Pants

The Romeo is Avenue Montaigne's straight-leg answer to the pull-on pant, cut full length with side pockets and belt loops. Its flannel is brushed and light, warm without any weight to it, and holds a clean line down the front. Brown is the quieter of the two darks in the winter run.

The Romeo is Avenue Montaigne's straight-leg answer to the pull-on pant, cut full length with side pockets and belt loops. Its flannel is brushed and light, warm without any weight to it, and holds a clean line down the front. Charcoal reads nearly black in low light and keeps the leg sharp.

A cigarette line in pure wool: narrow from the knee down, sitting on the waist without a break in the front. Lanvin keeps the tailoring plain enough that the cloth does the talking. Black, and cut to be worn with everything the house makes to match.

Designed with a comfortable elasticated waistband and crafted from premium lamb leather, with a subtle cropped kick-flare that creates a refined silhouette.

Balmain takes the motorcycle line into smooth lambskin: a belt with a rectangular buckle at the waist, angled zip pockets cut across the hip, and ribbed panels topstitched over each knee. The front closes on a concealed zip and two press studs. Ankle zips finish a leg cut narrow to the foot.

Balmain cuts these in smooth lambskin, fitted close and seamed with a pintuck down the front of each leg. Metal zips open the slanted side pockets, their pulls engraved with the house name, and a fine elastic stirrup runs under the arch to hold the hem. Leather cut to the discipline of tailoring.

Balmain works in grain de poudre, the fine worsted wool of evening tailoring, matte-faced and dense enough to take a press and keep it. A narrow flat waistband closes on a small gilt clasp, above slanted front pockets and a crease pressed the length of each leg. The hem breaks wide over the shoe.

Balmain reworks the legging in a Milano jersey that holds its own structure, knitted dense enough to read as tailoring. The rise sits high at the natural waist, the leg tapers clean to the ankle, and an invisible side zip keeps the line unbroken. A small gold B charm is stitched at the waistband.

Balmain builds these from a dense wool gabardine, cut straight and pleated flat at the waist. Gold-tone buttons fasten the front and sit in pairs above the piped side pockets, with a tone-on-tone satin cord trim following the seams and a buttoned tab to adjust each side. The buttons are the only break in the black.

Natan works the Flocon in the same crinkled cloth as its Ferola top, a navy satin crushed into fine vertical creases that catch the light. The waist is pleated and belted with a self-fabric tie through the house's gold and red monogram buckle, and the leg falls wide and loose to the floor. Ease with a formal edge.

Alaïa treats tailoring as construction rather than decoration: a deep flat waistband sits high, curved pockets extend across the front in place of a yoke, and the leg drops straight from the hip. The cloth is a light tailoring wool, lined in cupro. A side seam zip keeps the front unbroken.

Dusan's pyjama cut is the easiest shape in the wardrobe: a full elastic waist, no fastening at all, and a leg that falls wide and straight to the floor. The corduroy is a broad wale in pure cotton, with enough pile to catch the light along the ribs. In black the wale reads as texture alone and the shape does the work.

Dusan's pyjama cut is the easiest shape in the wardrobe: a full elastic waist, no fastening at all, and a leg that falls wide and straight to the floor. The corduroy is a broad wale in pure cotton, with enough pile to catch the light along the ribs. Burnt sienna is the warmest tone in the winter line.

Blumarine cuts its black suiting plain here: a flat-front pair with a pressed centre crease, close through the thigh and released to a straight leg at the hem. The cloth is a matte wool-blend, the fly concealed and the waistband clean. Quiet company for the house's more decorated pieces.

Agnona cuts its Milano pants from a fluid wool, a mono-stretch worsted in the spirit of grain de poudre with a little elastomer for drape. The surface is faintly textured and semi-matte. A flat front runs into a straight leg, with side pockets set into the seams. In ebony, a warm dark brown that reads almost black.

Agnona cuts its Milano pants from a fluid wool, a mono-stretch worsted in the spirit of grain de poudre with a little elastomer for drape. The surface is faintly textured and semi-matte. A flat front runs into a straight leg, with side pockets set into the seams. Black here is flat and even, with no shine at all.