Low lights and hearts in throats at Willy Chavarria’s Fall/Winter 2026 show in Paris: not merely a runway presentation, but a totalizing experience, an urban and human story that transformed the catwalk into a fragment of lived life—vibrant yet fragile. Chavarria opens the doors to his world, “The World of Willy”, inviting us into a city that breathes, loves, suffers, and hopes. New York—filtered through cinema, theater, and music—becomes the symbolic space in which bodies move. The narrative unfolds like a three-act play. The first act is devoted to faith: not the dogmatic kind, but the kind that gets you out of bed every morning and helps you survive the chaos. On stage, daywear is elevated with soft, sensual tailoring. Jackets cinch the waist without constriction, shoulders are strong and broad yet human, and full skirts converse effortlessly with enveloping coats. It is a fashion that protects while observing reality without judgment.
Then comes hope—loud, ironic, and charged with color. With BIG WILLY, Chavarria opens his universe to a wider audience without losing the underlying message. Workwear, bombers, chinos, and outerwear become symbols of belonging, collective energy, and conscious accessibility. Here, the streets assert themselves on the runway: lowrider bikes, football references, collaborations celebrating queer identity, desire, and connection. Fashion thus becomes a space for gathering and exchange.
“I live in New York City, street level, corner apartment, big windows. There’s barely any separation between the city outside and the world inside my home. I think there. I watch people. I watch them rush to work while I make my coffee. I watch them meet on corners. Enter the restaurant across the street. Kiss goodbye. Argue. Jump in and out of taxis. I watch people fall in love. I watch them fall apart.”
The third act is undoubtedly the most intense: wisdom. Chavarria’s city fills up once more, and the tension bursts. Here, the wardrobe becomes solemn and theatrical, deeply emotional. Relaxed tuxedos for men, evening gowns that sculpt and glide for women—garments designed to move slowly, with intention. The iconic sandwich gown—structured in the front, fluid in the back—becomes a perfect metaphor: strength and vulnerability coexisting. The women’s collection plays with contrasts of precision and surrender, sharp structures against soft, sensual draping. The men’s collection evolves the idea of elevated sportswear, combining cashmere, graphic jerseys, and impeccable yet democratic tailoring. Colors are never random: deep violets, warm reds, uniform blues, and dusty touches converse with rich textures—worn leathers, animalier shearling, three-dimensional floral surfaces. Accessories reinforce the narrative: Italian bags with bold design, ‘70s-inspired shoes reimagined for the present, and eyewear that bridges archive and future.
The finale is a declaration of love and responsibility. “Protection is Love” is not a slogan, but a stance. For Willy Chavarria, dressing means protecting—and in doing so, creating a safe space. Here, fashion returns to its highest purpose: making us more conscious of who we are and who we aspire to become.
