This article originally appeared on Vogue Business. To receive the Vogue Business newsletter, sign up here.
The results of the spring 2026 menswear season’s top 10 most-viewed shows list on Vogue Runway are in. Every season, this list acts as a failsafe indicator of which collections have captured the attention of those who are more interested in the clothes than the front rows. As ever, the list is ordered according to the amount of views each collection logged on Vogue Runway within its first 48 hours of publication. And as ever, this season has thrown up a few surprises.
There are four new entries on the list this season, of which only one – Yves Saint Laurent – we expected to see. That reliably blockbuster show has been held outside of the mainstream menswear calendar for the last few seasons, and its in-season arrival on the Paris schedule made it an almost certainty to figure here. The three other new entries include the oldest designer on the list, the second youngest designer on the list, and the longest serving non-founder creative director in all of fashion.
This season, eight of the top 10 collections were presented in Paris, with only two in Milan. That will be catnip to those who contend that Milan lacks “energy”. And only one of the collections on the list was not presented on the runway, which will cheer those who relish watching fashion theatre in its purest form.
Two of the collections were debut shows for creative directors at well-established houses. And you needn’t need to be a fashion clairvoyant to divine which show, this season, would be the most-viewed.
10. Hermès
Haute-bourgeois boys in leather pants plus the hottest bags in the business make Hermès an irresistible viewing pleasure for many among menswear’s cognoscenti. So it’s little surprise to see French luxury’s most serene heritage marque sliding back into this season’s top 10, making it the first of the list’s new entries. And without wishing to spoil the reveal at the other end of this list, there is a satisfying symmetry to the fact that Véronique Nichanian is the longest-serving creative director in all of fashion (menswear included). Ravissante!
9. Wales Bonner
Second new entry Grace Wales Bonner is also the second youngest designer on this list. This season, she was presenting a collection that marked her 10th anniversary as one of the most precarious of entities in fashion: a London-based indie. In her review, my Vogue Runway colleague Sarah Mower described as a “total disgrace” the fact that GWB has not yet been tapped to be creative director of another brand or house, and that reading is fair enough; however, another way of seeing it might be that Wales Bonner is simply too self-determined to let herself be pinned down. Her three-pronged combo of artistic practice, conscious menswear opulence and hit Adidas output seems to have generated a stable and self-sustaining business ecosystem that she’s thriving in. Chapeau!
8. Rick Owens
Sleazy elegance and watersports were the order of the day at an Owens show designed to lead its audience from the Palais de Tokyo venue to his not-dead-yet retrospective, ‘Temple of Love’, at the Palais Galliera across the road. Back in his happy-hustling LA heyday, Owens used to bounce from dive bar to dive bar; today, it’s from Parisian palace to Parisian palace. What stops him from stumbling into the success-triggered trap of complete self-indulgence is a psychological safety rail built of self-awareness and humour. Dramatic, damp and wonderfully soundtracked (several days in advance, natch) this was another epic Rick. Humide!
7. Dries Van Noten
Those who love Dries Van Noten really love Dries Van Noten, and his menswear stans are arguably the most passionate DVN fans of all. So even though Van Noten hand-picked Julian Klausner to succeed him as creative director of the brand, the stakes at this menswear debut were as high as that fanbase’s expectations. Before the show, I spoke to a few bench buddies who were, like me, a little trepidatious on his behalf: last season’s menswear lookbook (a sort of holding collection as Klausner warmed his seat) seemed rather a narrow vision of this most expansive of design visions. Cometh the hour, however, Klausner delivered: this was a dreamily Dries-ian collection, but it also felt tangibly distinct — a favourite dish in a long-favourite restaurant cooked by a freshly promoted and talented chef. Geweldig!
6. Giorgio Armani
When we learnt that Giorgio Armani was sitting out this show — and the Emporio outing before it — after a passing illness that saw him briefly hospitalised, the story immediately flashed beyond the fashionsphere into the mainstream news media. That factor, plus the sheer enormity of this collection, might both have contributed to Mr Armani’s return to the most-viewed Vogue Runway menswear list this season. And yet, this designer — who at just shy of 91 years old remains the sole shareholder in a company he founded 50 years ago next month — more than merits the eyeballs. He is the singular author of his own utterly distinct dialect of fashion classicism, and despite his half-century of service, he continues to find variations on that dialect that are both surprising and subtle. Imbattibile!
5. The Row
The Row is an amazing brand, and I highly enjoy its radically seated, chicly catered, no-phones runway shows during womenswear. But in my opinion, the inclusion in this list of a lookbook-delivered collection of which more than 60 per cent of the images (by my quick count) relate to womenswear resort rather than to spring 2026 menswear is, at best, a margin call. Still, it’s also our margin call. Its place here on behalf of a collection presentation at which the ever observant Amy Verner highlighted the Julian Schnabel clothing rack upon which a pyjama set was displayed, is a powerful testament to the enigmatic magnetism of a brand that is both discreet and discrete. Elusive!
4. Saint Laurent
Anthony Vaccarello’s long-refined tailored Saint Laurent silhouette, a sort of angled figure eight, has evolved into a signature element in his nine years at the house. As Mower recounted in her review, Vaccarello applied variation to that theme this season. He was inspired by the palette of the late artist Larry Stanton and his gone-too-soon contemporaries, as well as the off-duty attire and aesthetic of the late house founder to present a collection alive with sophisticated colour combinations. Vaccarello’s ingenious ongoing creative compositions continue to recontextualise the heritage of French fashion’s most sophisticatedly disruptive designer in exciting and unexpected ways. A new entry only because the YSL executive (at last) came around to showing menswear during menswear. Prestigieux!
3. Prada
Less is more was the central message at Prada. But being Prada, there was more to it than less. Miuccia Prada and Raf Simons implied they worked to create a completely modular collection in which, as Mrs Prada specified: “Everything worked with everything.” Brief bloomers and swirl-fringed rattan hats were among the most stylist-friendly pieces, while razor-pleated cropped pants and vinyl-shiny (but actually leather) car coats were buyers’ catnip. This was as much a clothes-scape as it was a collection — Mrs. Prada called it “instinctive” — that left Prada fans with a broad panorama of menswear options for next summer. Calma!
2. Louis Vuitton
Some cynics suggested that Pharrell Williams and the Louis Vuitton team behind him shaped this collection around India because the country is being hopefully hyped as potentially the next emerging market for the luxury industry. Maybe that was a factor. However, the collection itself seemed too sophisticated and interesting for that to be its sole motive. Williams relaxed his silhouette, broadened his palette and approached the point of inspiration with a respectfully passionate eye. The historical house references to The Darjeeling Limited were nicely incorporated too. Dandy!
1. Dior Men
Jonathan Anderson’s Dior debut was by far and away the most-anticipated show of the season, and its place on top of this list duly reflects that. Where at Loewe he was freed by the lack of powerful house codes to shape his own radical path, at Dior he is in conversation with the house’s much more significant back catalogue of gesture and meaning. He seemed up for the chat, especially in a first look that magnificently crashed together both his and Dior’s respective archives and identities. Anderson has always said his menswear is the wellspring from which his womenswear takes shape, so this was a fitting first step in what promises to be one of fashion’s most-followed creative adventures of the late 2020s. Irrésistible!
Comments, questions or feedback? Email us at feedback@voguebusiness.com.
5 key takeaways from Paris Fashion Week Men’s
Jonathan Anderson debuts Dior’s next chapter in Paris
The verdict on Julian Klausner’s men’s debut for Dries Van Noten