Possibly one of the most anticipated weeks in the fashion calendar has returned – the couture houses are back for their spring/summer 2026 offerings, and what an exciting week it is set to be. Arguably, the two biggest couture houses will present inaugural couture collection from their new creative directors – Jonathan Anderson for Dior and Matthieu Blazy for Chanel. While the recent deaths of legendary designers Valentino Garavani and Giorgio Armani will undoubtedly bring sadness to the season.

Also on the lineup we have Schiaparelli, Rahula Mishra, Gaurav Gupta, Giorgio Armani Privé, Elie Saab, Viktor & Rolf, and Robert Wun. All eyes will be on these collections as we continue to celebrate the creativity and expertise of these master artisans.

Read on for the highlights of the couture spring summer 2026 collections, updated daily…

Viktor&Rolf

All Images Courtesy of Viktor&Rolf

For Spring/Summer 2026, Viktor&Rolf brought theatre to couture. The collection titled ‘Diamond Kite’ reimagines freedom through the lens of childhood wonder, imagination, and the transformative power of elevation. As a symbol of escape and transcendence, the kite is at the heart of the collection – shaping the silhouettes and movement. Couture craftsmanship meets inventive engineering in pieces that are playful and experimental, merging theatricality with practicality.

Duality plays an integral role in this collection, contrasting the austerity of black with flashes of colourful tulle. Though black is ultimately the collection’s foundation, a canvas that outlines each look with clarity. “We go back to black so often because it’s the best colour for silhouettes,” note the designers.

It’s the finale, though, that has everyone talking. A tribute to the iconic Kate Bush album cover that has been a source of inspiration for Viktor Horsting and Rolf Snoeren since the beginning. The designers built their final look live at the show in front of amazed guests. By taking a single element from each previous look – a collar, a cape, a bow – and adding it to a simple mini dress, the final look was transformed like a butterfly before taking flight. The final look then appears suspended mid-air, floating weightlessly, “a reminder that fashion, at its most transcendent, can lift us above reality while still reflecting it.”

Robert Wun

All Images Courtesy of Robert Wun

Staged at the iconic Théâtre du Lido, Robert Wun held his latest haute couture collection. The story of this collection is told through a three-part act that represents the three stages of emotion of a creator: to be inspired, to feel desired, and to have the courage to go forward.

The first act tells of dreams, where inspirations are drawn, ideas are born, and characters are created. Then comes the confrontation of reality. The concept of priceless couture pieces and questioning the worth of the creations. Finally, the celebration of the determination and courage of the creator.

Throughout, Wun questions and answers what role couture plays and whether it still reflects who we are. Reflecting in the show notes that “it still exists because it reflects how we wish to be. A dream, the ability to dream, and the will to keep dreaming.”

Robert Wun’s signature dramatic flair was seen throughout, not just in the looks but in the setting. Models walked against giant screens that projected thunderstorms wearing monochromatic looks with sharp contours, exaggerated bolero shoulders, and fitted bodices. By the second act, high-jewellery display stands were the standout, created with velvet touches designed to provoke envy and lure. By the end, weapons became symbols, symbolising the ability to continue creating and an other-worldly final gown that was showered in stars.

This is a collection that will resonate with all creatives. We are so used to seeing the finale that we rarely get to understand the often-agonising journey it took to get there. But to keep going is to be brave, and that is exactly what Wun expertly reminds us with this collection.

Giorgio Armani Privé

All Images Courtesy of Giorgio Armani Privé

The Giorgio Armani Privé haute couture collection for spring/summer 2026 marks the first designed by his niece, Silvana Armani. The show was attended by an impressive front row, including longtime friends of the founder: Kate Hudson, Diane Kruger, and Michelle Pfeiffer, whose rare appearance at a fashion show underscored the poignancy of the occasion. Giorgio may not have designed this collection, but the founder’s presence was still felt in every look.

In the show notes, the collection was described as an exercise in continuity through Silvana’s feminine gaze. It was an evolution of the brand, characterized by delicate tones of jade green, pink, and white. Fluid silhouettes of satin and silk rested delicately on the body while the house’s signature tailoring included structure-less jackets, wide-leg trousers, and refined dinner jackets.

The evening gowns are always a highlight of any Armani Privé couture collection and once again proved exceptional. Sequins flowed across gowns like liquid, while column dresses were animated by skilful cuts and draping.

Rahul Mishra

All Images Courtesy of Rahul Mishra

Rahul Mishra’s latest haute couture collection, titled ‘Alchemy’ was inspired by existence itself. Anchored by Carl Sagan’s reminder that “we are made of starstuff,” the collection explored the idea that the human body is not separate from the cosmos. An idea supported by the Indian concept of panchabhuta that refers to the five fundamental elements of nature: Prithvi (Earth), Apas (Water), Agni (Fire), Vayu (Air), and Akasha (Space). These forces interpreted through clothes in a way that only Rahul Mishra could do.

Elaborate silhouettes formed the basis of the collection. Starting with highly-dramatic black and purple creations that were embroidered and crystallised to give the Big Bang physical form. Both air and water featured fluid gowns formed of translucent fabrics and crystal embellishments. Fire erupted down the runway in a series of metallic textures and striking colours, while earth grounded the collection.

Dior

All Images Courtesy of Dior

Jonathan Anderson’s debut haute couture collection for Dior was nothing short of breathtaking. Watching on the live stream I often found myself at either a loss for words or simply uttering ‘wow’ as each look was presented. From the opening trio of sculptural dresses, inspired by the curving, balloon-like forms of ceramic artist and longtime collaborator Magdalene Odundo – one thing was for certain – this is couture in full bloom. And if this is what the busiest man in fashion can achieve with his first foray into haute couture, the future of the House is in good hands.

Those first silhouettes reminded me of oversized tulips, setting the tone for a collection that went beyond floral prints and motifs. The pieces didn’t just reference flowers, they became them. The references to nature were endless – a tribute to Christian Dior who spent a lifetime fascinated by it. Yet for Dior Couture Spring Summer 2026, nature was expressed through fluid fabrics that moved like petals in the wind. Soft yet deliberate silhouettes and meticulous handwork that transformed silk, chiffon and organza into something almost alive.

Dior’s DNA was evident throughout, yet this was very clearly Anderson staking his claim. Nods were made to previous creative directors including John Galliano, who was sat on the front row, and Raf Simons who also heavily referenced florals in his couture debut.

Knitwear was woven seamlessly into the couture narrative and bags transformed precious materials into sculptural, collectible pieces. Some used 18th century French fabrics, exceptionally rare textiles reworked and enhanced with embroideries and patchworks to make them both entirely modern and utterly unique.

One thing is for certain; this is a collection that we’ll be talking about for a very long time.

Schiaparelli

All Images Courtesy of Schiaparelli

Schiaparelli’s latest couture collection for Spring Summer 2026 is rooted in feeling. A sentiment that Daniel Roseberry traced back to a visit to the Sistine Chapel last autumn. It was the ceilings of the chapel that caught his eye, where agony and ecstasy combined and where the inspiration for the collection began. It’s a collection formed on the revolutionary idea that it’s not about how something should look, but how we feel when we make it.  

This thought manifested through sharply defined silhouettes and fantastical forms Roseberry dubbed “infantas terribles” – part reptile, part bird, part haute couture myth. Scorpion tails curled into bustiers, lace spiralled into butterfly forms, and gowns appeared to defy gravity altogether, buoyed by layers of tulle and thousands of hand-applied feathers. Technique was pushed to its limit: hand-cut lace rendered in bas-relief, feathers painted, airbrushed or dipped in resin and crystals, and neon sfumato effects glowing beneath traditional fabrics.

Sculptural shoes and jewellery bristled with trompe-l’œil bird heads, baroque pearls and the Maison’s iconic keyhole motif. Ultimately, this collection marks what couture should be; a fantasy. Roseberry unlocks imagination and invites us to stop, look up, and feel.

Read more Fashion Week coverage here.