How escapist should fashion be?

How escapist should fashion be?

Paris Fashion Week’s Fall/Winter 2026 showcases have offered a respite from the chaos of the world, with collections that blend whimsy and allure. While global tensions and societal divides persist, the runway remains a space where designers craft visuals that distract and delight, if only temporarily.

“Stop this world, let me off,” the blues musician Mose Allison once crooned – a sentiment many would echo when facing turmoil and uncertainty.

In a season marked by relentless global crises, the biannual fashion calendar continues unbroken. Designers often unveil months ahead, leaving little room to adjust to current realities. Their work becomes a calculated distraction, fulfilling the role of escapism as much as a professional obligation.

Jonathan Anderson’s Dior presentation stood out, blending art and commerce in a strikingly unconventional setting. The show, held atop a platform over a pond of artificial lily pads, featured scalloped fabrics, soft bar jackets, and feathered gowns that felt less like products and more like experiences. It challenged the notion that prettiness must be simple or clichéd, offering a technically rich vision that resonated beyond the surface.

Meanwhile, Chanel’s latest collection leaned into the brand’s signature elegance, reimagining classic silhouettes with pastel sequins and relaxed layers. Matthieu Blazy’s debut pieces sparked immediate online buzz, with women eagerly sharing their “hauls” from the Rue Cambon flagship. Yet, the show’s success lay not just in its aesthetic, but in its ability to reinterpret tradition with modern flair.

Beauty and prettiness, though often conflated, serve different purposes. Yohji Yamamoto’s kimono-inspired coats evoke a more profound emotional response, while Hermès’ leather pieces—ostrich skin bodysuits paired with boots and jackets—demonstrate craftsmanship that transcends superficial appeal. Prettiness, however, remains a powerful tool: it simplifies desire, making the act of purchasing feel inevitable.

Not all prettiness is equally effective. Chemena Kamali’s Chloé show leaned heavily on 1970s folk motifs, resulting in overly obvious designs that felt more like a nostalgic echo than a fresh escape. For some, the idea of a rural, idyllic lifestyle sounds more like a constraint than a dream.

Still, when executed with precision, prettiness can captivate. Comme des Garçons’ Rei Kawakubo, the industry’s leading philosopher, delivered a collection that transformed simplicity into spectacle. Black, layered with texture and form, became a statement of both rebellion and refinement, proving that even the most basic elements can carry profound meaning.