MEN'S FASHION WEEK COLLECTIONS 2026

Prada Autumn/Winter 2026 does not speak of novelty, but of what has been worn and lived in. As if expressing a fear of forgetting, Miuccia Prada and Raf Simons propose an idea of progress that refuses to erase what came before. The collection, titled Before and Next, unfolded at the Fondazione Prada as an archaeological excavation of human thought. Not nostalgia, but excavation. In an unstable political and cultural present, the designers place their faith in the clarity of the familiar. Clothing becomes an instrument of memory, of grounding ourselves in what we have lived through.

The silhouette sets a sometimes constrictive tone. Coats are elongated and wrapped closely around the body, buttoned all the way up. Tubular, insistently vertical silhouettes are further stretched by the proportions of the very tall models. Tailoring is reduced to its most classical construction, yet sharpened through new proportions.

Famously, shirts extend their cuffs excessively over the sleeves, showing clear signs of wear and deterioration, adorned with cufflinks placed asymmetrically due to styling choices. Prada is no stranger to exploring wear and the passage of time, but this season the details stood out for their prominence. Leather appears wrinkled and dented, padded and already lived in. Waterproof garments seemed to peel away like paper from an old wall, revealing tweed beneath, as if eroded by time itself.

Colour comes as a surprise: aged pinks, mauves, anise green, deep purples and tones that recall Miuccia’s work from 2018. Certainly unexpected hues, slightly discordant, yet ultimately harmonised. Accessories emphasised individuality over uniformity: wallets forced into pockets that were too small, coloured laces, buckles reused as tie fastenings. The classical harmony of the menswear wardrobe was dismantled in the hands of Miuccia and Raf.

Reimagined by OMA as the cross-section of a palace, the Deposito at Fondazione Prada revealed interiors that usually remain hidden. A direct reflection of the garments themselves.

For Autumn/Winter 2026, Christophe Lemaire and Sarah-Linh Tran chose to stage the theatre of fashion, blurring the boundaries between runway show and performance. mine eyes, conceived together with set designer Nathalie Béasse, is a collection explored through scenographic means. Almost as an extension of the Pina Bausch–inspired dance from the previous season, the clothes were activated through time and space. The Opéra Bastille stage functioned as a liminal space, an anachronistic interval between present and future.

Lemaire inhabits this limbo through a textile lens. The garments are influenced by stage lighting, harsher and darker than that of a conventional fashion show. Fabrics were chosen for their visual ambiguity, for their ability to deceive the eye, a technique increasingly present in the house’s collections. Meanwhile, the brand’s characteristic sensuality remained intact, expressed through magnetic silhouettes and models spanning a wide range of ages.

The silhouettes move with Lemaire’s signature restraint. Loose coats, softly draped suits, shirts and blouses with asymmetric pleats and openings. Technical detail is present, but this time it deliberately avoids the spotlight and instead becomes part of a more holistic character-driven design.

The imaginary world of Roland Topor runs through the collection like a whisper. His almost dreamlike, tense and at times cruel drawings translate into a new textile severity for Lemaire. At Lemaire, even when the stage makes it more evident, clothing exists in relation to both body and spirit.

For the upcoming season, ahead of his haute couture debut, Jonathan Anderson consolidates his tenure at Dior with a striking statement: risk as an end in itself, not as a means. While his first show in June established a more recognisable aristocratic foundation, this second collection moves forward without caution, seeking friction and hedonism through Anderson’s language. In doing so, the creative director surprises by stepping away from the maison’s immediate archive to look further back, this time toward Christian Dior’s admiration for Paul Poiret.

Although the starting point is formal, the opening looks consisted of slim jeans paired with layered metallic mesh tops, creating a Dior that leaves aristocracy behind to approach a nocturnal and subversive way of life. Tailoring remains the central axis, but subjected to deliberate and unexpected deconstructions. The Dior Bar jackets appear reduced, with worn, shrunken silhouettes. Coats enveloped the models with excess and volume. And above all the looks, the wigs, from yellow mullets to hair blown by the wind, inspired by the work of Guido Palau, left guests astonished.

Details and materials intensified the collection. Shoulder pads with metallic fringes fell over shirts, capes in hand-woven Art Deco jacquards made in Italy reconnected with Poiret’s historic suppliers. Sequinned embroideries appeared as vest-like layers over jeans, technical coats were adorned with three-dimensional flowers, and chunky knits were reworked into tailcoat silhouettes.

Colour also burst into the room with energy. Despite the exuberance, the collection remained anchored in recognisable, classically Dior pieces. Coats, jeans, tailoring… Dior remains Dior, but this season Anderson presents it as a tool for questioning and rebellion. Clothing that sparks debate, creates friction, and generates conversation beyond the archive.