Daily trends

No bag owned Paris Fashion Week street style this week like Schiaparelli's Soufflé. The slouchy hobo — its handle crowned with hammered gold-brass Anatomy jewels that resolve into a surrealist face — kept photobombing the best-dressed crowds outside the shows, and one viral street-style post sent search interest soaring.

It has been building for months. Dua Lipa carried the yellow grained-calfskin version through New York on July 4; Demi Moore and Heart Evangelista are repeat carriers. Daniel Roseberry's surrealist hardware turned out to be the perfect foil for fashion week's tailoring-heavy mood: the weirder the bag, the cleaner the outfit around it.

The house lists the Small Soufflé in Bordeaux red calfskin with a trompe-l'oeil woven effect at €5,200, and a saddlery-inspired Caramel grained-leather edition embroidered with tone-on-tone house codes at €6,400. Both read as sculpture first, handbag second — which is exactly why they photograph so well.

The loudest shoe of the week is also the oldest idea: a bowling silhouette from the earliest days of the Brain Dead x adidas partnership, now rebuilt on a platformed sole and wrapped in animal print. The 'Animal Pack' lands October 8 — two pairs, Cheetah in black-and-orange leopard fur and Snakeskin in green and tan, $250 each.

This is terrace culture mutating in real time. The Samba has spent two years as the default shoe; the Bowling version answers the question of what comes next by going taller, wilder and slightly unhinged, while keeping the familiar shape intact.

Running parallel is Willy Chavarria's Megaride takeover. The designer turned adidas's early-2000s runner into a franchise this year, and October 3 brought the Bones low-top in a pale green adidas calls Halo Green — the 'Agave' pair — with a moulded shell and exaggerated cushioning. At $230, it is the fashion-led alternative to the retro rerun.

Miu Miu used its October 4 'Here and Now' show at the Palais d'Iéna to open a new chapter in fashion's most consequential sneaker partnership. The New Balance RC150 — an obscure 1990s racing flat named for its 150-gram weight — returns reconstructed in technical mesh with suede accents, zigzag stitching and the house's signature double lacing, this time with metal toe loops.

The casting did the talking: Olivia Colman walked in a black leather skirt suit, alongside Gigi Hadid (diamante-panelled midi skirt, RC150s on foot), Emma Corrin and Jamie Bell. Miuccia Prada's brief was 'to bring elegance to sport,' and the styling — draw-cord shorts and hotpants against layered skirts, jewels and knitwear — made the case.

The RC150 lands in February 2027, but the collaboration's current 530 SL line is buyable now and still the easiest entry point into the Miu Miu x New Balance universe.

Eyewear is having its biggest week of the season, and it is not subtle. On October 1, Oakley and Kiko Kostadinov released the Ellipse collaboration — the brand's own logo rebuilt as a round, curved shield, finished in magnified feather and wood-grain treatments inspired by Cindy Sherman's 1992 'Fitcher's Bird' series. Two colourways, Prizm Bronze lenses, $356.

It lands in a week already crowded with statements: Barton Perreira's 007 'Vedretta' aviators, the twelfth release in its Bond partnership, at $800; and Celine, where Michael Rider sent tinted round shades down the SS27 runway as instruments of personality rather than tokens of a trend.

The message is consistent across all three: glasses are no longer an accessory to the outfit. They are the outfit's thesis statement.

The shield sunglass had its commercial moment on October 1, when the Kiko Kostadinov x Oakley Ellipse finally went on sale. Born on the label's AW26 womenswear runway, the frame — Oakley's logo turned into eyewear — comes in two nature-magnified finishes, Amherst Fade and Woodgrain, both with Prizm Bronze lenses. Laura and Deanna Fanning's birdwatching references (feathers, wood grain, Cindy Sherman's Fitcher's Bird) give performance eyewear an art-school alibi.

At $356 it sits at the accessible end of fashion eyewear, which is precisely why it is moving. And on the Paris street, the luxury counterpoint is Cartier's Panthère: panther heads biting into gold frames, the feline house code doing quiet work in front-row and street-style shots alike.

Michael Rider's Celine SS27 was the week's consensus pick for freshness — Cathy Horyn put it on her short list alongside Gaultier and Junya — and the formula was disarmingly simple: clothes that don't try too hard. Seventy-one looks of black satin separates, slouchy ankle-cinched pants, collarless leather and satin shirts with a lightness that read as optimism.

The Dorian Corey voiceover set the emotional key — 'you don't have to bend the whole world' — and the styling followed: round tinted sunglasses as personality instruments, rolled-up knickknacks on the seats, everything worn with deliberate nonchalance.

For menswear, the takeaway is the satin shirt worn easy — tucked or not, sleeves up, nothing pressed — with the round shade as the finishing touch. It is quiet luxury's antidote: personal, unfussy, and immediately wearable.

Cathy Horyn's verdict on the season cut through the noise: little on the Paris runways feels fresh, with Loewe, Celine and Jean Paul Gaultier the exceptions. At Loewe, Jack McCollough and Lazaro Hernandez brought an American sportswear ease and realness that European runways rarely emphasize — a notable reset for the house.

At Gaultier, Duran Lantink delivered his most wearable collection yet: cone bras flashing through garments, bullet-bra tailoring, tartan skirt suits, split-toe shoes and a mirrored show space. The bizarre made beautiful — and, crucially, buyable.

The throughline is craft you can feel. Loewe's leather-goods mastery remains the house's anchor — the Puzzle bag, all geometric panels and nine hours of handwork, is the quiet-luxury icon that the week's louder bags are reacting against.

Duran Lantink's fourth Gaultier outing is the one where the provocateur act finally settles into a point of view. SS27 is Dutch folklore sharpened for a new generation — graphic tartans, witchy '80s Ibiza florals, and a 1900s cape remade in cotton — staged in a mirrored Palais de Tokyo basement so every angle counted.

The cone bra, the house's most legible asset, is demoted to trim: flashing through chest openings in leather rather than headlining. The new signatures are quieter — a square neckline migrating from couture onto bombers, hourglass blazers with jutting architecture, and split-toe shoes, which the critics agree carry the collection's commercial case.

For men: the tartan skirt suit, the cropped shirting, the kilts. Lantink is making the case that menswear's next move is wearing its references sideways.