Paris Closes in Fur, Shields and Satin

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.

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.

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.

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.