As models walk their final runways and editors catch evening flights out of Paris Fashion Week, this week’s standout beauty looks appear almost deceptively straightforward. The fall-winter 2026 season’s best antidote to doomscrolling, for example, is simply getting lost in a novel, according to models backstage at Isabel Marant who shared their book-club recommendations with Vogue Beauty. Then there were the simple part switches that hair artists Duffy sent out at Saint Laurent and Anthony Turner slicked down at Hermès and Acne Studios. At long last, the once-mocked side part returned to its full prominence (a styling detail Vogue spotted coming seasons ago).
After plenty of spooky, gothy notes in New York and sooty, smoked-out looks in Milan, Paris washed the slate clean except for hints of leftover liner from makeup artist Peter Philips at Dior and morning-after makeup from Pat McGrath at Schiaparelli. Sparkling hair adornments leveled things up, whether through Turner’s extensions wrapped in gilded hair jewelry at Chloé or the glittering hair tinsel Duffy wove through lengths at Chanel. It’s enough to encourage anyone to grab a bauble, brooch, and bunch of bobby pins and try something new.
Here are three ways to start living in this season’s beauty, according to the Paris shows.
Hair Adornments
The high-low hair adornment has arrived. At Chanel, Duffy attached thousands of tiny strands of tinsel to models’ hairlines to create what appeared to be holographic comb marks, while at Celine a simple cord wrapped around a model’s forehead was all he required. At Dries Van Noten, hair artist Olivier Schawalder secured hundreds of shining bobby pins atop models’ heads, occasionally adding golden jewels over the ears. And Turner, undoubtedly one of the busiest artists of the season, incorporated an elven headpiece at Ann Demeulemeester after adding jewel-wrapped extensions he called “memories tied into hair” at Chloé, where he carried a can of L’Oréal Paris Elnett hair spray in his back pocket. Chemena Kamali’s inspiration was a woman discovering the world and herself, Turner said. “The hair was meant to reflect her journey through the elements,” he explained. “We included a braid in the hair, which was adorned with Chloé jewelry. I like to think that this represents trinkets she finds on her travels and attaches them to her hair.”
Leftover and Lived-In
Kicking off the week at Dior, Jonathan Anderson had another strong opinion on the beauty look, according to Philips. “He’s like, ‘Oh, I just want something fresh, a little bit like a Parisian girl when they have something like a leftover kohl or leftover mascara, like a bit messy on the eye but very subtle,’” Philips told Vogue backstage of Anderson’s direction that inspired him to apply Diorshow On Stage Crayon in 099 Black to models’ top waterline and ask them to squeeze their eyes shut. Makeup artist Fara Homidi’s gently smoked eyes at Gabriela Hearst looked like they may have smudged during an afternoon nap. At Stella McCartney, McGrath created beauty that was similarly “a little undone,” and at Schiaparelli, she envisioned “less precise, more lived-in” makeup. “Think morning-after beauty that is not too perfect and never too pristine,” she tells Vogue of diffusing taupe tones from her Venusian Sunrise onto eyes to reflect a sense of “rawness.”
Side Parts
Side parts swept the runways. Duffy slicked them flat at Saint Laurent, and Turner kept them lacquered at Hermès before sending bouncy bombshell iterations out at Alexander McQueen. Hair artist Ramona Eschbach dusted Schwarzkopf Session Label The Powder onto very low side partings on many of the models, who wore texturized chignons at Andreas Kronthaler for Vivienne Westwood. “Romy Schneider was the muse for the season,” Eschbach said. “So we looked at different hairstyles she wore throughout her career, particularly from the 1960s.”
Backstage at Dior, Guido Palau credited the era’s tomboyish quality to his “deep side part,” which he carried to the forehead with feathery wisps. “Jonathan wanted to reference an ease but have a little style,” he said of Anderson’s direction. “Everything’s soft—it’s like a cool French girl. All those iconic French women, they were never super feminine. What everyone loves about French style is that from the ’60s on, there’s a boyish quality to it.”
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