Ten years after founding their brand, Jun Zhou and Yushan Li felt the need to reflect on what the Pronounce wardrobe truly represented—a space where relaxed, effortless yet precise tailoring coexisted with a refined, unconventional vision of sportswear: an attitude rather than a statement.
The fall 2026 collection, Wooden Pagoda, was born from a journey that also became a way of reconnecting with their roots. The Yingxian Pagoda, in China’s Shanxi province, was the tallest wooden pagoda in the world. Built without nails using an interlocking system known as Sun-Mao, it had withstood centuries of seismic, political, and social change. It was precisely this structural intelligence, applied to garment construction, that made the reference legible throughout the collection—in the color pa…
Ten years after founding their brand, Jun Zhou and Yushan Li felt the need to reflect on what the Pronounce wardrobe truly represented—a space where relaxed, effortless yet precise tailoring coexisted with a refined, unconventional vision of sportswear: an attitude rather than a statement.
The fall 2026 collection, Wooden Pagoda, was born from a journey that also became a way of reconnecting with their roots. The Yingxian Pagoda, in China’s Shanxi province, was the tallest wooden pagoda in the world. Built without nails using an interlocking system known as Sun-Mao, it had withstood centuries of seismic, political, and social change. It was precisely this structural intelligence, applied to garment construction, that made the reference legible throughout the collection—in the color palette, tactile fabrics, sculptural cuts, combinations, layering, and craftsmanship, as well as in the pursuit of balance, wearability, and longevity.
In a dialogue between East and West, the designers also brought archival pieces to the runway—an exercise in gratitude for every step taken so far. Look number 25, for example, recalled their first show in Italy with their spring 2019 collection. In the Pronounce vision, everything took shape through destinations, cultures, and diverse individuals, portraying real characters who could share the same wardrobe. “Our own customers were our inspiration: often, when they purchased something, they imagined sharing it with the people around them,” Li said.
In their world, tradition was not a static reference but a living network of connections. That was why Tangzhuang jackets and denim, ties and hooded shirts, tailored shorts and technical trousers coexisted within the same closet. Primary colors, in their palette, were anything but conventional: yellow, blue, and red brought rhythm to cream, black, taupe, gray, and caramel. Material fluidity was created through fabrics: silk, treated as if it were nylon, lent lightness to the rigidity of wool and heavier textiles.