Prada Drops Surprise Spring 2026 Act II Campaign With Jordan Wolfson

Fashion brands rarely dare to interrupt their own seasonal narrative, but Prada just dropped a surprise second act to its Spring 2026 campaign, and it lands like nothing else in luxury advertising right now.

The new installment features a pop- and dystopian-tinged collaboration with American artist Jordan Wolfson, known for his thought-provoking artworks spanning new-gen media such as animatronics, robotics, virtual reality, holography and digital animation. Beginning his career in video art, the campaign also marks Wolfson's first return to the medium since his work *Riverboat Song* (2017-18). That gap makes the Prada commission feel less like a brand deal and more like an event.

Reprising the cast of Act I, headlined by actors Levon Hawke, Damson Idris and Hunter Schafer, in addition to Nicholas Hoult and Carey Mulligan, as well as musician John Glacier and model Liu Wen, the new images depict talents flanked by Wolfson's otherworldly characters. The artist introduces two types of creatures that pose and gesture alongside the cast: the first appear like a bodysuit formed of armadillo scales; the second like some birdman with a beak. Both glisten in computer-molded leather that changes color to suit each model's outfit: silver-green for grey, teal for pink, black for black.

In one moment, Nicholas Hoult sits on a swivel chair half-turned to the camera with a giant black bird cross-legged at his back. In another, Liu Wen lies on the floor in moss green gloves with a bodysuit companion bicycle-kicking beside her. The 80-second-long video ends with Carey Mulligan lounging, a Bonnie bag just within reach, while a giant pink bird in thigh-high leather boots rests beside her, placing its hands first on her shoulders and then on her head.

A series of images acts as a teaser to the culmination of the project in a short film, in which those artists, actors and models chant a mantra: "I, I, I, I am…" It is both declaration and proposition, left tantalizingly incomplete. The campaign title spells it out plainly: "I, I, I, I AM… PRADA." Prada said in a statement that "Wolfson's intervention in the spring 2026 campaign opens ceaseless possibilities, multiplicities of identity and being, of what Prada can be, how it can be perceived — and re-perceived — through constantly questioned conventions of an advertising campaign."

Under the direction of Wolfson, the cast moves through a dreamlike world that explores image, perception, and identity through an experimental fashion lens, curated by Miuccia Prada and Raf Simons. Wolfson invents new realities that both reflect and transform our own, with reference points drawn from contemporaneous culture and our image-saturated society. His work is immersive, exploring perceptions of the world and how technologies and images can define the way we think.

The first act of the campaign, released last January, also featured an artist collaboration, this time with American photographer Anne Collier. Titled "Image of an Image," it was intended as a meta-conversation on the role and relevance of advertising. Act II does not soften that thesis. Where Collier interrogated the image from within the frame, Wolfson invades it entirely, populating it with creatures that mirror, mock, and touch the cast without the cast ever quite acknowledging them. Still photography is credited to Oliver Hadlee Pearch.

Wolfson's intervention feels less like a collaboration and more like a controlled disruption: an artist stepping into the machinery of fashion and bending it toward his own language. For Miuccia Prada and Raf Simons, that disruption is the point. Two acts, one collection, and a sentence that never quite ends.