Boss

Discovering Order in Disorder

Review of Boss Spring 2026 Fashion Show

By Angela Baidoo

THE COLLECTION

THE VIBE

Disorder meets Order, An Emotional Paradox

What happens when the precision of German engineering meets the unpredictability of fine art? A BOSS collection predicated on finding order in disorder.

Attempting to step away from what the brand has always been associated with – the world of sports and refined tailoring – Marco Falconi spoke today of  their less publicised ties with the arts. The Hugo Boss Prize, established in 1996 in partnership with the Guggenheim museum, celebrated the work of contemporary artists and in February it was announced the brand would launch their first Art Basel Awards. The set design has always featured as a contrast to the collections, and todays show was no different as the brand collaborated with Boris Acket who is known for his aerodynamic set pieces. For Boss a transparent sheet of foil first covered, then was suspended above the runway and through choreographed mechanics created a wave effect above the models as they walked.

In today’s collection, Falconi went down a rabbit hole and dove into the art world to explore this paradox between the brands two very distinctive past times. Speaking with The Impression backstage the designer told of studying the work of choreographer Pina Bausch, who often dressed in masculine oversized clothing focussed on its ability to allow her to work in comfort, maintaining a freedom of movement in both sides of her life, but for the designer his interest in her lay deeper, saying “I wasn’t actually interested in her look, but the fact that she was German and put her feelings before her technique”. Fellow German Dieter Rams, an industrial designer most prolifically known for his  work with consumer products – a retro tape recorder featured as an inspirational image – was the second artist to make the cut. This paradox between the two creatives became the overarching feeling of the collection.

That feeling was a thread which ran through a collection that felt more relaxed and in keeping with the way the consumer is dressing today, from favouring separates to prioritising comfort and fluidity “Tailoring is all about precision and control [this season the feeling was all about] the looseness, which is the last word you would put next to Boss”. Keeping the canvas construction within the suiting for spring he traded into lighter fabrics such as Lyocell and fabrics not usually associated with draping, because the designer found they resisted being manipulated in a particular way.

Emotion and control were seen throughout as those lighter fabrics flowed across the body and were contrasted with the structure of leather, or details such as folds and twists. A selection of new neutrals accompanied black and white and mainstay brown worked across both woven and fluid jersey fabric, while Falconi spoke to the introduction of a new blue called ‘Shark Blue’ for its similarity to the sea creature. It was  the rubberised blush looks whose colour was taken from an earlier campaign starring Eva Herzigova which truly spoke to the idea of the paradox, as he had manipulated the ‘fabric’ to simulate draping and paired as it was with silk it was a letting go of control and trusting the process, a finding of chaos in the disorder.

THE DIRECTION

THE QUOTE

THE WRAP UP

For a brand so closely linked with precision it was refreshing to find Falconi exploring new avenues which allowed him to relinquish some of that control, and for spring that resulted in a fluidity and ease that will be welcomed by its customer base.

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