Pedro del Hierro

Collection lines

Pedro del Hierro presents its Fall/Winter 2026-2027 collection as part of the 84th edition of Mercedes-Benz Fashion Week Madrid with a fashion show at Madrid's Galería de Cristal in the Palacio de Cibeles on Wednesday, March 18, at 1:30 p.m.

Named Jardín de Invierno (Winter Garden), the collection alludes to the famous phrase from The Little Prince, “What is essential is invisible to the eye,” by French author Antoine de SaintExupéry, to bring to life a selection of looks that invite you to contemplate each garment carefully and quietly, to distinguish the essential from the accessories, the permanent from the ephemeral. Thus, the immense glass dome that covers this emblematic gallery is transformed into a kind of greenhouse that invites us to build an imaginary garden, a symbol of refuge from the frenetic pace of the city.

From this concept, a new collection is born that serves as a counterpoint to its predecessor, La gran Metrópoli, which paid tribute to the city as a constantly changing stage, where at dusk it becomes a space where glamour, art, and nightlife converge. Nacho Aguayo and Álex Miralles, creative directors of the brand, channeled Miralles, the firm's creative directors, channeled this idea through a collection that reaffirmed their contemporary and sophisticated vision, designed to accompany the vitality of a city that never sleeps.

For this season, the men's collection explores a new sophisticated masculinity, where dandyism and British essence combine with a romantic sensibility that elevates the male wardrobe. Tailoring takes center stage through more pronounced cuts and fitted silhouettes, in dialogue with elaborately crafted knitwear in fabrics such as alpaca and mohair, shirts with romantic touches such as bows, ruffles, and reinterpreted collars, and slightly flared trousers that add movement to the silhouette. The proportions, lengths, and finishes invite us to explore new ways of dressing, expanding the traditional codes of masculine elegance.

Miralles introduces contrasting colors that add depth and dynamism, with a palette dominated by browns, greens, and blues, accompanied by accents of mustard and ecru. The proposal is completed with a renewed interpretation of the Red Carpet wardrobe, featuring tuxedos with shorter, bullfighter-style jackets, dressing gown-style coats with tuxedo collars in alpaca or cashmere, and more sophisticated silhouettes designed for the season's big events.

For his part, Aguayo proposes an aesthetic for the women's line where a certain darkness and decadence coexist with unexpected flashes of light and richness. The garments are constructed from textures and materials such as moiré, wool, and faux fur, enriched with pearls, lace, and delicate contrasts that add depth and sophistication. This atmosphere is interrupted by flashes of silver and gold, present in both the garments and accessories, reminiscent of ornithology or botany, reinforcing the natural imagery that runs throughout the collection. One of the central themes of the collection is the idea of “invisible elegance,” which plays with appearances and hidden surprises. A black cape reveals a bright orange lining, sequins are discreetly integrated, and seemingly simple garments conceal unexpected construction. Even everyday items such as undershirts appear under dresses in unusual textures that evoke dew on a spider's web. Among the silhouettes, dresses with echoes of the 1920s stand out, as do oversized-looking pants that fit the body with ties and theatrical shoulders that add drama to the figure. The color palette consists of mocha brown, deep blues ranging from denim to almost black, dimoro ochre, and muted reds such as dark maroon, evoking the deep hues of nature in winter.

In short, the designs in this Winter Garden embrace a style that speaks to a self-confident person who dresses not for others, but for herself.

In this way, Pedro del Hierro creates a wardrobe capable of combining structured and dramatic garments with others that are simple in appearance but colorful on the inside, embodying an “invisible” elegance—in tune with De Saint-Exupéry—to play with deceptive appearances. It looks to the past to understand the present. Exupéry—to play with deceptive appearances. It looks to the past to understand the present.