From top left, clockwise: Fall 2016 couture looks from Maison Margiela, Atelier Versace, Fendi, Chanel, Givenchy, Viktor & Rolf, Valentino, Armani Privé, and Iris van Herpen.
Collage by Vogue

The fall 2026 couture season is almost here (stay tuned), so it’s a great time to look back about 20 years to fall 2016. That season was especially busy—Vogue Runway covered 25 collections—because the Fédération de la Haute Couture had decided to invite guest designers. Among those making their Paris debut were Giles Deacon, who had closed his ready-to-wear line to launch made-in-the-UK custom pieces, and Naples-born Francesco Scognamiglio. The schedule also included Ronald van der Kemp and Alberta Ferretti (who showed her Limited Edition line), both exploring the then-new idea of demi-couture.

The runways offered a wide range of impressions. There were Shakespearean touches at Valentino, boho vibes at Zuhair Murad, and gift-wrapped looks at Atelier Versace and Alexis Mabille. Frothy, frilly designs at Chanel and Giambattista Valli were balanced by more restrained styles at Armani Privé and Christian Dior (the latter designed by Lucie Meier and Serge Ruffieux). Karl Lagerfeld brought a fairy tale theme to Fendi’s show in Rome, and Iris van Herpen presented a bubble dress. At Viktor & Rolf, a Dickensian, scrappy look came from designs using remade garments and existing fabrics; similar creativity appeared at Maison Margiela and Ronald van der Kemp. At Givenchy, Riccardo Tisci looked back to ancient Greece; Gilles Mendel, visiting from New York, referenced Keith Haring; and Schiaparelli’s Bertrand Guyon drew from the house founder’s 1938 Circus collection—a reminder that playfulness is key in fashion’s lab, also known as haute couture.

Fendi
“I called the show Legends and Fairy Tales,” Lagerfeld said, “because this collection isn’t for everyone like ready-to-wear; it’s very special for people with a special kind of life.”
To celebrate its 90th anniversary, Fendi flew guests from Paris to Rome for a haute fourrure show at the Trevi Fountain. Models walked on a clear runway over the pools. “Karl Lagerfeld’s imagination focused on the North when he designed this collection, which referenced East of the Sun and West of the Moon, a 1914 book of fairy tales illustrated by Danish artist Kay Nielsen,” wrote Nicole Phelps.

Iris van Herpen
“The study of cymatics was the starting point for Iris van Herpen’s new couture collection. For those into arts and letters, cymatics shows sound waves as evolving geometric patterns,” explained Nicole Phelps. Japanese musician Kazuya Nagaya created a Zen bowl soundscape for the show.

Givenchy
These photos were taken after the looks appeared in the brand’s menswear show. All the better to see them, my dear. “The close-up view revealed the variety of intricate pleating used to create the columns,” wrote Sarah Mower. “Some are decorated with micro sequins, plastic paillettes, or tiny grommets.”

Valentino
The last Valentino collection co-designed by Maria Grazia Chiuri and Pierpaolo Piccioli marked the 400th anniversary of William Shakespeare’s death. “The characters walking the runway were princelings, princesses, and priests, all in high white ruffs, doublets, bodices, puffed sleeves, and clerical robes—rich inspiration for two designers who live in Rome and are surrounded by Renaissance portraiture, architecture, and high Catholicism,” reported Sarah Mower.

Maison Margiela
“The many angles from which John Galliano’s Maison Margiela Artisanal collection can be seen is dizzying and a bit surreal… Galliano’s collection mixed fragments of technical urban streetwear with references to the French Revolution, including a swaggeringA military-style greatcoat and a tricorne hat, worn at a playful angle, could have easily been taken from Napoleon’s own wardrobe. — Sarah Mower, Armani Privé

The designer built up to a theme that included black velvet and Swarovski crystal embroidery. — Sarah Mower, Viktor & Rolf

Last season’s garments and materials were reworked into designs fit for “Dickens’ vagabonds.” — Chanel

“Behind the girls in the show, there are 200 more who make what they wear—that’s quite a lot, no?—and I thought we should show them to the public too.” — Karl Lagerfeld, Ronald van der Kemp

“This was Ronald van der Kemp’s fourth collection, and like the others, it mixed his love for foraging with high fashion. But a clear ’80s flair took these latest designs to a new level of glamour.” — Amy Verner, Elie Saab

“This was an exceptional Elie Saab collection because of how expressive it was.” — Nicole Phelps, Christian Dior

“The Fall-Winter couture collection was a typical example of Lucie Meier and Serge Ruffieux’s relaxed approach to making what a younger woman might want to buy from Christian Dior—a feminine, but thankfully not overly sweet, black-and-white collection.” — Sarah Mower, Alberta Ferretti Limited Edition

“Alberta Ferretti was quick to clarify that Limited Edition isn’t true haute couture. Not everything is made entirely by hand, but it’s as refined as her work gets… The collection is Ferretti’s way of meeting client requests for unique special occasion wear, and, in no small part, to please herself.” — Nicole Phelps, Alexandre Vauthier

“It was only a matter of time before Alexandre Vauthier used camouflage, given his vision of strong, empowered women. The fact that his fatigues were covered in large Swarovski crystals—the opposite of subtle—was beside the point. He had gathered an elite group of models… and dressed them as couture commandos: squad goals, redefined.” — Amy Verner, Jean Paul Gaultier

“Jean Paul Gaultier went all in on a woodland theme.” — Nicole Phelps

Fun fact: The dress on the far left was the starting point for the Gaultier couture dress inspired by the Winged Victory of Samothrace, which Yu-Chi Lyra Kuo wore to the 2026 Met Gala.

“Boho gypsy chic is all about attitude.” — Zuhair Murad, Zuhair Murad

“This collection is different for me. I focused a lot on draping, and less on embroidery and being super-sexy.” — Donatella Versace, Atelier Versace

“Bertrand Guyon’s chosen theme [Elsa Schiaparelli’s 1938 circus collection] gave him the freedom to play.” — Nicole Phelps, Schiaparelli

“What would happen if Empress Joséphine met Kirsten Owen? That could have been the idea at Giambattista Valli,” observed Nicole Phelps.

“A bit traditional, but with a cooler feel.” — Alexis Mabille, Alexis Mabille

“Strong, romantic, erotic… it’s my identity 100 percent.” — Francesco Scognamiglio, Francesco Scognamiglio

Giles Deacon closed his ready-to-wear line before following his heart—and his sales—to launch a made-in-England couture collection. Sarah Mower reported that the designer built his couture debut around the idea of “a party thrown by Lady Ottoline Morrell… a flamboyantly dressed British literary hostess from the 1920s and ’30s, whose friends included Virginia Woolf, D. H. Lawrence, Dora Carrington, Bertrand Russell, and Stanley Spencer—all individualists and free thinkers.”

Gilles Mendel, the son of a furrier, left his native France for New York in the ’80s. He realized his dream of showing in his birthplace with a collection that connected the places he loved. Notice the nod to Keith Haring and the grid-like maps of Paris.

Still enjoying the attention Rihanna brought to her brand, Guo Pei presented a show in which, as Amy Verner noted…The report noted that “each look represented a different rare archetype: ice queen, Art Deco diva, Belle Epoque enchantress, Russian princess, first lady, neo-Joséphine.”

Ulyana Sergeenko
The designer and her business partner, Frol Burimskiy, looked back to the hopeful “1960s childhood of their parents,” according to Nicole Phelps. She also highlighted “the incredibly time-consuming mosaic furs, which were inspired by the simple needlepoint crafts found in Soviet homes.”

Aouadi
“Yacine Aouadi found the inspiration for his third couture collection in the Mosque-Cathedral of Córdoba, Spain. This UNESCO World Heritage Site has served as a place of worship for both Muslims and Christians over the centuries. Aouadi was drawn to the building’s symbolism—both metaphorically (‘It sends a good message of peace,’ he said) and literally. Symbols from both religions appeared across his 13 looks, along with references to medieval clothing from the era when the house of worship was built.” —Nicole Phelps

Frequently Asked Questions
Here is a list of FAQs about the Fall 2016 Couture Season written from the perspective of someone looking back 20 years later

BeginnerLevel Questions

Q What exactly was the Fall 2016 Couture Season
A It was a week in July 2016 when top fashion houses like Chanel Dior and Valentino showed their oneofakind handmade clothing collections for the following autumn and winter

Q Why are we talking about it now 20 years later
A The Fall 2016 season is often remembered as a turning point It was the last moment before major creative directors left their houses and the last truly classic season before streetwear and social media completely changed fashion

Q Who were the big designers that season
A The biggest names included Karl Lagerfeld Maria Grazia Chiuri and Riccardo Tisci

Q What was the most famous show from that season
A Many people point to Valentino It was Maria Grazia Chiuris final show for the house and it featured ethereal medievalinspired gowns It was a huge emotional moment

AdvancedLevel Questions

Q How did the Fall 2016 Couture season predict the quiet luxury trend we see today
A While the clothes were ornate there was a shift away from flashy logos Designers focused on incredible handembroidery and fabric manipulation That focus on craft over branding is a direct ancestor of todays quiet luxury movement

Q What was the biggest controversy or problem of that season
A The biggest problem was the lack of diversity on the runways Looking back 20 years later the Fall 2016 shows are heavily criticized for having very few models of color which sparked early conversations about inclusivity that are standard today

Q How did that season change the business of couture