Welcome to our new series: an unfiltered, stream of consciousness Paris fashion week fall 2026 diary recounting the real life moments, thoughts, and magical highlights that make the best week of fashion month so interesting.
I put on my vintage Nina Ricci haute couture turquoise jacket with one of my most-worn old Miu Miu dresses. I don’t love how this outfit turned out, but it’s definitely original. The jacket is another piece from Iris Apfel’s collection, and I love that I was able to give it its own moment, especially by wearing it at the Nina Ricci show.
I usually don’t do re-sees but I had to look at those Schiaparelli faux taxidermy kitten heels up close. There is nothing like the Schiaparelli accessories.
Then, I had to go back to the Louvre area for a stunning Issey Miyake show that was drenched in bold, bright color. It was one of the best in recent seasons, in my opinion, with some really gorgeous plastic bodice dresses that recalled those very iconic museum treasures worn by one of our forever favorite fashion icons Grace Jones.
I rushed to Nina Ricci, which we would later learn was creative director Harris Reed’s last collection for the brand. I loved the tiger print suits with chunky bright orange fur trim, huge skirts and body diversity. It felt like a fun, happy, cool tribute to Vivienne Westwood, Blumarine and Y2K it-girl brands. Leopard print and polka dot prints with crystal bows were totally modern Marie Antoinette. The music was great and I’m obsessed anytime I see Lindsey Wixson walking the runway.
Yohji Yamamoto will always be the highlight of the day for me. For the second time in a row, there were place cards on the seats with the message, “Yohji Yamamoto encourages you to be present and experience the presentation with your eyes rather than your screen. Let the moment, the movement and the clothing speak to you – they are meant to be felt with your senses, not merely digitally recorded.”
Jumbled layers, distressed textiles, and draping that was built up to have an almost protective, deconstructed, unraveled post-war feeling felt timely given the current news cycle. The later part of the collection had a vintage pre-industrial Japanese aesthetic with elements of kimonos and geta (wooden block sandals) which was also intriguingly beautiful.
I refuse to go to any other show in the evening following Yohji (usually Victoria Beckham comes after) because I need to sit and stew with the beauty and meaningfulness of the imagery. He’s one of the greats and I can’t believe we’re so lucky to experience his work all these decades later.
All images © Sudden Chic.
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