TREND | Trés Chic is Trés Passé! ---The Top 6 CHICEST Collections From Spring 2026

Farewell to the days of looking like a bum in Balenci and hello (again) to Chic. Years ago a colleague referred to me as "chic" and even back then I was puzzled by the comment - my initial reply "lol do people still say chic?" Trés chic is a French phrase which translates in English to "very stylish" or "very fashionable" - so yes, I can totally understand why someone would direct this to moi. However, my pause in readily accepting the label is twofold: the term is steeped in Eurocentric views of beauty, style, and cultural and "chic" like "fashionista" and "couture"... kitschy dated fashion jargon that are the void of any meaning due to their excessive and flamboyant use. Nonetheless, tentpole collections for Spring 2026 while many presented by new creative directors at the helm showed nostalgic renditions as nouvelle chic. 

Spring collection for retail businesses sets the tone for the entire year. Usually targeted for shelves, racks and e-commerce shops for early February and is a key full-price selling period and inventory wise it is a major investment. Spring newness typically has a full-price lifespam of three months before goods maybe include in promotional events and farther down the line placed on sale then finally markdown. However, flops do occur, which negatively effect a business's profitability and can sometimes lead to a lost in momentum like a snowball growing larger as it goes down hill. But in the fashion business the snowball is made up of clothes that we, the consumers, did not buy and as a result as more clothes are released the greater the sales and inventory risk become. 

In preparation, designers and their staff immersed themselves in the archives of their respective maisons attempting to infuse the heritage, spirit, and DNA into a contemporary refashioning of the status quo. For these Spring 2026 collections the order of the day was chic - traditional, classic, sentimental. 

6. VERSACE

The word that comes to mind is mature - like in a self confident and self assured way, the result of the natural outgrowth from work an individual does to take themselves to a higher level of consciousness. There was sex appeal not overt or obvious and definitely not to be confused with "sexiness." Was it chic - yes. The mood was definitely unpinned by as strong sense of nostalgia yet it still...WORKED. The collection appeals directly to today's contemporary and luxury client - not in a theoretical and abstract sense but very much in tune with what she wants to wear - today on the streets of New York.  

Spring 2026 was a sort of re-birthing for Versace ushering in the era of effortless cool. The debut collection was presented by newly appointed chief creative director Dario Vitale previously Miu Miu's design director for ready-to-wear and brand image. The new hire coincides with Italy based Prada S.p.A. successful acquisition of Versace - perviously among the stable of brands owned by New York based fashion company Capri Holdings - now back home closer to it roots.

Overall, ready-to-wear was a hit with insignificant misses - for example I would have like to see more of a range of sneakers, although I loved the ballet sneakers. I loathe colored, stripped, and any graph designs on denim jeans it gives the product a short shelf life. On Versace.com denim jeans can range anywhere between $950 - $1,750 - which is definitely an investment that I would not shell out for a pair of colorful vertical striped jeans. Me, I am VERY Americano about jeans I think regardless of silhouette - high waist, low rider baggy, straight leg - the fit and wash must be PERFECT! I would also be interested to see if there are any commercialization edit of the Miami Beach style carved out t-shirts. 

In an interview with WWD Vitale proclaims "I've never really been interested in fantasy. I'm much more interested in reality." While this collection is not fantasy and whimsical in a John Galliano sense there is a sort of  Ralph Lauren degree of a dream world. Fashion forward individuals even the most monochrome are inspired by something - an era, person, history, novels, etc. However there is a fine balance between inspiration and costume dressing. I want to look like my dream without trying hard - a innate sense of personal style. 

The ready-to-wear collection was a strong introduction to this new Versace it definitely gives a more youthful impression - ease and comfort. The clothes just seemed to flow as the models walked - I can literally see any look on the A train or running late to work from Crown Heights on the 4 train to Madison Avenue. 

There was something from every category of ready-to-wear and accessories I would buy!!! Handbags were amazing a collection of lady bags the perfect balance between sculptural and wearability  - leather bucket bags, shoulder bags, pocketbooks, chained leather wallets and quiet as its kept the fanny packs were even good. Bottoms were strong I absolutely loved Look 30 from head to toe - beautiful dark denim high-waisted jeans with brown patches of leather and suede (absolutely SICKENING), paired with a cropped black leather jacket in the silhouette of a denim barn jacket mix media leather and denim, lastly the shoes (the metaphoric icing on the cake ) a pair of teal and white pumps -  I think this was the climax of the show. Look 43 was also very strong - some type of animal skin high-waisted leather brown pants, a vertical stripped sleeveless v-neck sweater on top of a white-t shirt  and accessorized with a beautiful royal blue brown trim shoulder bag with gold accent. And I absolutely adored the last look a mix media leather and suede bomber jacket paired with a plum leather shoulder bag - the leather jacket looks so SOFT! I also loved the varies lightweight knitwear throughout the collection. The stying was also amazing - unzipped fly, double belting, the glimpse of the lime green under garment from the back of  Look 15 dress and the peak of red undies from Look 45.

5. CHLOÉ

In keeping with her previous collections Chemena Kamali channeled Lagerfeld's Chloé years of the late '70s and '80s to explore couture within the Chloé context for Spring 2026. The collection rightfully entitled "Entre Deux" or "Between Two" in English attempts to both merger and modify couture sensibility with prêt à porter techniques. 

Similarly to Gabriella "Gaby" Aghion who in Paris founded Chloé in the 1950s admired the couture trends of the day however "...found the concept a little out of date - a little artificial..." and felt "...beauty and quality should be seen on women in the streets." Now, over 70 years removed from its founder and many creative directors later the brand is still attempting to parallel the two concepts - the élite meets the street. 

The Spring 2026 collection consisting of 57 looks heavily inspired by 1950s swimwear. Models bopped down the runway in an array of colors, floral-prints, heavy draping, ruffles, pleats, lace trimming and an '80s style emphasis of the shoulders. 

The dress was the focal point of ready-to-wear designed in a variety of styles - knee length dramatic draped and bowed at the hip, baby-dolls, and swimsuitesque miniature minis. Tops ranged from varies henley style shirts and tiered ruffled crop tops. Bottoms consisted of high waist cigarette pants with and without stirrups, sarong style skirts, tiered flared pencil skirts (like why?), and a collection of (awkward) not quite straight leg denim jeans in pastel shades (I hate colored denim jeans). Outerwear had to be the biggest miss of all ready-to-wear categories the selection of heavily draped at various lengths of cocoon anoraks dusters with too much of an emphasis on the shoulders. For accessories handbags took the shape of '50s style swimming cap - there was one swan shaped chain clutch that I absolutely adored! And probably the most note worthy category was footwear - at best was cool. While it to be a miss to not include any new sneakers I did think the selection of hybrid pool slide heels was a good take on innovation - thongs, kitten, peep toe, pumps, and slingback - which might be worth a few blisters.  

The collection gives more retrospective than commercial appeal. It was a too literal interpretation relying on an attachment to the past to justify its relevance. 

The collection needs major editing - especially if it is to appeal to the North America female shoppers of Generation-X, Millennial, and Generation-Z. The North America female is fashion-savvy, her style and personality are well crafted and thoughtful, her view of herself is not superficial or in constant flux and definitely is not swayed by trends or group think. When she invest in herself be it in her continues personal growth - education, certifications, books - or her wardrobe it is all done consciously. This client values special, limited quality novelty pieces and will invest at full-price - within reason. Currently Chloé's dress offering on its website require strict maintenance to upkeep its products. This adds an additional barrier to conversion when clients are considering buying Chloé's product as the care is a after purchase investment of time and money - I mean most products are unable to be machine washed instructing clients to instead "...entrust its care to professional cleaning services..." This is a significantly barrier to purchase. 

Although the clothes are quite retro the most modern element of the ready-to-wear was the use of cotton poplin - referred to as ""poor" fabric" in the show notes by the designer - is a high quality and durability fabric. Cotton poplin is usually able to be preserved by washing garments in cold water and drip dried. I would be interested in understanding the care instructions for Spring's collection as the design of the dresses and tops are intricate. 

4. SAINT LAURENT

TO THE GUILLOTINE...OFF WITH ANTHONY VACCARELLO'S HEAD !!!!! (lol totally metaphorical) 

I almost despise of Saint Laurent since Hedi Slimane left - I vividly remember the aesthetic shift as soon as he left it was such a jarring experience. I remember I use to frequently scan the YSL website to simply look at how nice the product was across all categories I especially loved the t-shirts in ready-to-wear and the footwear assortment. Now, season after season looking at Saint Laurent is like a really bad joke - obnoxious and thoroughly contrived. 

Spring 2026 collection was abominable - Saint Laurent presents a regurgitation of extravagant costumes totally detached from reality. In an interview with Vogue Vaccarello's shared his inspiration for the Spring 2026 collection "I wanted to start with, like, the idea of cruising from the gay scene in Tuileries (gardens)" - "I wanted to redo it (here) in front of the Trocadero, have these women in leather cruising round a big YSL." Vaccarello was successful in draining all the feminine energy out of Saint Laurent - its almost as though he hates women. 

The show started with an assortment of ill fitted knee length leather pencil skirted, oversized bow shirts, toped with leather biker-jackets. How did something so elegant, soft, and sensual as a bow blouse become so manly and hypermasculine? The leather skirts lacked any feminine qualities and for a "pencil" silhouette they were quite wide and baggy. The most elegant element was probably the sheer hosiery. As the show continues Vaccarello described his woMAN progressively gets "soft" which translates to a colorful assortment of monochromatic nylon dresses and jackets concluding with voluminous billowing gowns with puffed sleeves and cascading ruffles.  

In the same interview with Vogue Vaccarello described the collection "Louche artistocrat" which translates in English to "Shady aristocrat" - Vaccarello is totally tone deaf and does not design for today's fashion forward woman - particularly the diverse landscape of North American market. 

This is also evident in Kering's - the parent company of the brand - 2025 first-half finance publication, Saint Laurent's revenue is down 10 percent compared to the year prior and is less profitable with margins down 17 percent. About 80 percent of Saint Laurent's revenue is driven by directly operated stores which is experiencing a steeper drop of 12 percent compared to the same period last year. 

Now of course the Spring 2026 collection is not reflected in these numbers however, Saint Laurent has been producing bin collections for sometime now - footwear, handbags, and accessories categories included. Ready-to-wear needs a more modern approach and what might be the most imperative a greater awareness of consumers. 

3. BALENCIAGA

Demna will be sorely missed. Demna's Balenciaga was exciting and exhilarating everyone yarned for a Balenciaga hoodie, a pair of sneakers, a dress, a t-shirt, or a bag - ANYTHING to be part of the world. We will never see it again and it is unfortunate. Demna's vision and taste brought Balenciaga into the 21 Century - into the digital age. A time in world and man's history when life is becoming more democratic from a global perspective. No longer do a small group of individuals or institutions control media, control where people shop, and control the narrative. The Internet and the world wide web has given every single individual no matter race, religion, or economic position the power to have their opinion heard by the global community. Balenciaga during Demna's era represented that cultural shift. 

Now,  its no surprise that traditional fashion publications like WWD and Vogue would both rave and praise a collection that opens with a almost identical dress dating back to 1957 designed by the brand's founder.  

Balenciaga's new creative director Pierpaolo Piccioli for his first collection rather than design product for today's modern fashion consumer to wear on her way to work, to go on a date, or take a cute picture for Instagram the incoming designer decides to take us all down history lane. How absolutely fruitless, the core business objective of a fashion company is to sell clothes not to teach a history lesson. Piccioli's preoccupation with the past has either clouded his vision or he has never had a unique idea of his own - I never paid any attention to him during his tenure at Valentino. Why was it necessary to piece meal a collection from not only prior creative directors but go as far back at Cristobal Balenciaga?

According to Vogue the collection is a calling to "a more sophisticated customer, one who has had nowhere to go for a long time..." how absolute elitist and tone deaf especially considering Demna was recently PROMOTED to creative director of Gucci - the largest revenue contributor for Kering. Demna's vision and is also reported to have supported in the growth of the business from a $360 million dollar to a $2 billion dollar business. The opinion of Vogue only services to reinforce control and pseudo authority by a small few to the masses. Kering had a similar belief when it fired head designer Alessandro Michele from Gucci. Kering's business managers believed Michele's unique and trend driven collections were reliant too heavily on "aspirational shoppers" a consumer segment who the company described as "influential but fickle" according to a Wall Street Journal article and instead managers wanted to target  "aesthetically conservative - big-spenders" who they believed would place Gucci on the same footing as Hermés and Chanel. In comes Sabato De Sarno, a relatively no-name designer, hired to usher Gucci into a new era of style "quiet and elegant." To make a long story less long, that plan backfired miserably and Gucci's revenue continued to nose dive and De Sarno was shortly there after out of a job! Managers at Kering similar to Vogue's tone deaf editors are fixated on a dated stereotype of who the "luxury consumer" today.

Additionally, for Vogue the collection was "...not a gimmick or a meme-worthy joke in sight, just beautiful and realistic fashion showing an optimistic way forward..." Vogue is totally pretentious and itself on its back foot attempting to be relevant and play catch up with current cultural. This collection was nothing short of a gimmick  - heavy handed references and contrived self importance. In an interview with WWD Piccioli describes his goal of approach his work from a couture perspective which he describes  as "construction, study, and research the result is a contrived collection " - a attempt at being smart. The collection most of which is formal wear which significantly limits the long term wearability and  pool of customers who would have purchase. However, lets see how this attempt to bring back couture - which was never a profitable business model - goes when we are literally in the era of Streetwear and mass production and standardized sizing. 

 The show more akin to a "Greatest Hit" album - there is no retail appeal at all and I would suggest a museum as a more fitting /appropriate venue but why have the copycat when you can have the originals?  #RIPBALENCIAGA

2. DIOR 

It was really hard for me to place Jonathan Anderson on this list at #2 Chicest collection for Spring 2026. 

I think there needs to be a serious paradigm shift similar to that of Demna Gvasalia when he took the reins as creative director of Balenciaga and completely wiped the slate clean. Among designers who are hired at heritage fashion brands there is a repetitive truism of "respecting the past" and might I add these companies which has been brought and sold many times over since the death of their founders in reality have only a superficial connection to the original designers. Business models have evolved and consumers have diversified greatly since the inception of these maisons - why have the clothes continue to look so DATED?! 

The Wall Street Journal reported during the early days of the announced creative shift at Dior that the brand's parent company LVMH recorder a 5% decline in revenue in the first three months of 2025 compared to the same period last year. While the company does not disclose Dior's figure, which is ranked as the group's biggest contributor of profits after Louis Vuitton, Finance Chief Cecile Cabanis said during an earnings call that the brand performed slightly below the average of the division. A Women's Wear Daily report from earlier this year also quoted HSBC highlighting Dior's women's division "under pressure". 

There is no doubt homework was done as was illustrated by the various iterations of the 1947 Bar Jacket. However, this is yet another retrospective we could have all done without! 

There was absolutely nothing exhilarating across any categories nothing that made me contemplate "...I wouldn't pay my cell phone bill for those shoes..." which is disappointing coming from Jonathan Anderson. As someone who has actively supported Jonathan Anderson across both his eponymous line JW Anderson and during his tenure at Loewe I am very familiar with his design language which is particular and unique less democratic than say Demna but equally as relevant and modern - unfortunately this collection across all categories is a major flop. 

There were small pockets of pleasantries - I adored the denim mini skirts which reminded me of my childhood during the aughts watching MTV Laguna Beach or The Hills and the baggy denim jeans. But the collection which is READY-TO-WEAR requires such a degree of modernization - sneakers, t-shirts, knitwear, flats, easy dresses just to name a few. There is also nothing "collectable" similar to the John Galliano "J'Adore Dior" t-shirts which is an important element for modern day luxury ready-to-wear assortments.  This collection is far too formal ( a bit obnoxious - i.e the 18 century high collar and capes?) and attempts to speak above the head of the client rather than to her.

1. CHANEL

I am the type of person who can admit when they have got something wrong. I was quite snide at the news of yet another announcement of a shift in creative direction at a major fashion house. The cynicism is not without good reason - the continuous game of music chairs and rotating in and out of the same names would give anyone fatigue. However, as I write this review and rewatching Matthieu Blazy, Chanel's newly appointed creative director, present his first Paris runway show I think to myself "I HAVE THE RIGHT TO CHANGE MY MIND". 

Now when I think back (I also reviewed previous runway shows) I surmise during Karl Lagerfeld's last days Virginie Viard contributed greatly to the aesthetic direction of the collections. There was a softness that could only come from a woman. However, thats not to say Lagerfeld lacked  modern taste and cultural awareness but I do think they may have worked together similar to Miuccia Prada and Raf Simons. The Chanel collections were heavy in brand code but and most important spoke to the contemporary woman of today. 

This new "universe" seemed to be in retrograde - something (everything) was terribly off. Not one look that walked the runway was flattering, her shoes looked old, her jewelry gaudy, and her purse rundown and disfigured. 

The collection consisted of 77 looks that were too loud, too many colors, too many patterns, and heavy fabrics. Varies boxy tops and square shaped cropped blazers paired mainly with skirts - of the 77 looks there were ONLY four looks with PANTS! I mean its just pure insanity to believe women today in the 21st century - who work, they may take public transportation to work, who have children - would wear skirts and dresses more than she wears PANTS! This collection seem to me like an individual who is in over their head and without any creative self control or awareness of the market - particularly women in the North America market. 

Why was the collection so formal or evening wear heavy - ready-to-wear had none of the element of a modern collection. No denim jeans, no sneakers, no easy knit tops, no easy dresses, no hoodies and nothing collectable. This collection is the opposite of how female shoppers particularly in the United States shop for higher end brands - she wants wardrobe pieces, pieces that will not cost her an additional expense and time to care for and maintain, definitely something that is interchangeable and looks great dressed up or down. Nothing here caters to that consumer AT ALL! 

Chanel is well deserving of the number  #1 slot as Chicest Spring 2026 collection - dated, old,  and overwhelmingly tone deaf. I think the most egregious part was the  unwarranted standing ovations at the end of the show. And of course no serious review was given by any of the legacy fashion publications which does absolutely no service to their creditably, the brand, and mainly the consumers. 

What do you think - is Chic IN or OUT? Leave a comment below