There is something quietly subversive about the way Zankov continues to evolve. Each season feels less like a reset and more like an ongoing conversation, one rooted in instinct, memory, and a willingness to sit with discomfort. Henry Zankov’s vision for Fall 2026 leaned fully into that space, embracing tension and contradiction as points of beauty.
This season explored a more subdued palette, but restraint never meant simplicity. Silhouettes were pushed outside their expected occasions, allowing familiar forms to feel slightly off and therefore more compelling. Knitted suits in viscose crêpe and brushed alpaca moved alongside Melton wool tailoring, while double faced knit velour slipped easily between day and night. The friction between polish and ease gave the collection its quiet charge.
Knitwear remained the emotional core. Graphic argyles, jacquards, and nostalgic patterns sat alongside sculpted cashmere and lurex gowns, balancing softness with structure. Silk charmeuse in turquoise played against oversized paillettes and netted macramé beading, while silk cady miniskirts and wool jersey in deep charcoal and ink introduced a deliberate casualness to evening. Stripes appeared extra fine or sharply sliced, rendered in merino, satin, velvet, and cashmere, each treatment precise yet slightly disruptive.
Accessories extended the exploration of materiality. Jewelry created in collaboration with Heath Wagoner marked Zankov’s move into solid metal, with sterling silver pieces inspired by ripples and astronomy, treated to behave like fabric. The ongoing collaboration with Presley Oldham pushed further into controlled chaos, with cascading tassels, beaded fringe, and cuffs designed to move with the body.
Footwear for the show was sourced through a partnership with The RealReal, reinforcing a commitment to circularity as each pair will be reconsigned after the show, a thoughtful gesture that aligned seamlessly with the brand’s values.
At its core, Fall 2026 was about trusting instinct over perfection and Zankov continues to prove that when things feel a little wrong, when contrasts rub instead of resolve, the result can feel deeply right.
Discover the collection below.
