thursday 22 January: old Hollywood, new designs and formalwear
The Amiri show
The Amiri show is always eagerly awaited during Men's Fashion Week. For this autumn-winter show, its Californian founder and creative director reinforced his signature theme: the Golden Age of Hollywood and the counterculture of the 1970s.
In a library setting, with comfortable leather armchairs, the first silhouettes appear: perfectly tailored suits, rhinestone embroidery, looks for wealthy and stylish students, cardigans for the more erudite, leather for those on the fringes, and so on. The whole thing is a reminder that tailoring should look effortless, personal, never too ‘suit-like’.
As in the last two seasons, we also see the Amiri woman. A strong presence, equal to the man, if not more powerful. For this season, she continues in the same vein with androgynous tailoring, rhinestone dresses and a touch of nudity here and there.
Although everything is, as usual, breathtaking and very well executed, there is one thing that could be criticised about the collection: it is perhaps a little too similar to previous ones. We look forward to the next one!
The IM MEN show
It is a very different IM MEN that we see on Thursday 22 January during Paris Fashion Week. For the autumn-winter 2026-2027 season, Issey Miyake's menswear label unveiled a collection marked by a stronger casual style than usual.
Of course, the Japanese DNA and references are still there, particularly in the traditional weaves and other forms of variable geometry fabrics. But we are seeing a line that is much more suited to its customers around the world. It is both Japanese and globalised. To name just a few examples: coats are quilted, suits are tone-on-tone, and trench coats are XXL and ruffled. Even the classic and oh-so-important tie is given a new twist.
The colour palette is also noteworthy. The show begins with mostly black pieces, until cheerfulness joins the party. From there, we marvel at shades of yellow and blue, shades of pink, several iterations of white and beige, as well as other shades reminiscent of twilight. In short, this is a collection that makes sense, as Miyake Design Studio's line is firmly rooted in the world.
The Drôle de Monsieur show
Presented in a kitsch and theatrical setting decorated with giant flamingos, Drôle de Monsieur brings excitement to the men's wardrobe with its SIN CITY show. Clean lines, oversized coats, masterful layering... each piece exudes the relaxed elegance and assertive style of old Hollywood. The materials – structured wool, velvet, glossy leathers, tweeds and technical denim – complement each other with precision and personality. We love it!
The palette plays on a rich array of warm tones: chocolate brown, camel, beige and ecru sit alongside deep black, light grey, burgundy, intense purple and olive green. Touches of bright red, coral, cobalt blue and graphic prints (vintage logos, geometric patterns) energise the collection, while Prince of Wales checks and textural details add rhythm to the silhouettes without weighing them down. A real favourite.
With this show, Drôle de Monsieur captures the excess and spectacle of Vegas, with its crocodile-effect briefcases and canes for a dandy look, while reinterpreting them with a retro-chic and resolutely contemporary touch. From preppy wardrobes with seventies influences to structured tailoring and streetwear pieces, each look tells a story of playful nostalgia and relaxed sophistication.
The System show
At System, the clothing always seems slightly out of place, and this is precisely where the autumn-winter 2026 show finds its strength. Presented at the Conservatoire National des Arts et Métiers, the brand's autumn-winter 2026 menswear collection plays with the idea of disrupted classicism, where nothing is ever quite in its place.
On the catwalk, the tailoring is sharp but deliberately contrarian: slightly misplaced shoulders, imprecise lengths, layers superimposed as if worn on reflex. Strict coats cover more sporty outfits, preppy jumpers crumple under misshapen collars, and certain details are only revealed in motion.
Our favourite, without a doubt: the autumn line of bags featuring a crocodile effect in several shades of suede (brown, yellow, black, and so on).
The Yoke show
On this third day of Fashion Week, Yoke made its Paris debut with a runway show. For the occasion, Japanese designer Norio Terada transported us to an immaculate universe inside La Gaîté Lyrique.
Inside, the label unveiled its autumn-winter 2026–2027 collection, inspired by the work of Jean Arp, where plastic reflection guides every decision. Terada affirms a sensitive approach to clothing, designed as an extension of everyday life, capable of translating an intimate relationship between artistic creation and real use.
The line is based on precise work on volumes and construction. The deliberately compact silhouettes are distinguished by soft lines and unexpected curves, inherited from careful observation of natural forms.
The coats and trench coats appear quite classic but are transformed by touches of internal devices that modify their structure and wear. The surface treatments, particularly on the Glen Check checks, even upset the balance between order and irregularity, making us want to add the pieces to our everyday wardrobe.
All we can say is that we can't wait to follow the Japanese designer's next steps in his European positioning during the upcoming Fashion Weeks.
Day 4 – Friday 23 January: bikers, Alien and getting to the point
The Officine Générale show
Getting to the point is a rare thing in the fashion world. Too often, collections stray from their central message, seeking to convince more than is reasonable. At Officine Générale, founder and artistic director Pierre Mahéo wants to return to the fundamentals, and he does so in his latest collection.
Certainly due to the complex period we are going through, as he questions himself, the designer is redefining the limits of his wardrobe. To do so, he invites us, this Friday, 24 January, to a school, back to the classroom: as if to teach us his basic lesson in style.
The collection reveals simpler volumes and cleaner lines than the previous season. In particular, there are classic-cut shirts, trousers that fall to the centimetre, straight coats in fine materials, and scarves and shawls that accessorise without weighing down the look. These are pieces that can be twisted and adapted to any occasion. The wardrobe that everyone should have at home.
The colour palette is also very minimalist: cool brown, beige, light blue, grey and white. An autumnal accent that brings a feeling of confidence and gentle warmth. A cohesive collection focused on quality and durability, confirming the brand's mantra: don't just produce for the catwalk, produce intelligently, without being old-fashioned.
The LGN Louis Gabriel Nouchi fashion show
For autumn-winter 2026-2027, designer Louis Gabriel Nouchi tackles a pillar of science fiction and horror: Ridley Scott's 1979 film Alien.
With the tagline from the first film, ‘In space, no one can hear you scream,’ as his guiding principle, he takes us into a dark universe that has fascinated him since his teenage years.
In his collection, LGN explores ‘the constant tension between fear and desire, anxiety and sensuality, violence and eroticism,’ as he puts it. And, in particular, through accessories.
As such, the ready-to-wear collection remains predominantly composed of oversized suits with shoulder pads. We note the presence of fur collars, half-naked silhouettes with OnlyFans flocking on the buttocks, jumpsuits verging on outerwear, and the omnipresence of the belly (as a place of birth and emotion), with tightened, draped or pleated waists. As you will have understood, what interests us most are the pieces that accessorise a look and extend it.
Inspired by the feature film, the designer presents facehugger braids that devour the face, bags shaped like the beast, hoods that deprive the wearer of their identity, and Bunny Boots that give them massive feet. A whole world of fear and desirability.
The Juun.J show
One of our favourites of the season? Absolutely. On Friday 23 January, just as Fashion Week was beginning to wear us out, South Korean brand Juun.J managed to get us jumping with its show.
Produced in close collaboration with Alpinestars (a brand specialising in automotive and motorcycle clothing), the show served up a hybrid look that we can't wait to wear: tailoring meets the world of motorcycling... What more could we ask for?
Silhouette after silhouette, the styling intensifies. First, suits with biker gloves, then, without us even noticing, we swap our pleated trousers for hard-wearing leather trousers, paired with a blazer or long coat.
Our favourites include crocodile-effect boots, the mix of denim and leather, reinforced bomber jackets, volumes that follow the road like bends, XXL windscreen-style glasses and matching outfits. A 10/10.
Day 5 – Saturday 22 January: cold winter and smart fashion
The Kolor show
On Saturday 22 January, Kolor takes us far from Paris to a cold winter sea. Violent, unstable, with perpetual waves... Very reassuring! Fortunately for us, the brand's silhouettes are more than ready.
The collection is built around materials that carry ‘the weight of time’, as the press release states. This means that artistic director Taro Horiuchi has created tailoring with a dry, weathered feel, heavily creased shirts, deliberately misaligned buttons, worn canvas and frayed knitwear. It's as if the fabric itself is slowly unravelling under the conditions it is exposed to.
As the silhouettes unfold, we feel this sense of fear and endurance more and more. But we also end up loving it, almost in spite of ourselves. Necklaces clack together like calls, quilted bags are worn like packs or buoys, aluminium towels are pressed onto trousers, fabrics tear, and so on. The sea, the passing of time and the infinite movement of the waves set the pace for this autumn-winter... and almost make us want to fall too.
Day 6 – Sunday 25 January: farewells and palm trees...
The Jacquemus show
To close this week of Men's Fashion Week, Jacquemus chose to present its ‘Le Palmier’ collection at the Musée National Picasso in Paris. A highly symbolic location for the fashion house, which reconnects here with its Parisian and artistic roots. In this solemn setting, Simon Porte Jacquemus orchestrates a show that is both intimate and narrative, conceived as a return to its roots as well as a declaration of creative independence.
Inspired by his daughter's ponytail palm tree, the designer explores childhood memories and a certain French popular imagery from the 80s and 90s in his new collection. Le Palmier plays on a dialogue of nostalgia and sophistication, mixing bourgeoisie, retro silhouettes and humour. The title evokes both an iconic hairstyle from our childhood and an attitude to adopt in order to take things with a pinch of salt.
The silhouettes are distinguished by sculptural volumes and precise cuts: rounded shoulders, defined waists, tulip skirts, structured coats and revisited tuxedos. The materials: taffeta and silk jersey leather add depth, while the details (embroidery, feathers, pearls and polka dots) highlight the brand's couture expertise and eccentricity. Men and women interact in a coherent, sensual and unostentatious wardrobe.
More than just a fashion show, Le Palmier establishes itself as the continuation of a new direction for the label, one of more couture, more refined fashion. Jacquemus affirms an emotional, personal and legible line. A Fashion Week finale full of restraint and accuracy, confirming the designer's maturity and uniqueness: telling stories with clothes.
The Hermès show
The autumn-winter 2026-2027 season has not been the same for everyone... While some designers are continuing their art within their respective labels, one in particular is bowing out: Véronique Nichanian. After more than 37 years at the helm of Hermès' menswear collections (the longest tenure ever recorded for an artistic director), the 71-year-old designer unveiled her latest collection under the aegis of the ‘Duc attelé, groom à l'attente’ (the house's logo).
In this line, Nichanian is resolutely seeking neither a break with her departure nor the fanfare of an overly theatrical farewell. On the contrary, she pushes the elegance for which she is praised to the point of making her looks feel close, almost familiar. Perhaps this is her way of showing us that her era and her style will live on in the codes of Hermès. At least, that is her wish.
But what does it matter, after all? What counts is that she is following through on her commitment to the end. The silhouettes are structured around enveloping coats, precise jackets and trousers with clean lines. The volumes allow room for movement without ever losing their shape. Leather, the house's essential signature, structures certain pieces, while wool and knitwear provide warmth and flexibility. Every detail seems to respond to a real use, to an attention paid to the person who will wear the garment. In short: a well-thought-out wardrobe.
In this deliberately muted ensemble, colour is used sparingly. A brighter blue, a muted red and a deep green punctuate certain silhouettes, enlivening the fabric and emphasising a line, a shoulder or a collar. These measured bursts of colour break up the continuity of the dark tones and remind us that elegance can also be found in nuance and restraint. We love it.
More than fashion, the Hermès man is talking about presence here, as it's time to say goodbye. Clothes that keep you warm, that reassure you, that last. A deeply human proposition, rooted in reality, where luxury is discreet and sincere. Bravo!
Article written by Tom Kuntz and Lohanne Mollo
Translated by Bethszabee Garner
