PARIS FASHION WEEK MENSWEAR FALL/WINTER 2026: DAY 4
JUNYA WATANABE
review by FIONA FROMMELT
all images courtesy of JUNYA WATANABE
What makes the best-dressed people in the room so incredibly sad? This was the haunting question at the center of Junya Watanabe’s latest showing. Set in the dim, atmospheric glow of a gloomy jazz bar, the collection featured models pulling long faces despite being draped in absolute sartorial excellence. Watanabe used this backdrop to revisit his own storied history, engaging in a dialogue with his archives by referencing and reworking iconic motifs from his past design decade. featuring AW11, AW12, and AW13, AW16 and AW20 collections. The addition of vintage-inspired hats anchored the look in a bygone era, prompting a poignant reflection on whether we are collectively mourning or missing the past.
The technical execution was a masterclass in hybrid construction, where Watanabe’s signature patchwork once again relished in complexity. Parkas were seamlessly built into Chesterfield coats, and leather jackets were fused into traditional wool tailoring, blurring the lines between utilitarian outerwear and formal elegance. The color palette remained largely muted and cerebral, dominated by greys and earthy tones, but was punctuated by (two) sharp highs of red, some deep velvet greens and one jean adorned with patches of floral and tartan fabrics. The collaboration with Stüssy introduced light beiges into the mix, grounding the avant-garde structures with a touch of streetwear and preppy heritage. Watanabe proved once again that his ability to mix disparate worlds remains unmatched, even if the mood remains beautifully melancholic.
JUUN.J
review by FIONA FROMMELT
all images courtesy of JUUN.J
What makes a suit modern? It is a question Jung Wook-Jun seems to answer. For FW26, Juun.J delivered a masterclass in "Newstalgia," surgically reconstructing the past to create a vision of the future that feels both cinematic, aggressive and ultimately strong. By fusing the sharp power shoulders of the 80s with avant-garde silhouettes, the designer proved that "bigger is better" is more than a motto.
The runway was a high-octane collision of textures, featuring cropped leather aviator bombers and jackets with massive fur collars, all styled with oversized aviator sunglasses that leaned into a moody, industrial aesthetic. This moto-inspired edge carried through into leather-on-leather pairings and sleek one-pieces, balanced by the dramatic volume of wide-leg jean bottoms, and dramatically draped tartan skirts. Juun.J showed us exactly how extravagant a monochromatic "one-look" fit can be, especially when topped with the collection's signature towering and slanted hats.
As the show progressed, the cool tones of leather gave way to a softer, more romantic drama. The designer leaned into a 70s revival, utilizing ruffled blouses and cascading shirts that occasionally evolved into full-blown dresses. It was an exercise in expert draping, mixing denim-on-denim with disco-inspired glitz, moody florals, and plush velours. Ultimately, Juun.J has reinvented the familiar; the past has been stripped down and rebuilt, and the future showcased on this runway is something we look both, back and forward to with delight.
WILLY CHAVARRIA
review by VERONICA TLAPANCO SZABÓ
all images courtesy of WILLY CHAVARRIA
Eterno indeed, Willy Chavarria is building his legacy right before our eyes and we already see it stretching far into the future. Hearts were pumping as an exceptionally large crowd gathered, courtesy of Lyas, who went fully meta this season, by reaching beyond the screen and bringing over 400 people from his watch party along as a plus one. From planning to production, from execution to design, the entire show was a masterclass in fashion as entertainment, the scale is truly unprecedented in fashion.
To set the scene for you it’s the Dojo de Paris but it’s not really, it’s been decked out to be a New York City, street level, corner apartment. Beyond it lies an intersection, a telephone booth and a convertible Cadillac. That oh so familiar sound opens the show, heads whip around as the notification tone from that infamous yellow face mask app fills the room. Silence. In walks a blonde in red heels. Mon Laferte, opening with a ballad, Femme Fatale, belting out lyrics that not so subtly allude to her temerarious disposition. Lunay who plays her assumingly unfaithful or absent minded lover gets ready and steps out on the crisscrossed stage. From there on, there is not a single dull moment, musical performance follows musical performance, Mahmood and his backup dancers flooding the space, Lil Mr. E, the boy band Santos Bravos (look out for their fans in the comment sections), Feid and Latin Mafia who are all friends of Willy Chavarria.
Julia Fox makes a cameo too, strutting, reapplying her red lip mid-throttle! Hot guys seem to be pouring in from left and right as the West Side Story meets David Lynch-esque drama continues to unfurl on two giant screens festival style. In this collection Chavarria’s ambition extended to the clothes as well, ready to meet every need possible from tailoring, furs, leathers, streetwear which can reach you just as fast as they wander through with a see-now, buy now system. Whether it's the chicest of ladies, faces shaded by slanted sunhats, or the Adidas collaboration ahead of the World Cup with the Mexican federation that you fancy, it all coexists arrestingly in this narrative. Coming to a halt while a street fight erupts, the tempo accelerates, a gun is pulled, she fires, everything freezes as the lights strobe and for a second it feels like the world is holding its breath.
Every model who has walked returns to the stage and suddenly it all plays like the end credits of a film, because that is exactly what it was, a living, breathing, dancing, singing, fashion film. Although the clothes may have stepped back from the spotlight, they still remained the emotional backbone of Eterno and we can only hope to see more of this Chavarria-esque mirage. Against the backdrop of what is happening in the US, this particular show captured so much hope and brought joy to so many, celebrating Latin American culture in a way that feels necessary. What Willy Chavarria wants to make clear is we must reignite our ability to care for one another, no matter which walk of life brought you to this crossroads because we are all in this together. So please be good to your brothers and sisters and vivan los Latinos.
ISABEL MARANT
review by MARIE-PAULINE CESARI
all images courtesy of ISABEL MARANT
For Fall–Winter 2026, Isabel Marant delivers a menswear collection that feels effortless and easy to wear. Indigo blue leads the season, layered through denim and washed fabrics, while sand and khaki tones bring warmth and balance to the palette.
The overall mood is vintage-inspired, with a relaxed 90s attitude that feels natural rather than nostalgic.
This collection is clearly made for all men. The silhouettes are simple, familiar, and inclusive — everyone can find themselves in these looks, from everyday denim to relaxed tailoring. Nothing feels overstyled; everything feels lived-in and real. Accessories play an important role this season, with a strong focus on bags and belts that elevate even the most minimal outfits. It’s a confident, timeless collection that stays true to Isabel Marant’s effortless signature style.
COMME DES GARÇONS HOMME PLUS
review by NIA TOPALOVA
all images courtesy of COMME DES GARÇONS HOMME PLUS
It appears we’re confronted with a tendency this season, and it is one of a certain apocalyptic state of being in a world that will not yield. Thematically, Comme des Garçons presented BLACK HOLE.
Last season, a riot of ribbon and flower-shaped childlike hair clips cluttered models’ heads; This season, the direction drifted in a somewhat dramatic manner. Faces were crowned with masks resembling an overly disturbing blend of ice hockey goalie masks, conjuring protective armour and restraint gear, further evoking connotations of Hannibal Lecter and Jason Voorhees. Tailoring was razor sharp with new forms explored: bi-level shorts and Spencer jackets in lace and lame; deconstructed velvet coats draped and ruched over long nylon gowns, finished with leather shoes stating to “Wear your freedom”.
Black, grey and silver tones dominated, yielding at last to a hopeful finale of an all-white cast, with Michel Polnareff’s 1966 “Love Me, Please Love Me.”
For all that, whether a cyclical cosmic theory or a metaphor closer to home, Rei Kawakubo suggested that, at any rate, there is still a possibility of hope, one of Let’s get out of the black hole.
OFFICINE GÉNÉRALE
review by MAREK BARTEK
all images courtesy of OFFICINE GÉNÉRALE
Officine Générale’s Fall/Winter 2026 collection unfolded as a study in restraint and continuity. Titled Essentialism, the season reflected Pierre Mahéo’s return to fundamentals — construction, fabric, colour, and the idea of clothing built to last.
Presented at École Duperré, the setting reinforced themes of learning and transmission. The palette remained deliberately muted, moving through deep navy, dark brown, charcoal grey and cream, with an earth-driven sensibility that grounded the collection. Tailored outerwear formed the backbone: patterned coats, sharply cut suits, and layered silhouettes built around wool and fur textures. Basque berets reappeared as a recurring seasonal motif, while braided knits and textured scarves added warmth without excess.
Styling stayed disciplined. Suits were paired with shawls secured by needle pins, accessories kept to a minimum, allowing proportion and fabric to lead. An eclectic soundtrack — including Lauren by Men I Trust — softened the mood.
LGN
review by NIA TOPALOVA
all images courtesy of LGN
There is quite something about a frightening sex appeal, or a sexy frightfulness, and Louis Gabriel Nouchi seems to specialise in that very exchange.
Nouchi welcomed us ever so warmly in the depths of an underground parking lot in Le Marais, with an invitation to explore his childhood nightmares. His 2026 Autumn-Winter collection carries the name of Ridley Scott’s classic “Alien”, a classic that terrorised him so that, years after, he couldn’t help but turn his terror into visual portrayal of an erotically charged disaster.
This translated into six packs accessorised by curly shearling, faces muted by tight see-through layers or shielded in headpieces made of braided hair, and second skin tops paired with briefs cut to necessity. Ribbed knit zip-neck sweater over a crisp white shirt with a black tie was paired with slick leather pants with no questions asked. By all means, we cannot miss the Only Fans set as Nouchi is, unquestionably, keeping the risk, as “too much comfort makes us careless”.