IN OCTOBER, Harper’s BAZAAR’s fashion director Jessica Steuart-Hoyler went to Paris Fashion Week for the spring/summer 2026 season. Read on as she recounts the dream season of creative directorial debuts, her encounters with priceless jewels and window shopping some of the city’s most coveted archival fashion curations.
DAY ONE
As I touched down in Paris for my first fashion week as BAZAAR’s fashion director, I braced for a cool autumn day. But as I wound around the Arc de Triomphe and Eiffel Tower on my way from the airport to Hotel Le Belmont in the 16th arrondissement, the sun had a gentle glow.
With a Carl Friedrik Check-In Suitcase in tow, I packed a week’s worth of my thick outerwear, like my shearling jacket (which felt like a warm hug), structured blazers, leather jackets, and a voluminous coat. Squeezed in between were pieces for dinners: trousers, skirts, and a rotation of shirts, all of which were in my signature neutral black, grey, and cream tones, which mix and match seamlessly. Then there were shoes. I brought six pairs, only to wear three, of course. When you average 15,000 steps a day across cobblestone, marble floors and gravel, you quickly learn and stick to what’s comfortable.
In my room were the invitations for the upcoming shows, which have become more like collectable pieces of memorabilia. Matthieu Blazy’s first Chanel invite was a necklace with a house pendant, which you had to hold its peep hole up to your eye to read the show address and time inscribed within. The invite for Saint Laurent by Anthony Vaccarello came in a sleek patent croc leather sleeve with the label’s logo in gold. And Jonathan Anderson’s Dior womenswear debut came in the form of an acrylic plate with an array of faux nuts, which echoed the plate with eggs for his menswear debut back in June.
On the note of Dior, I joined the Australian team at the Dior Galerie, a museum featuring archival creations by the house’s previous eight creative directors. It was a treat to get an up-close education on some of the pieces Anderson would reference in his first show. There was the perennial Dior Bar jacket with pleated skirt and whicker hat from 1947; the theatrical pieces from John Galliano; and the toile renderings of iconic silhouettes from designers such as Yves Saint Laurent, Marc Bohan, Gianfranco Ferre, Raf Simons and Maria Grazia Chiuri. A visit to the Dior Galerie café for their tropical desserts is an essential end to the experience.
Later that evening, I was ferried to my first show on schedule: Saint Laurent. The house transformed the Trocadéro behind the Eiffel Tower into its runway with a centrepiece YSL logo made of white hydrangeas. The setting sun cast the Eiffel Tower’s shadow onto the runway as the sky turned from orange to purple. Even from within the venue, the teeming crowds outside could be heard as Madonna, Charli XCX, Rosé and Zoe Kravitz made their way from private cars to take front row seats.
Related: Saint Laurent’s SS26 returns to the Decadence of Le Palace
Almost timed to the twilight, the ambience between day to night leaned into the heady Le Palace nostalgia of the collection: big ’80s shoulders padded under blouses, leather jackets, and nylon dresses in jewel tones of ochre and grape. Several looks were accessorised with big, big sunglasses – a sure trend this summer. Pussy bows on shirts were less dainty and more crisp and pronounced. The tone of the collection shifted in the second half as ruffled gowns caught the wind, revealing their volume. Vaccarello was taking us right back to the ’80s, but this was just the start of my week.
DAY TWO
Paris was the only city I’d be attending this fashion month. So, I stopped by re-sees – appointments to see the collections up close – hosted by brands from Milan and New York fashion weeks. I was especially excited to see Dario Vitale’s debut for Versace, which was located in a gritty office space. The mannequins looked like ones from an ’80s department store – faces done with make-up and grey-skinned – the heyday of the Milanese brand’s founder, Gianni Versace. This wasn’t your standard re-see either: the mannequins were placed in elaborate poses, leaning or sitting on antique furniture; some were huddled as if in conversation. These animated tableaux brought the various sportswear mixed with tailored pieces to life. Admittedly, it was a touch haunting, but the immersion in Vitale’s vision for his Versace couldn’t be clearer. Sadly, that vision was short-lived.
Related: Dario Vitale departs after one celebrated collection
Afterwards, there was the Ganni presentation in an intimate, nondescript apartment. Each wooden mannequin had its own patch of grass and flowers at the foot of it as if it emerged from the soil. The collection was a mix of voluminous trench coats with operatic sleeves; layered dresses with floral prints and neon colours were a highlight. Ganni really owned the slick headscarves this season. One of the greatest tips I’ve picked up for days with several showroom appointments is to take advantage of the coffee service to help fuel the day.
That night, dinner was at Hotel Balzac, where I was surrounded by so many of my colleagues from the Australian fashion community.
DAY THREE
This was a big day! First up on the schedule was the Louis Vuitton re-see. Held in a grand house, the clothes from the day before’s show at the Louvre were on display in the gilded salons, continuing artistic director of women’s collections, Nicolas Ghesquiere’s, theme of dressing for the home. Some mannequins were also leaning on walls or splayed out on marble tables and plush ottomans. Alongside the brand’s catalogue of leather goods and bags, a fresh twist came from belted wallets made with silk scarves.
Related: Louis Vuitton’s SS26 collection wants you to dress up for home
The afternoon of day three was marked on my calendar with exclamation marks: it was Dior day. I arrived at the Jardin des Tuileries to the sight of a vast grey box, the usual exterior for the maison’s shows. Barricades off to the sides of the entrance held fans back in anticipation for the various A-list brand ambassadors like Jennifer Lawrence, Jenna Ortega, Jisoo, Mia Goth, Greta Lee, and more to arrive. The inverted pyramid at the centre of the runway had all of us wondering what it could be for. As Johnny Depp and other front-row cognoscenti took their seats, the anticipation was palpable when the pyramid lit up with a self-posed question for Jonathan Anderson’s debut womenswear collection: “Do you dare enter the house of Dior?” A short film followed, filled with archival footage of the various creative directors and their famous muses.
Related: Dior spring/summer 2026 review: Jonathan Anderson looks beyond the new look
Continuing that momentum, I headed to the Acne Studios show set inside an old church, the runway underneath its tall arches. The footwear was a highlight: loafers pumped up into wedges; heels ended with pointy toe boxes. The subversion of tailoring came in clever cues with cut-out knitwear, or paired with plaid shirts tucked into sheer skirts.
To end the day, I stopped by jewellery brand Le Sundial’s showing inside a pied-à-terre with leopard print sofas, a bath, and a fluffy white bed – all very enticing to jump into after a long day. Laid out in velvet trays were artfully made beaded necklaces and earrings. But I couldn’t help but admire the other attendees, all of whom were very chic women dressed in wool coats and well-worn trenches. Here was a brand that knew its audience.
DAY FOUR
I couldn’t miss a chance to get up close and personal with Jonathan Anderson’s debut collection, so I went to the re-see. It was held inside the same show venue; this time, the clothes were on mannequins that stood around the inverted pyramid in a perfect square formation, like troops. The most exciting part was to see the shoes and bags to really admire the craftsmanship, like a feather-toed heel or a Lady Dior covered in leather daisy appliqués with a glass ladybug on one. Another standout leather piece was the Diorama pattern on slouchy little bags. Again, I took advantage of the coffee service onsite to refuel; my failsafe order in Paris is a long black Americano and by this point, I missed Australian coffee.
Those who know me know that I am a vintage fashion fiend. So I made a mad dash to ReSee , a vintage store with a showroom for fashion week. FOr the occasion, ReSee collaborated with stylist Suzanne Koller on her edit, which features a wall of Hermès Birkin bags to old and new Phoebe Philo, and Martin Margiela-era Hermès. This where I bought this safari shacket that ties from the back, which I’ve been styling with my stack of silver jewellery back in Sydney.
That night was my first brand dinner with Tiffany & Co. at the Grand Café inside the Grand Palais. For this, I wore a draped dress from Camilla and Marc, Le Sundial beaded necklace and earrings and my signature Tiffany & Co. Elsa Peretti cuffs. Hosted by Moda Operandi founder, Lauren Santo Domingo, my dinnermates included an editor from Numero Tokyo (who put me onto designer Soshitsuki’s tailoring work, who had just won the LVMH prize) and the model Desiré Inglander. A standout from the multi-course menu: egg in a shell with sour cream and oscietra caviar.
DAY FIVE
I started the day with the Loewe debut of the Proenza Schouler boys, Jack McCollough and Lazaro Hernandez. Getting to this show was a 45-minute Uber drive outside the centre of Paris, held inside a grand residence. Inside, the foyer was filled with art by Ellsworth Kelly; the duo are quickly establishing their own coterie of artists, the same way Anderson did during his 13 years at the Spanish brand. The highlights of the collection were the beaded fringe skirts paired with sporty perspex clear shoes, and the cheeily layered parkas and outerwear.
Related: Loewe SS26: A new clarity of form
Riding back to the city, the rest of the day was a quick succession of showings. First up was the Louboutin re-see, where the chatter was fervent as it was just announced that Jaden Smith was appointed the shoe brand’s menswear creative director. For the collection, there was a clear sports theme going on with shoes featuring varsity jersey numbers, pointe shoes made into high heels, platform boots and kitschy leg-warmers.
I followed with a visit to Rue Cambon, the iconic home of Gabrielle Chanel, to try on pieces in the private Première watch suites. I discovered various designs from the double row chain to bangles, and the session was accompanied by commentary on the history of the watch and its origins in the iconic Chanel No. 5 bottle. As a keepsake, a photographer with a Polaroid camera came around to capture me with the pieces. For a moment, it was nice to pretend the pieces were mine.
My final stop was Roger Vivier, which was held inside hôtel particulier where I ran into of few of the Australians in Paris. On this occasion, the event was to celebrate the history of the shoemaker with its latest collection of Marie Antoinette-inspired shoes – it was a literal treat with its array of macaron colourways. I ended the night with dinner at Chez Georges, where I caught up with a friend and peer from Australia over steak frites.
DAY SIX
Saturday started with a reunion breakfast at Café Charlot in Le Marais, which is where I usually stay in Paris, with my former colleagues from my time in London. It was a nice morning to catch up and dissect the shows we’ve all seen so far, and to share our excitement for Matthieu Blazy’s Chanel debut.
The first show of the day was Hermès, held in a serene space with a sand-covered runway, which felt like a touch of home. With the crowd a mix of Australian fashion media, influencers, and Hermès clients, chicly dressed waiters started circling with glasses of wine and champagne. Nadège Vanhee-Cybulski’s spring/summer 2026 collection commenced soon after. The looks were sensual and sexy: leather draped like silk, and, my favourite, the harnesses, which were cheeky cross between horse-girl and BDSM and accessories with silk scarves.
Next was the Polo Ralph Lauren presentation inside a Parisian apartment, with models in the clothes around the different rooms. While not a runway, the street and entry to the venue were lined with fans behind barricades, waiting for a K-pop idol to emerge from a blacked-out car. The presentation consisted of the Americana label’s classic Hamptons looks, which contrasted beautifully with the Parisian apartment: layering of light pieces of cable knits over polos, neckerchiefs around the necks, and gloves worn with tank tops. It was all very nonchalant; it was all about the attitude.
By this point, it’s the afternoon. I needed a breather and to properly take in all of the clothes, so I went for a walk along the Seine. I make a point of stopping by the little vintage book kiosks along the paths, too, looking for gems of inspiration. While I found a Robert Mapplethorpe book I would have loved to have brought home, my already overweight luggage made my decision for me.
For dinner, I was accompanied by a PR from Sydney, who spent the week wrangling between his different brands. After a week of French cuisine and canapés, we were both in agreement that we were in desperate need of Asian comfort food, so we stopped by a small Vietnamese place for dumplings. It was a good reset.
DAY SEVEN
An intense day of re-sees lay ahead for my seventh day, with Loewe first up. It was great to see the textures up close; runway shows can be over so quickly. The Spanish leather craftsmanship was a highlight, with that one look, for instance, moved like feathers, but it was actually made of soft, cut leather.
Manu Atelier was the next stop, an Istanbul-based bag brand that I was introduced to by my friend, Bonnie, the founder of Hers. There were a few bag styles I could see as a hit in the Australian market, like a few of their work tote bags and a green suede mini tote.
Joined a few of my Australian peers at Burberry, which was held inside an office-like space replete with coffee and little nibbles. The collection, which showed on the runway during London Fashion Week, was all very Glastonbury with the fringing, suede, trench coats printed with tarot cards, and woven leather done in the Burberry check. Very eclectic; it had a real ’70s feeling to it.
In between appointments, I had an hour to kill with my friend, journalist Annie Brown, so we went window shopping. Comme des Garçons and Alaïa were around the corner. I fell in love with this fringed hat at Comme and thought to myself, Is this my new persona? Can I be this woman? But it would be one of those things when you bring it home and you’re like, No. The Alaïa store was heaven; it felt almost like an art gallery, the way the pieces were merchandised. This Le Click bag in a matte anthracite fabric with silver hardware – I’m a silver gal – was instantly put on my wishlist.
Back on the re-see schedule, I was at Hermès. It was all about that tan suede Birkin bag. Seeing the leather harnesses I’d been obsessed with since the runway solidified it as a new styling piece to pair over with jackets, shirts, and scarves. It’s safe to say my wishlist has grown exponentially. (I also appreciated the fruit in Hermès spread, which was much needed after a week of canapés and sweets.
Unsurprisingly, this was the day I hit 20,000 steps. Next was the re-see for Pierpaolo Piccioli’s Balenciaga debut, held at the brand’s headquarters. You enter through these huge iron gates into a pebble courtyard. (It’s also the end of the day, and I was praying for some champagne, but sadly, they were out.) I fell in love with a sculptural leather jacket that was high at the back and then crossed at the front. It was the ultimate leather jacket, and if I had it, I would be done. The room was scented with one of the brand’s new fragrances, the citrus-y Getaria, named after the Spanish town Cristobal Balenciaga grew up in. This was also where I spotted the shoe shape of the season: a low vamp heel with a slightly squared-off toe.
DAY EIGHT
I clocked in for another big day, starting with Longchamp. Interestingly, the room was split into two; one side catering to the northern hemisphere and the other to the southern. The concept for the northern was built around this ice rink in the space, with accessories with gloves, beanies as bags, lots of shearling, and boots inspired by ice-skates. The southern collection was a juxtaposition with a beach concept.
I made my way to Place Vendôme – the cradle of luxury and home to the Ritz Paris and Charvet – for the Valentino re-see of Alessandro Michele’s collection, titled “Fireflies”. The space had multiple rooms dotted with mannequin after mannequin dressed in Michele’s signature opulent and ethereal looks. Accessories were a standout, in particular another pair of vamped heels with a peep toe and perspex front. There was a mirror wall of bags; in fact, there were mirrors everywhere in the packed space of guests and mannequins – it was as overwhelming as a mirror house. It was nice to see the real Valentino customers mingling in the showroom, too. They are, after all, who will be wearing these looks in their own ways.
Next was the re-see for Michael Rider’s second Celine collection at their beautiful office full of light and good vibes. It started in a room full of the brand’s silk printed scarves, which are so much a part of Celine’s DNA. In a season full of heels, it was charming to see Rider show a couple of pairs of Plimsolls for ease – even on evening looks!
Today was also Zimmermann day, which is always very exciting to have an Australian brand showing on the schedule. This was also the second last day, but the energy was still high, in no small part thanks to the concentration of Australians. We heard the screams from outside that someone big was coming: it was Lana Del Rey, attending with her sister. I soon learned that the singer had written a song which makes mention of Zimmermann; Nicky and Simone Zimmermann didn’t even know she was a fan. You could tell Lana Del Rey was a fan, as she took photos, sang and bopped along to the soundtrack, and pointed out the looks she liked to her sister.
The collection was Zimmermann at their best, with their bohemian prints spanning voluminous gowns and flippy skirts. What felt fresh here were the full denim looks and accents interspersed in the collection, which made for another ’70s touchpoint that just made sense. What Australians get right, too, is mixing swimwear with tailoring, which the brand had in spades.
Then the moment everyone had been waiting for: Chanel. I was very excited that my first one was seeing Matthieu Blazy’s debut at the Grand Palais. As I approached in my Uber, you can imagine the traffic was horrendous; there were so many times throughout the week I got out and walked or hopped on the Métro. I met up with a few Australian peers as we walked into the breathtaking space: the floors were shiny in a black lacquer, which made it feel like you were floating in deep space with the illuminated planets suspended from the ceiling and on the floor. (I found out later that the maison was going to use the fabrics in tote bags!)
Even with how momentous it all was, everyone remained very relaxed and mingling. As celebrities filtered in – Rosie Huntington Whitley, Pedro Pascal, Tilda Swinton, Ayo Edebiri, Nicole Kidman, Margot Robbie – it was nice to see them sporting Blazy’s new collection already. The planets dimmed as the show was underway, and the first look was a fresh iteration on the tweed suit. We were told later that Blazy had worn a suit jacket and cut it at the waist to see it cropped, totally thinking about the working girl uniform.
In between Shazam-ing the soundtrack and fangirling over all the exquisite feathered looks, it was incredible to see Indigenous Australian models Tatyana Perry and Latahlia Hickling come out. Blazy has always had great casting since Bottega Veneta, so it was great to see that continue at Chanel. It sounds like a cliché, but this truly felt like a brand new universe we were stepping into with his debut at the house. The finale look on Awar Odhiang was so jubilant as the full-feathered skirt flounced across the galaxy. The model started clapping and crying on her victory lap, and I think that captured the emotional moment of it all so perfectly.
DAY NINE
My last day has arrived. Naturally, everyone is feeling physically and emotionally exhausted after a full-on fashion month of debuts and more. At this point, my eye bags were halfway down my face. It felt like a day where I just needed to slick my hair back and put on my black leather ESSE jacket for armour and my white Céline by Phoebe Philo shoes to just look easy.
The Chanel re-see was essential viewing before I left. I was lucky enough to be guided through the collection by a childhood friend of mine from Singapore, Tanya, who is the Head of Experience at Chanel and based in Paris. I heard about the inspiration behind the individual pieces, including the shirts created in collaboration with Charvet, who is the preeminent shirtmaker in Paris, if not the world. The crisp shirt, worn by Nicole Kidman at the show, was inspired by Gabrielle Chanel stealing her boyfriend’s shirts, which is so universal even today. A great detail was the Chanel chain that weighed down the shirt, like their tweed jackets, to stop it from flying up. Another big moment was the bags, which looked to be patina-ed to perfection.
I was still on for the last few shows for the season. First up was Australian label, Aje, at the iconic Palais de Tokyo. I had Shazam-ed three songs from this show: “Lone Swordsman” by Daniel Avery, “Sexy Boy” by AIR, and “Voyage, Voyage” by Desireless. I loved the opening look, which was his sheer white dress with billowing sleeves paired with leather pants.
Another Australian designer showing on the last day was Christopher Esber at the Australian embassy, designed by iconic architect Harry Seidler. It had everything we love about Esber: beading contrasted with tailoring in a very sexy, modern way; raw edging on the hems; a pair of shorts that puffed out on the side. Also loved the sleek and modern eyewear pieces Esber was going in collaboration with Specsavers.
Back at the hotel, I went into work mode as I received the Celine pieces for our October 2025 cover shoot, starring Aleyna FitzGerald.
All in all, it was a dream season full of debuts. I found lots of style lessons in how to wear things in fresh and interesting ways, and I enjoyed different perspectives on how women will be dressing, courtesy of new names behind some of the world’s biggest brands.
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