As Grace Wales Bonner gradually prepares for her new, high-profile role at Hermès (her debut will arrive exactly a year from now), the autumn–winter 2026 collection under her namesake label serves as a reminder of why she is so perfectly suited to one of Paris’s most prestigious menswear positions. It is a serene meditation on debonair elegance, informed by modernist architecture. Her thinking this season revolves around Indian modernism and modernist architecture more broadly, approaching modernism as a means of renegotiating and creating new identities, while also exploring something graphic, almost uniform-like in its clarity and restraint.
There is no shortage of such propositions, whether in the tailcoat and tuxedo trousers – tailored in indigo linen and paired with a linen wingtip-collar shirt, softened through washing – or in a Madras-checked jacket with a leather collar. This season, Wales Bonner also added John Smedley, the Derbyshire knitwear manufacturer founded in 1784, to her select circle of suppliers, delighting in its archive and fine British craftsmanship. She has long favored collaboration with highly specialized makers, valuing depth of knowledge and precision above all else.
One can only imagine what awaits in January 2027 – after all, great things take time.
adidas Originals x Wales Bonner Karintha Sequined Satin Sneakers
Wales Bonner Anthem Embroidered Mesh-trimmed Jersey Track Jacket
Wales Bonner Presence Studded Organza Blouse
Wales Bonner Echo Leather-trimmed Organic Denim Jacket
Wales Bonner Java Macrame Fringe Midi Skirt
Collage by Edward Kanarecki.
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Miuccia Prada and Raf Simons’s joint effort at Prada may not have been conservative in concept, but it unmistakably foreshadowed recession – economic, political, cultural. The show venue at Fondazione Prada resembled a ruined palace or temple constructed from spolia. The clothes sent down the runway – on models decidedly less hunky than those seen at other houses – bore visible signs of distress. Slender, waist-cinched jackets were deliberately creased, their worn wool appearing raw and coarse. A beige leather coat was frayed at the edges, as though it had been worn – and lived in – for decades.
There was something deeply melancholic about the collection as a whole, something distinctly 1930s in its sense that the good days were coming to an end. Prada’s runway tailoring felt resolutely anti-Bezos, anti-Vance. READ MY FULL REVIEW HERE.
Prada Men’s Wool Knit Stripe Crewneck Sweater
Prada Men’s Poplin Chest Logo Full-Zip Shirt Jacket
Prada Men’s Hawaiian-Print Short-Sleeve Shirt
Prada Men’s Collapse Nylon and Suede Low-Top Sneakers
Prada Men’s Solid Short-Sleeve Sweater
Prada Men’s Re-Nylon Snap-Front Jacket
Collage by Edward Kanarecki.
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Design & Culture by Ed 