It might seem trite to summarise the general fashion mood thus far in 2026 as a slow shift from quiet luxury into an era of maximalism, but if one was tasked with summarising it into 10 words, this would be the answer. Whilst a more pared-back approach to style is still prevalent in everyday dressing, the runways have never been more colourful: both literally and figuratively. Since the autumn/winter 2026 shows were presented earlier in spring, fashion’s new focus has provided a sense of rejuvenation and energy after a long period that in retrospect has felt quite lacklustre. Print, texture and accessories in bolder hues from the spring/summer 2026 collections were finally available to shop, divisive footwear has dominated the conversation and nostalgic trends such as noghties surfercore and the exponential growth of turquoise and aqua shades, have informed fashion’s new mood, which is more unexpected, joyous and frankly outlandish than ever.

“Joy” is a word that was used a lot to describe the debut collections for spring/summer 2026, and one would argue this has continued into autumn. As fashion stylist and commentator, Chani Ra said on the Who What Wear UK vodcast, Hot Topics, “I don’t care about cost per wear, I care about cost per joy.” We have since had chance to digest the new energy and interpretations these new designers have of their houses, so the autumn/winter collections presented more practicality (as they usually do), and felt less like a competition to be the biggest, boldest, brightest of them all. But this hasn’t compromised their use of colour or texture, it’s just made it a little more considered.

Models on the Chanel autumn/winter 2026 runway in Paris, designed by Matthieu Blazy

(Image credit: Launchmetrics: Chanel)

One of the biggest takeaways critics have come to consider is that it’s not just what you are buying, but how you are wearing it. As Barbara Janeczek, curation manager at global fashion shopping platform Lyst, points out, “A/W26 feels less about the hot piece and more about hot styling. I’m much more interested in how things are being put together: unexpected layers, sheer fabrics under tailoring, taffeta during the day, sporty pieces with silk. Texture is doing a lot of the work,” she says. This was certainly evident at Celine, where rings, cummerbunds and medallion belts were come of the most-talked about details. For Janeczek, it was the work of Raf Simons and Miuccia Prada; “The Prada show felt like the blueprint, with models transforming through multiple looks in real time. It made me want to go home, open my wardrobe and see what else I could do with the clothes I already own.” Take note.

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