Fashion month wrapped: Critics react to a new wave of creative leadership
After a month of creative debuts and bold reinvention, the Spring/Summer 2026 show season closed in Paris with plenty of talking points and, crucially, a clearer picture of how the industry’s latest wave of Creative Directors are settling into their new roles.
From Pierpaolo Piccioli's high-octane Balenciaga to Jonathan Anderson’s dual Dior debut, the mood was one of recalibration - designers distilling brand codes, and in some cases, choosing quiet craftsmanship over headline-chasing spectacle.
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Balenciaga: Balancing reverence and renewal
Pierpaolo Piccioli's debut presentation at Balenciaga marked a pivot for the designer and the house. The collection drew praise for its focus on silhouette, tailoring and sculptural form over spectacle. Social media buzzed with approval and industry insiders welcomed the return to "Balenciaga-ness" without over-the-top theatrics.
Simon Longland, Director of Buying, Fashion at Harrods, said: "Pierpaolo Piccioli delivered an extraordinary debut at Balenciaga, a collection that balanced reverence and renewal with rare precision. His deep exploration of the archive paid true respect to Cristóbal Balenciaga, one of fashion’s greatest pioneers, while his reimagining of signatures - from sculptural silhouettes to something as elemental as the T-shirt - revealed a couture-level sensibility.
"This was not only a beautiful collection, but a confident new direction for the house - one that feels entirely authentic to its heritage while opening an exciting new chapter. It was everything we had hoped for from a designer of his calibre."
Jo Ellison, Editor of HTSI, added that the collection was "fabulous - some of the chicest, most wearable clothes of the season," while Suzy Menkes called it "the most sophisticated presentation so far this season, both in the quality of the collection and its audience."
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- (AP/Aurelien Morissard)
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- (AP/Aurelien Morissard)
Dior: Jonathan Anderson’s imprint takes shape
Over at Dior, Jonathan Anderson’s first women’s collection, since joining from Loewe, signalled the beginning of a new chapter. The connection between the men’s and women’s lines was evident, yet some felt his approach leaned too far toward Loewe minimalism and not quite enough toward Dior femininity.
Accessories, however, were the standout story. Designed under the direction of the former Loewe accessories lead Nina Christen, who followed Anderson to Dior, they sparked excitement among buyers and editors alike.
Simon Longland described Anderson’s Dior debut as "a revolution rather than an evolution", predicting that "his update of the Bar jacket and skirt will undoubtedly be on countless wish lists, setting the tone for a bold new chapter at Dior."
Still, as many noted, Dior’s new identity remains a work in progress. One Instagram user wrote: "His vision would have made so much more sense at Chanel", while another noted that the collection was "an underwhelming disappointment."
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Celine: We're so back
For Celine, Michael Rider’s debut was one of the season’s most anticipated, and while reactions were mixed, there was a sense that the designer had honoured the house’s DNA while beginning to shape it in his own image.
Suzy Menkes praised the collection for its clarity. She said: "At the 11th hour, Paris fashion came up with something we would all like to see - simple clothes that make themselves interesting and different to what has gone before."
Fans took to social media, corroborating this, writing "We're so back" and "I can't get these looks out of my head".
Set against the natural backdrop of Parc de Saint-Cloud, Celine’s show struck a balance between elegance and ease. The accessories were a particular highlight - a reassuring sign for a house whose commercial strength has long been rooted in its leather goods.
Loewe: American wearability meets Spanish sensuality
This season also marked the debut of Proenza's Jack McCollough and Lazaro Hernandez at Loewe, succeeding Jonathan Anderson and bringing a fresh lens through which critics have begun to reassess the house’s identity.
Esteemed fashion writer Cathy Horyn, wrote: "Not only did the designers bring a sense of American sportswear to Loewe - a T-shirt and a pair of jeans, a crisp blouse - they also smoothed away some of the hard edges of Anderson’s Loewe. In fact, they seemed to challenge the notion of how conceptual fashion needs to be."
"Isn’t it much harder, and in a way more sincere, to design clothes that are wearable and also novel? To me, McCollough and Hernandez went further than a lot of designers in this big debut season: they laid the foundation of a universe based on clothing as well as accessories."
Their collection leaned into texture and subtle conceptual touches - like leather shredded to mimic terrycloth and finely knitted pieces that merge softness and structure. The duo took Loewe from avant-garde to accessible, but with legacy and ambition intact.
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Gucci: Demna defies odds
Demna’s SS26 debut for Gucci was characterised by unapologetically sexy designs. It embraced heritage while pushing forward with a provocative approach. Overall, it earned a warmer reception than many expected, signalling a growing confidence in his vision for the Italian house.
While fans praised the polish and direction of Demna’s approach, critics remained divided on whether it offered enough evolution for a house once synonymous with opulence. Fashion journalist Dana Thomas summed up the scepticism with bite: "Can I be paid millions to page through old magazines and reproduce a look that my mother liked to wear when I was a kid and claim it as an original idea? Please?"
Still, the prevailing sentiment was that Demna’s debut shows he is finding his rhythm, quietly steering Gucci toward a new era of restrained glamour.
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Versace: Quiet confidence over high-octane swagger
Versace, the house synonymous with bold glamour, high heels and figure-hugging dresses, felt a little different this season after Donatella Versace handed the reins over to Dario Vitale. "It’s missing the sexy Versace energy," remarked some observers online, with others asking, "Where is Versace?"
Pamela Golbin, curator, author and fashion historian, however, said: "After 15 years with the Prada group designing Miu Miu, Dario Vitale’s début collection at Versace offers a new paradigm for the Milanese house. More intimate, personal and intentionally restrained, Dario’s vision for both men and women evokes the ease and quiet confidence of the everyday - without forgetting the Versace 'sexy'."
Critic Pam Boy added: "I don’t wanna hear it: he can do high-glamour if (when?) they relaunch Atelier Versace. Yesterday, I thought it was terrible, then I slept on it, and this morning I realised it was actually really good."
This SS26 outing signals a move away from theatrical excess toward a lived-in luxury.
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Bottega Veneta: Innovative silhouettes
As Louise Trotter stepped into the role of Bottega Veneta's first female Creative Director, her debut marked a confident introduction. The collection showcased a mix of oversized tailoring and fluid silhouettes, incorporating tactile materials like taffeta and box-fresh leather. Signature elements, such as the intrecciato weave, were reimagined in new forms; meanwhile, accessories played a pivotal role, with updated versions of iconic bags like the Cabat, alongside new additions like boxy crocodile totes and shoulder bags.
Creative Consultant, Violet Grace Atkinson, said: "Louise Trotter is the debut of the season. I’ve loved Bottega in all forms this past 6 years, but maybe this is going to be the best chapter yet?"
Pam Boy echoed this sentiment, noting that the collection "was the pinnacle of chic".
Trotter's debut reflects a seamless integration of creativity and commercial appeal, signalling a promising new chapter for Bottega Veneta.
Jean Paul Gaultier: Shock factor
Duran Lantink stepped in as Jean Paul Gaultier's Creative Director this season. Lantink’s SS26 debut leaned into the brand’s legacy of theatricality. The polarising pieces? A new type of 'birthday suit' that sparked immediate social media chatter. They were provocative, playful and unmistakably Gaultier in spirit.
Critics noted that while the collection embraced shock value, it also displayed precision and thoughtfulness, avoiding spectacle for spectacle’s sake. One social media user reflected: "There’s art, expression, a message, and exploration of ideas. And then there’s shock value." Another added, "Gaultier is one of my all-time favourite designers. This is tremendously insulting to the audience and his devoted fans!"
Others praised the designer for inciting shock factor during the age of social media. Was this Lantink's plan all along? The designer cleverly balanced these controversial elements with wearable silhouettes that paid homage to Gaultier’s daring DNA.
Alexander McQueen: Navigating succession
Seán McGirr’s first collection at Alexander McQueen presented a balance between homage and reinvention. However, there were mixed reactions. Was McGirr playing it too safe for the brand renowned for its theatricality?
Suzy Menkes commented: "THE SUCCESSION QUESTION. Alexander McQueen by Seán McGirr - following the body-conscious outfits which were well done - yet familiar. As a succession question, the designer is doing a good job. But a new McQueen? Not so sure."
Another took to social media, writing: "The Alexander McQueen line is so theatrical, you would feel and see the story of the woman wearing it. This was nice but not worthy of his genius."
The consensus suggested that while McGirr respects McQueen’s DNA, the challenge of establishing a distinct voice remains.
Chanel: Magic in movement
Last, but not least, was the most highly anticipated designer debut of not only the season, but the decade. Matthieu Blazy for Chanel.
Blazy’s ability to modernise Chanel codes - tweed, chains, camellias - while maintaining composure was impressive. He didn’t bulldoze the past, he adapted it.
Accessories, Chanel's core commercial driver, stood out. Metallic handbags with exposed seams, "crushed" finishes, and playful touches such as feathers. These are markers that Blazy understands both the commercial and symbolic power of accessories for Chanel.
Reactions online were, naturally, mixed. Some praised the designer’s work. "Karl would be proud," wrote one user, while another added: "Great work, Mr Blazy". Many agreed that "Chanel is back," though others were less convinced: "I don’t know if Chanel customers will spend that kind of money on this. I expected more couture," one comment read.
In Menkes’ words: "A star is born at Chanel, where designer Matthieu Blazy had a hit so powerful that those in the fashion world hardly noticed that the French government was collapsing."
Longland added: "With this collection, Blazy has achieved what felt almost impossible: creating a vision that will draw in a legion of new admirers, while remaining deeply resonant with Chanel’s loyal clientele. A new beginning, perfectly staged and brilliantly realised."
Overall, the mood was clear. Blazy aced the test, bringing whimsical movement and modern polish to a collection that felt distinctly Chanel.
