Prada Spring/Summer ’26 by Miuccia Prada and Raf Simons is an introspection on how we study. Perpetual motion, perpetual perception of our times. As witnesses to how we are shaping culture at this very moment, the collection is a nod to all of that and beyond.

Historical anachronism has seeped into Prada’s design ethos for a few seasons now, and this season is the strongest, most simplistic example of that. The Möbius strip of fashion means a critique of the machine while being the machine in itself — it all comes back to the same starting point either way. Prada is often cyclical, but never cynical about the times.

The campaign is conceived by visual artist Anne Collier, whose work is a clinical, medical interrogation of the past visual culture. From ephemera such as old photography books and magazines, calendars, postcards, and album covers, the former visual medium becomes flattened. In Prada’s scope, that flattening is almost a self-mutilating critique of fashion imagery in the digital age.

But it does not read as superficial; rather, Prada’s ongoing interest in the larger, global culture explores different sectors such as fine art, pop culture, and politics. The first photographic medium, photographed by Oliver Hadlee Pearch, features Nicholas Hoult and Hunter Schafer among others, posed on grassy patches or set against colour fields, where subjects are flattened into images.