Prabal Gurung’s Fall Winter 2025-2026 collection was shaped by introspection, influenced by the process of writing his upcoming memoir, Walk Like a Girl (set for release in May). Revisiting the past seems to have pushed the designer toward a transitional space—both creatively and personally—where nostalgia meets reinvention. This sense of in-betweenness was reflected in the collection’s overarching theme: the blurred line between night and morning, the undone elegance of a woman stepping out in borrowed clothes after a long evening.

Gurung translated this into styling choices that suggested spontaneity—sweaters turned upside down to become shawls, deconstructed collars, and fabrics softened by washes to create a “lived-in” feel. Oversized faux fur coats, rather than being treated as luxury statement pieces, were imagined as easy, throw-on layers for everyday wear. The collection also carried a personal touch, with Gurung drawing inspiration from his own habits, such as unbuttoning his tuxedo at the end of the night—an aesthetic reflected in relaxed leather pants paired with roomy Oxford shirts. The finale look, a silk gazar dress adorned with hand-embroidered flowers, evoked a white lily, a recurring motif in Gurung’s life and a symbol of transformation.

While Gurung has often been outspoken in his political messaging, this season he opted for a more introspective approach, focusing on “comfort and familiarity.” This sentiment was most clearly expressed through double-faced cashmere coats, some trimmed with fur, described as kimono coats in the show notes but also reminiscent of Paul Poiret’s cocoon silhouettes. A mannish plaid peacoat, softened with hints of pink, reinforced the idea of protection and ease.

Despite these thoughtful details, the collection lacked a clear resolution. Gurung introduced an intriguing dialogue between masculine and feminine tropes, between night and day, but did not fully commit to it. Instead, the show ultimately shifted toward more conventional eveningwear that felt disconnected from the initial concept. It was as if Gurung stood at a creative crossroads—like the one Robert Frost wrote about—and hesitated, caught between reflection and forward movement.