Church’s Autumn/Winter 2026 collection arrived in Milan with its ear tuned firmly to sound. Inside Palazzo Barozzi, a building prized for its acoustics, the British shoemaker staged a presentation that unfolded like a day spent inside a working studio. Previously, the shoemakers had brought us to theatre, so this musical choice isn’t totally unexpected.
Music was not treated as a theme so much as a parallel craft. Just as an instrument is tuned by ear and shaped by hand, so is a good shoe. That idea was carried through the day by a shifting soundscape curated by Ruggero Pietromarchi, whose work sits between experimental music and visual art.
Live performances punctuated the presentation, each subtly changing the atmosphere. Renato Grieco’s bass viol traced unexpected paths through musique concrète. Percussionist Riccardo La Foresta pulled ancestral rhythms apart and rebuilt them through drums. Agnese Menguzzato closed the circle with an electric guitar tuned to eight strings, creating slow, resonant passages that lingered in the room.
The collection itself was structured in movements rather than chapters. The opening notes came from Sunday Morning, a reworking of Church’s winter sandal that feels deliberately counterintuitive. Wrapped in waxed suede and heavy tailoring wools like herringbone tweed and tartan, it feels oddly convincing and cosy, more importantly.
From there, the focus shifts to the Regent range, which channels a particular idea of countryside dressing. Built on the sturdy 133 Country last, these styles use reversed calf and sport suede to balance toughness with Church’s polished nature. The Shefford boot stands out for its hand-stitched apron, visible seams and raw edges, details that make its construction feel authentic.
Things tightened up with New Formal, where Church’s takes on the modern dress shoe are stripped back and reassessed. The structure has been loosened, but the standards haven’t. The Sidley boot introduces delicate brogueing, while the Stanhope Chelsea feels precise and confident, finally shaking off the stiffness that usually plagues the style. Alongside the Sidbury derby and Skipton oxford, it’s a lineup that respects tradition but refuses to be trapped by it.
The crescendo, naturally, was Royal. This group is defined by what it doesn’t do: the Prince monkstrap and the Duke oxford are pared back to their essentials, relying on proportion and detail to do the work. Folded sewing and leather soles with a subtle two-tone gradient give depth without drawing attention to themselves. The high-shine leathers catch the light gently, adding a soft glow to the finale.
Discover the collection here.
photography. Church’s
words. Gennaro Costanzo
