The collection is a study in tranquility amid fracture.
At a time when clothes can feel almost irrelevant, we approached this collection as if it were a film or a novel, in an attempt to process uncertain political standpoints and inherited social burdens. For us, this felt like the honest way forward.

The collection thrives on dreams, memories, imagination, suggestion, and emotion.

What are garments to an immigrant?
What is a suit to someone exiled?
Can a piece of cloth become home?
Is it time to blend in or to stand apart?

The Spring/Summer 2026 collection inhabits the fictional Museum of Common Oddities at The Bench, a realm where the lives of exiled thinkers, forgotten ones, tycoons, and Caribbean and Latin American militants converge in a space of tension and reflection, blending reality with spectacle.

The Museum of Common Oddities operates as a mirror of society, questioning vogue, fleeting trends, love, and the nature of desire.

The casting carries the power of empathy and reflects the multiplicity of styles, stories, and oddities happening around our lives between the Dominican Republic and New York City.

Structured wool blazers with leather collars, concealing most of the skin with misplaced pockets, stand in contrast to lightweight cotton blazers that feel deliberately unsettling. An elongated, close-fitted shirting blazer clings to the body like a tight morning coat, the shoulders and armholes holding a subtle, palpable tension.

Shirting refuses nostalgia, insisting that tradition is an act of defiance. Instead, they are acts of resistance against the current rhythm of fashion. A yellow cotton shirt is marked by three diagonal seams that run from sleeve to sleeve, rewriting its symmetry. Another bears the archival faces of two Dominican girls, found in the General Archive of the Nation in Santo Domingo. A linen pajama shirt is disrupted with distressed denim stripes, collapsing the line between intimacy and rupture.

Denim mutates into new forms: trousers reassembled from their own parts, hems shifted to the knees to create pockets.

Pleated raw denims with invisible waistbands are refined for a formal setting.
Waxed cotton fabric with tonal printed polka dots, with heavy plastisol for additional texture, drapes on a skirt that suggests doing a knot on the thigh.

The Dominican chacabana is reinterpreted through las alforzas in three gestures: an aviator jacket in nylon wool with padded sleeves and collar, a military printed shirt, and a color-blocked silk shirt.

A uniform shirt from the Popular y Secular party is reimagined by distressing the cargo pocket and adding slits along the sleeves. The alterations introduce a feminine touch. Once rigid and functional, the shirt now gestures toward femininity, existing between vest and shirt, utility and suggestion.