MUNTHE SS26: When the garden blooms on the runway

A quote that smells of freshly cut grass

“Flora and fauna have always been a never-ending source of inspiration for me,” says Naja Munthe, in the kind of serene tone you imagine she also uses when arranging flowers on a kitchen table that gets perfect morning light.

For Spring Summer 2026, she did not just look at nature from afar. She picked it, steamed it, pressed it, and coaxed its pigments into fabrics until the result looked less like a print and more like a botanical love letter.

Nature, but make it couture

The collection’s visual heart is a print created through a plant-based dye technique that uses real flowers and leaves. The process sounds like something your great-grandmother would know by heart but is executed here with a couture-level precision. The petals and fronds were arranged like an art installation, rolled into treated fabric, steamed, and then unrolled like a slow reveal in a magic trick. The result is one of a kind, because you cannot really duplicate a rose petal’s mood on a Tuesday morning.

This botanical DNA runs through the whole collection, sometimes loud, sometimes whispering.

Fern motifs crawl across broderie anglaise, lace is heavy enough to feel like sculpture, and embroidery blooms in unapologetic volume.

The silhouettes: softness with a backbone

The tailoring is soft but far from lazy. Jackets drape without drooping, trousers have the kind of cut that knows exactly where it is going. Skirts layer and float, never collapsing. There is an ease in movement, but the structure is still there, as if each piece is secretly wearing an invisible corset.

Pastels are sun-faded rather than sugary, earthy neutrals anchor the palette, and the occasional sparkle of sequins appears like dew on morning grass.

Lightweight harem trousers in citrine yellow brush past the ankles while oversized shirting slips in with the confidence of a borrowed men’s piece.

Transparent dresses skim over the body in a way that is not about baring skin but about letting the fabric breathe around it.

Sheers meet denim in the kind of quiet collision that somehow works, like pairing champagne with potato chips.

Accessories that keep the mood alive

The accessories carry the same balance of craft and play. The Roluke, Lixia, and Lix bags feel like polished extensions of the clothes rather than afterthoughts. Changeable Bluma handles invite a choose-your-own-adventure approach. Fernis sandals look ready for both a gallery opening and a picnic that somehow turns into cocktails.

A runway in full bloom

The show took place at Copenhagen’s Botanical Gardens, at Staudekvarteret, which is essentially a temple for plant lovers and people who want their Instagram stories to look effortlessly curated. Models walked among carefully landscaped greenery, blending into the scenery in the best possible way. The setting was not just a backdrop, it was a mirror for the collection’s ethos: design in conversation with the natural world, not just borrowing from it.

A moment of generosity in the middle of it all

Supermodel Josephine Skriver opened the runway with the kind of presence that makes photographers’ shutters go into overdrive. In a rare twist, she donated her entire fee to PlanBørnefonden, Denmark’s largest privately funded child rights organization. MUNTHE matched the donation, proving that fashion shows can still do more than generate hashtags.

Certified goodness

Behind the romance of the runway, there is also a shift toward concrete sustainability. MUNTHE’s GOTS certification is now official, ensuring the brand meets strict environmental and social standards from cotton fields to final stitches. Denim and T-shirts, long-time bestsellers, will be among the first to carry the certification in 2026. It is a reminder that even in fashion’s dreamiest moments, someone is thinking about the chain of hands and soil that makes the dream possible.

Conclusion: When the petals fall, the craft remains

MUNTHE SS26 is more than a seasonal collection. It is a process made visible, a reminder that nature’s beauty is never static and neither is good design. The clothes have movement, not just because the models walk in them, but because the prints, fabrics, and cuts all seem to be in quiet conversation.

They carry the elegance of a pressed flower in a book and the freshness of one still growing in the garden. This is not a show that tries to overpower you. It simply grows on you, and once it does, it is hard to forget.