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After nine hours in the air, eating questionable airline food, collecting my luggage, and making my way to my BnB in 40-degree weather, it was hard to feel excited about Paris Fashion Week. The days ahead suddenly felt a little daunting, already exhausted.
Knowing this, I booked an appointment with Gajiroc on my very first day. The conversations I have there are always calming, and it felt like the perfect way to ease into the week. Rather than rushing into the chaos or aimlessly wandering Paris alongside waves of tourists, I wanted to begin somewhere familiar, somewhere that helped me settle into the rhythm of it all.
While most may think fashion week is constant chaos, and it is, there are pockets where time slows down. You can breathe, take the space you need.
Yes, you’re surrounded by beautifully made clothes, but my appointments are rarely just about the garments. They’re about catching up with people I’ve gotten to know over previous seasons, asking how they’ve been, what’s new in their lives, and simply checking in. It’s that sense of community that keeps bringing me back. As much as I love discovering new brands, I also value the friendships that come with them. The human element is just as important as the clothes themselves.
Saying that, this season I received an increase of invitations to runway shows. While the schedule was still packed with showroom appointments from brands like De Dam Foundation, Irenisa, Sororam, Sine & Cosine, and a handful of others, I also received invitations to larger-scale productions from Kiko Kostadinov, Auralee, Soshiotsuki, and more.
It’s still surreal being seated as press alongside people I’ve looked up to for years. (I kept running into Edward Buchanan throughout the week, we were practically following each other from venue to venue.) It’s a genuine privilege to attend Paris Fashion Week, cover these collections, and spend time with the people behind them. A few years ago, I never would’ve imagined this would become part of my life, but it’s now become a side-job of sorts.
As always, thank you for reading and supporting what I’m building here. Enough of the sentimental shit though, let’s talk about clothes.
(Sidenote: I didn't include Auralee in this round-up because I wrote a separate review of the collection, which you can find here.)
Day 1 — Gajiroc
The collection itself felt light, with Gi Tae introducing more shades of blue throughout (keep this in mind). It reminded me of a Matisse painting, the kind of blue that’s subtle, yet somehow lingers in your mind long after you’ve left.
This sounds romantic. Am I ….. Parisian?
(Answer: No)
I found myself returning to the Windowpane Long Sleeve Shirt, cut from handwoven Indian cotton in a rich navy, with delicate three-line details stitched in sporadically by hand. Running my fingers through it, wishing I were wearing that instead. Alongside the Blue Kelsch Cyclist Jacket and the Apricot Plaid Wool Long Sleeve Shirt (the latter crafted from Japanese deadstock wool dating back to the early 2000s), it was another reminder of how sharp Gi Tae’s has already become.
Despite the label still being so young, his ability to source exceptional fabrics and build thoughtful garments continues to stand out.
Gajiroc remains a staple of every Paris trip. Each season, Gi Tae’s work grows stronger, but more importantly, every visit feels a little less like catching up with a designer and a little more like catching up with a friend.
Reverberate
Kensuke Hoshi, founder and designer of the Japanese label, met me at the door with open arms and a cold bottle of Perrier. If it weren’t for that drink, I might’ve (definitely) fainted in the showroom. Not exactly the look you want as press, though I suppose it adds character. The collection is titled Control/Un-Control, and Kensuke described it as an exploration of what happens when a tightly controlled pattern-making process and stitching meets unpredictable fabrics, and that’s exactly what he delivered.
If this were an art show, it would sit somewhere between fashion and a mixed-media installation.
One standout set, a lightweight jacket and matching shorts, was made from soft wool and hand-painted from top to bottom, adding a second layer of texture and character. It’s not a new idea in itself, but the execution carried a restraint and clarity that felt considered, almost Margiela-esque.
The rest of the collection moved through linens, organic cottons, and a strong range of tailoring, from Texas-toast brown suiting to a brilliant leather blazer/jacket (seen in my latest IG post) that would have you sweating in any climate m. It reminded of Willem Defoe’s look in Grand Budapest Hotel, something I’d trade a kidney for.
Day 2 — The Saturday Project
Day 2 started with a visit to Good People Showroom to see The Saturday Project, a Canadian brand by two of the most wonderful people (Adam and Grace), both based in Victoria and friends of mine. It’s been special seeing how much the brand has grown since I first met them ages ago. The collection feels really cohesive overall, sleek, considered, but with just enough detail to make it feel intentional rather than minimal.
There was one piece in particular that stood out to me: a light pink, almost blush-toned jacket. Keep that colour in mind as well, because it was the first of many I ended up seeing throughout the week — soft pinks, muted blushes, those subtle tones that seem to be quietly buzzing through menswear at the moment.
Another standout was a 100% linen, undyed shirt made in Japan and dew-retted in Belgium. Upon further inspection, I noticed it had these small yellow flecks throughout the fabric. They come from the flowers and stalks used in the process of producing the textile. It’s a small detail, but it shifts the piece from something more uniform into something with a bit of sentiment behind it.
Adam’s creative direction feels more confident each passing season, and I’m eager to see what he’s got in store for FW. Don’t sleep on them.
Carter Young
There’s nothing better than seeing someone giddy about their work. Carter Altman, one of the first people to give me a chance when I was starting out, presented a collection he was so obviously proud of, and rightly so. You could feel that excitement throughout our conversation.
The colour palette was cohesive, the fabric selection thoughtful, and the imagery accompanying the collection couldn’t have suited it better. Everything clicked, the stars aligned perfectly on this one.
A personal highlight was the cherry red zip blouson that I really wanted to steal, but ultimately decided against because I wasn’t too keen on being imprisoned in France. The knitwear was another standout, exaggerated in all the right ways while remaining incredibly wearable, making for the ideal layering piece regardless of what season you’re in.
Also, I have to bring up the denim. Every pair had the peeeeeeerfect fade to it, like Altman had worn them himself until it reached its prime state, then decided to pass them on to you. Saves you from doing all the hard work yourself.
The shirting and jackets were another two of Carter’s strongest categories. The sheer wool shirt this season struck this perfect balance between sophistication and sluttiness. I actually told Carter of this lovely mix — it’s the kind of shirt that makes you want to walk up to someone, say, “I have a Criterion account,” while showing a subtle, confident sense of sex appeal.
That’s Carter Young at his best.
Not the sluttiness part (lol), but seeing a designer completely in the zone, creating a thoughtful, confident take on modern Americana. You can tell that every decision was made with intention, from the fabrics to the proportions, and everything in-between.
It’s a wonderful thing watching a designer enter their flow state.
Amomento
If I can be fully completely transparent, there wasn’t anything particularly extraordinary here, and I was kind of expecting that. I’ve known the brand for some time now, and it’s never really been one that I look to when I want to feel inspired, or see some new approach to design, styling, or silhouette.
Unfortunately, that’s exactly how I felt walking through the presentation.
Truthfully, I found the setting and overall atmosphere more inspiring than the collection itself. It was largely made up of familiar pieces we’ve seen before — nylon flight jackets, poly overcoats, cotton shirts that loosely resemble Lemaire’s, clean everyday staples, and the kind of wardrobe basics Amomento has become known for. There’s absolutely nothing wrong with that, but I also don’t know if there was enough here to justify presenting it in this format. The only thing that really stood out to me were these lace-boots that blended traits of a combat boot with a traditional boxing shoe.
It’s just very Amomento. If you’ve followed the brand for any length of time, you more or less know what you’re getting, and this season didn’t really challenge that expectation. The drinks downstairs gave me more life than the collection did, if that says anything.
Snoozefest.
Toward(s)
This was easily one of the standouts of the season.
Formerly known as Outbreak Lab, and a brand I’ve interviewed before, Toward(s) has undergone, stylistically, a pretty dramatic shift. Their earlier collections leaned into a more futuristic aesthetic, almost Kiko Kostadinov-adjacent at times, with technical zip jackets and hardware inspired by NASA imagery, including buttons modelled after moon rocks and meteorites.
Since the rebrand though, the work feels far more grounded. The collection is rooted in traditional craftsmanship and dyeing techniques, while also feeling significantly more wearable than what came before. Instead of chasing futuristic silhouettes, Divyam has turned his attention to the past, presenting beautifully cut zip jackets, welt shirts, overcoats, and garments treated with historical Indian mud-dyeing and natural dyeing techniques.
They’re pieces made for the present, built to last well into the future, yet shaped by methods that have existed for generations. Inspiring.
One of the more fascinating details Divyam shared was that much of the dyeing process was informed by a book he found from the 1980s documenting traditional techniques. That level of research is reflected throughout the collection. Every fabric, dye treatment, and pattern feels incredibly deliberate. Nothing exists simply because it looks interesting — everything has a purpose.
There’s a reason why Toward(s) has become one of the more talked-about brands during Paris Fashion Week, and after seeing this collection in person, I completely understand why. With a strong showing for FW26, and another brilliant collection this season, Divyam has firmly established himself as one of my must-see brands in Paris.
What impressed me most wasn’t just the craftsmanship, but the scale of it all. Divyam told me the collection consists of roughly 150 individuals SKUs. Considering the number of custom fabrics, the extensive dye work, and the variety of cuts being developed simultaneously, that’s honestly difficult to comprehend.
Most brands would struggle to maintain this level of consistency across a collection half that size, yet after handling each garment, I can confidently say the quality never slipped. I genuinely don’t know how he’s managed to pull this off.
Notes:
Divyam showed me an image of an artisan using their own body as a structure rather than a conventional loom, the textile stretched across their lap and legs as each thread was manipulated by hand. It was probably the most insane thing I'd seen all week, but it speaks to just how deeply he immerses himself in these traditions — not simply borrowing from them, but taking the time to understand and respect the craft behind them.
Named after the Japanese word for boat, B.O.T.O. brought in solid attention this season, and it comes as no surprise considering their shows are a modern, playful twist on a classic boat shoe. Their River Lace in Matcha remains at the tippy top of shoes I’d love to own — too bad they’re all outta my size.
Left: The River Lace by B.O.T.O. Right: The Genesis Barefoot Sandal by Literary Sport/Xero Shoes. I had to miss the Literary Sport/Xero Shoes event as I was switching BnBs, but after looking at Louis’ dogs, I can confidently say I absolutely need a pair. For context, Literary Sport partnered with Xero Shoes to release an updated rendition of their Genesis barefoot sandal. No qualms, no notes — it’s a need.
There are rumblings of businesses opting out of working with Korean designers because their garments are made in Korea, which is quite disappointing. There seems to be a stigma that made in Korea means of lesser quality, when there are several designers proving otherwise.
One particular creator has been called out by various people I know. Whether it’s weird interactions at their event, making inane observations online, sending passive-aggressive DMs, or openly admitting that their goal is to monetize every aspect of their life — including their children. They’re a prime example of everything wrong with content creation. Sir, no one wants to attend your brand dinner, and no one uses the term “fam” anymore. Especially if you’re over the age of 30, ain’t nothing Sprezzatura about that.
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