AW26: Corsets and crinolines, the 18th century as a value driver
The autumn/winter 2026/2027 collections, presented during Paris Fashion Week in March 2026, revealed a common dynamic: the revival of 18th-century codes. These are not just a constant stylistic reference. They also offer a response to the current challenges in the luxury fashion sector.
Three exhibitions (Palais Galliera, Musée des Arts Décoratifs, Musée Cognac-Jay) and several looks for AW26/27 shown at PFW point to this. The 18th century is more than just a source of stylistic inspiration; it is a strategic lever.
FashionUnited highlights this new trend with examples from the luxury segment (Dior, Louis Vuitton, Nina Ricci, Saint Laurent), independent brands (Cecilie Bahnsen, Stella McCartney, AlainPaul) and emerging designers (Henri Maheu, r.le).
Palais Galliera: 18th century or the utopia of appearance
The exhibition 'La mode au XVIIIᵉ siècle. Un héritage fantasmé' (translated: Fashion in the 18th century. A fantasised heritage) at the Palais Galliera, Paris's fashion museum, runs until July 12, 2026 and reveals what fashion was in the 18th century. It begins with original garments: waists accentuated by corsets, with one believed to have belonged to Marie Antoinette on display; high-quality fabrics such as lace, brocade, jacquard and passementerie; side volume created by crinolines; and pale pink tones and floral patterns.
The exhibition then shows the various interpretations by fashion designers from the 19th century to the present day. It illustrates how this style has been reinterpreted in every era of history, like a lost paradise.
Reactivation of the 18th century: Between differentiation, image and brand value
After several seasons dominated by minimalism and ‘quiet luxury’, some brands seem to be re-establishing clothing as a means of social distinction. In response to the market's aesthetic saturation, these silhouettes create an immediate visual impact. They contribute to an image economy at a time when social networks constantly accelerate the creation and obsolescence of trends.
Furthermore, the use of elaborate constructions highlights the value of savoir-faire, which is highly prized in the luxury and premium sectors. Finally, the increasing complexity of the silhouettes could make them more difficult to copy in a heightened competitive environment.
The 18th-century style elements in the AW26/27 collections are therefore not an exact replica. They are, rather, a response to the contemporary challenges of the fashion industry: differentiation, desirability, image and added value. Historical references lend cultural legitimacy and support premium strategies.
Interpretations vary depending on the fashion house. Some offer a spectacular reading, while others provide a more structural or intimate one. Instead of a literal return, the collections offer a reinterpretation of these codes.
Cecilie Bahnsen: Contemporary reinterpretation of volume
For her AW26/27 collection, Danish designer Cecilie Bahnsen creates a strong contrast. She combines a close-fitting top, structured with visible lacing or straps, with a skirt. This is supported by layers of tulle and organza, developing side extensions similar to panniers and crinolines.
Floral lace, transparency and cut edges reinforce the 18th-century reference. At the same time, a modern look is created by combining them with streetwear pieces and technical elements from sportswear. This is how historical references are translated into a contemporary wardrobe.
Dior: Luxury as an instrument of social representation
By choosing the Jardin des Tuileries as the venue for the fashion show, Jonathan Anderson revives the heritage of clothing as a means of distinction. This location is historically associated with promenades and social self-representation. Clothing is thus exposed to the play of gazes and staging.
This approach is evident in structured silhouettes with fitted cuts and flared peplums. Jacquard fabrics with floral patterns, reminiscent of furnishing fabrics, reinforce the connection to a decorative aesthetic of the 17th and 18th centuries.
Louis Vuitton: When artisanal heritage meets technology
Nicolas Ghesquière for the French fashion house Louis Vuitton places the AW26 collection in a broader context. He speaks of a ‘new folklore’ and questions how clothing, much like traditional costumes, conveys collective stories and affiliations. This approach is reminiscent of the dress codes of past centuries, where clothing served to identify social classes.
Here, technology and craftsmanship merge to enter an era of excellence. This aspiration is particularly important to the house's parent company, LVMH.
Henri Maheu and Stella McCartney: From Watteau gown to liberation of the female silhouette
As a newcomer to the fashion scene, Henri Maheu views clothing as a reassembled archive. Here, found and reinterpreted pieces come together. His fluid volumes, with their drape and freedom of movement, are reminiscent of ‘robes à la française’. These were named Watteau gowns in the 19th century after the paintings of Watteau. Their back is characterised by a double row of box pleats.
British designer Stella McCartney, on the other hand, does not directly quote the 18th century. She offers her own vision with a fringed dress that widens the hips like a pannier, but unlike the rigid constructions of the era, it liberates movement. Through the use of Chantilly lace, she also indirectly connects to an aestheticisation of underwear that developed in the 18th century.
r.le: Time of innocence
Lingerie is also a theme in the collection by r.le, a Chinese brand making its debut at Paris Fashion Week. Dressing gowns, corsets, visible underwear, ruched necklines, ribbons and soft volumes transform a historical heritage into a contemporary language. This moves between innocence, childhood games—as the collection is inspired by childhood—and identity formation.
The r.le fashion show took place in the former apartment of Françoise Sagan. The setting was a perfect match for the fantasy of an 18th century characterised by lightness and nonchalance. It is a timeless aesthetic for which Marie Antoinette, a controversial figure in her lifetime, has gradually established herself as a lasting style reference, particularly in Asian markets.
Nina Ricci: Theatrical and unforgettable silhouettes
Harris Reed for the French fashion house Nina Ricci offers what is arguably the most explicit interpretation of this revival of 18th-century codes. In a market saturated with minimalism and ‘quiet luxury’, the designer opts for a visible, almost theatrical, yet realistic narrative. Structured corsets, visible crinolines, floral jacquards and sugar-coloured sequins recall the silhouettes of Marie Antoinette's court. However, they are combined with oversized jumpers, utility boots or leopard prints.
This is a way to attract attention while satisfying a demand: for a luxury that combines fantasy and functionality.
It should be noted that Harris Reed has ended his collaboration with Nina Ricci to focus on his own brand.
Saint Laurent: When lace dresses the body
Anthony Vaccarello for the French fashion house Saint Laurent does not draw direct inspiration from the 18th century. Nevertheless, some silhouettes are reminiscent of the side volume of panniers, particularly the black lace dresses with flared hips. Lace, which often serves as an ornament, is technically crafted here.
AlainPaul: Invitation to the archives of the 18th century
Finally, AlainPaul was invited by the Musée des Arts Décoratifs (MAD). He was asked to reinterpret the immersive exhibition ‘Une journée au XVIIIᵉ siècle, chronique d’un hôtel particulier’ (translated: A day in the 18th century – chronicle of a private mansion). The exhibition, which reconstructs a day in a Parisian aristocratic house around 1780, runs until July 5, 2026.
AlainPaul's AW26 collection is based on a study of the 18th-century clothing archives held at the MAD. Thus, the panniers of the 18th century are reinterpreted in flowing dresses and skirts.
The decorative codes of the 18th century, such as ribbons, bows, floral patterns or tapestry fabrics, are also reinterpreted. This is done in particular through relief prints and embroideries inspired by antique fabrics. The ‘corps à baleine’, the forerunner of the corset, is redesigned in technical knit. This preserves the structure while allowing for flexibility and movement.
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