The Best Looks from Paris Fashion Week Fall 2020

Vuitton's show notes asked the pointed question, "What if all of the innumerable eras that nourish fashion could come together in the here and now?" Nicolas Ghesquière did just that with a show that infused '80s ski jackets with '70s trench coats and '50s teddy boy style—all through a thoroughly modern lens, of course. The notes went on to say, "This collection is like a sartorial tune-up in which personality takes precedence: Everyone can pen their own history." And what a truly modern idea that is. We can give a nod to feminism in a collection, every runway should be inclusive, but when it comes down to it, the freedom to be who we are, exactly who we are, without judgment is the heart of everything. The answer to all the questions. —Kerry Pieri

Karl Lagerfeld's reign at Chanel had us traveling to worlds unknown and others that were very much down to earth. We went to the moon after we took a jaunt through the Chanel-stocked supermarché. Then there was the art gallery and visits to Salzburg, Capri, and everywhere else in between. But Virginie Viard's Chanel has always been a simpler, more back-to-basics vision of the label, and fall 2020 was her ode to a simpler take with a fresh perspective. Classic trousers became Chanel-approved breakaway pants, skirt suiting got more relaxed, and per Viard's past seasons, there wasn't a hint of volume in the mix, save for some Victorian-inspired puff and mutton sleeves. And while the collection will offer options for Chanel lovers at every age, it was the communal feeling of today's runway that stood out: Viard chose to show the collection in groups of girl gangs, some matching (a la Thom Browne's showing of duos a couple days prior) and others simply complementary. Though the various separates were strong enough pieces on their own, Viard made an even stronger statement in her presentation—even the most powerful, chic, and daring women are stronger together. —Carrie Goldberg

Miu Miu's fall 2020 collection gave a nostalgic nod to post-WWII fashion, shown on many Gen-Z superstars, from Kaia Gerber to Storm Reid. There were sweeping wool coats, textured silk maxi gowns, pin curls, and even a couple knit sailor looks. Bella Hadid wore one with charm to spare. A puff-sleeve plaid pencil skirt suit turned that midcentury charm on its head by adding unexpected volume on the jacket—making it into a puffer-skirt suit hybrid that felt entirely modern. There were also oversized fur jackets, a bold red waist-tie coat, and a charming pink sleeveless gown with crystal embellishment at the waist. The Miu Miu Insta noted the collection is about, "the enduring fascination of charm, an exercise in attraction—fashioning pleasure, and the pleasure that fashion can give." After so many shows that reference the impending apocalypse, maybe this was just a nice reminder about the joy good clothes can elicit. —Kerry Pieri

The notes for Sarah Burton's fall collection at Alexander McQueen spoke of a love letter to and celebration of bold, courageous women; it's only the latest chapter in the book she inherited since debuting her first solo collection in 2011. From the get-go, she's been quite clear that it's about the house of McQueen, not Burton, and spreading the spotlight is a big part of it. Those same notes also used the plural pronoun we versus the more commonly seen I, and it was as a group that Burton and team traveled to Wales to mine inspiration from the country's crafting heritage. It was seen in the quilting, draping, and lacework, and, more obliquely, in the strength that every element presented. There were the sharp shoulders and leather harnesses, yes, but more intriguing were the seemingly "soft" dresses and tops shaped to evoke armor. It was the oversized linked hearts that were strongest of all though. For Burton, they were a symbol of togetherness and supporting each other—the strongest position there is. —Leah Melby Clinton