Prada has unveiled the second chapter of its Spring/Summer 2026 campaign, “I, I, I, I am…”, inviting American artist Jordan Wolfson to disrupt traditional fashion imagery with unnamed, unreal, and dreamlike digital creatures alongside a cast of Prada ambassadors and friends of the house. Framed by Co Creative Directors Miuccia Prada and Raf Simons, the project turns the campaign into an exploration of how identity and images are constructed and fractured in an era saturated with screens.
I, I, I, I am…: a fragmented identity mantra
In the new film and stills, each person in the cast repeats the phrase “I, I, I, I am…” without ever adding the final word, a deliberate omission that, as Prada notes, turns the line into both statement and open question: a declaration of self and an invitation to imagine what completes it. The repetition and stuttered rhythm echo the way identity can feel looped, rehearsed, and edited in digital culture, with the models appearing in a stark, white walled space that recalls both a studio and a psychological set.
Photographs by Oliver Hadlee Pearch are sharp, controlled, almost clinical, with clean compositions that isolate silhouettes and gestures so that even small shifts in posture read as emotionally loaded. Into this precise framework, Jordan Wolfson inserts his CGI figures, whose presence unsettles the image just enough to make viewers question what is staged and what is intruding from another, less tangible layer of reality.
Jordan Wolfson’s creatures enter the Prada universe
The collaboration marks a significant fashion world move for Wolfson, known for provocative, often disturbing works like his animatronic Female Figure and VR piece Real Violence. For Prada, he has created two families of digital characters: one resembling a bodysuit made of articulated, armadillo like scales, the other a towering bird man with a beaked mask and thigh high leather boots, evoking both gimp suits and superhero or movie references without landing on any one literal source.
Rendered in glistening, computer moulded leather whose colour shifts to complement each look, silver green with grey tailoring, teal with pink, black on black, these figures mirror and mock the human cast, acting as alter egos or shadow selves that dance, pose and reach out without the characters seeming to notice. Nicholas Hoult sits half turned to camera as a giant black bird crosses its legs behind him; in another, Liu Wen lies on the floor in moss green gloves while a bodysuit companion bicycle kicks at her side; later, Carey Mulligan lounges with a Prada Bonnie bag nearby as a pink bird creature places its hands on her shoulders and head while she calmly repeats, “I, I, I, I am…”.
A star cast reframed by art
The campaign reunites a now familiar Prada cast, Nicholas Hoult, Damson Idris, Carey Mulligan, Hunter Schafer, Liu Wen, musician John Glacier and actor Levon Hawke, placing them in looks from the SS26 runway and accessories including new bags and footwear. Rather than traditional glamour shots, they are filmed almost as if giving a screen test: seated, standing or reclining in a minimal set, speaking the same line in different cadences while the creatures orbit around them.
Campaign creative direction by Ferdinando Verderi focuses on the tension between the controlled, clinical photography and the unruly, uncanny energy of Wolfson’s interventions, suggesting a conversation between inner and outer selves, between how one appears and how one feels. The result is a campaign that reads less as straightforward advertising and more as a short film and series of portraits about the instability of identity in a media heavy world.
Fashion meets the evolving role of images
Prada frames the collaboration as part of its ongoing investigation of the meaning of fashion, now matched by a parallel investigation into the ever evolving role of images. By inviting a contemporary artist known for challenging viewers to insert his own language into a seasonal campaign, the house is effectively treating advertising as another cultural platform,a place where art, cinema and clothing overlap.
Chapter one of the SS26 campaign, launched earlier in the season, already focused on identity and repetition through portraiture; chapter two pushes that further by literalising the idea of a doubled self through digital creatures. As the phrase “I, I, I, I am…” loops and fragments, the campaign suggests that in 2026, to say “I am” is never simple: it is mediated by images, shadows, projections and invisible companions that shape how we see ourselves and how we are seen.
For Prada, the project highlights a belief that fashion imagery can be more than product display, that it can spark questions about selfhood, technology and the stories we tell through what we wear, even within the frame of a seasonal campaign.
