A second collection built across three registers
On 3 October 2026, Kith Ivy unveiled the second collection connected to its private wellness and padel club in the West Village. The release brings together three complementary groups: lifestyle pieces designed by Kith, a tailoring capsule with Giorgio Armani, and clothing, footwear, accessories and rackets developed with Wilson.
The proposition is more interesting than the addition of three logos. Each partner addresses a different moment of the day: Wilson on court, Kith throughout the club and the city, and Armani in a more formal register. Rather than imposing a single uniform, the collection offers several ways to belong to the same place.
The public release is scheduled for Monday 5 October at 11am New York time on Kith.com, the Kith app and at the Kith Ivy Private Members Club. Members can already find the collection in the club’s pro shop.
The official post
Kith Ivy Fall 2026
The official post presents the second Kith Ivy collection: Kith lifestyle pieces, Giorgio Armani tailoring and padel equipment developed with Wilson.
Credit : Kith / @kith and @kithivy
View the post by @kith × @kithivy ↗Clothing makes a sport legible
The wider visibility of a sport is not measured only by court numbers, audiences or champions. It also depends on simple signs that people can identify without knowing the score: a silhouette, a colour, a fabric, a shoe or a bag. Clothing gives a visible form to a practice that might otherwise remain confined to playing hours.
Tennis has demonstrated this for decades through the polo shirt, pleated skirt, blazer and white clothing. The Musée des Arts Décoratifs has documented the gradual passage of garments designed for physical effort into everyday wardrobes and haute couture. Padel is beginning to produce its own version of that movement, with codes still open enough to be shaped by clubs and brands.
Kith Ivy works precisely on this recognition. Stadium green, burgundy, crests and the varsity jacket establish a coherent grammar. Even when the racket disappears from the image, the clothing retains a connection to the place and the community behind it.
From the court to the city, without changing the story
The Tilden polo, Williams I hoodie and Manteco double-faced Italian wool varsity jacket are not presented as matchwear. Instead, they carry the club’s signs into a leisure wardrobe. This is where clothing operates as a cultural relay: it allows someone to express a connection to the sport when they are not playing.
That continuity also creates more possible images. Technical clothing mostly exists in action; a jacket, knit or pair of trousers can appear at a café, at work, in the street or while travelling. The sport then circulates through people who produce neither results nor instructional content, but who make its visual world more familiar.
The collection does not attempt to define a universal padel style. It expresses Kith Ivy’s own: New York-based, private, carefully constructed and positioned within luxury. Its reach is primarily symbolic. It shows how a club can use clothing as an extension of its architecture and identity.
Wilson keeps play at the centre
The Wilson component prevents the project from resting on image alone. The men’s and women’s ranges use WLSN PRO seamless fabrics, recycled polyesters described as offering UPF 50+ protection, and stretch blends designed for ventilation and movement. The Padel Dress, Eastside skirt and Topspin polo connect Kith Ivy’s colours to garments made for play.
The Hurakn Pro RS returns in a V2 version with TPU and suede reinforcements, mesh panels, an EVA midsole and co-branded details. Wilson is also presenting its Defy V2 at Kith Ivy: three collaborative rackets released ahead of the range’s global launch, announced for December.
This division of roles is essential to the project’s credibility. Kith brings its visual language and its ability to place a product within fashion; Wilson contributes knowledge of movement, equipment and the demands of the court. Fashion can broaden padel’s audience without erasing what the clothing must actually do in play.
Armani moves the scene again
The Giorgio Armani capsule applies the house’s deconstructed tailoring to vintage-inspired double-breasted jackets, wool-crêpe trousers, shirts and ties in black and Stadium green. None of these garments is intended for the court. Their presence makes another point: Kith Ivy’s identity is designed to accompany the moments before and after a match, through dinner or a formal appointment.
The suit consequently broadens the representation of the player, without reducing that person to either performance or sportswear. In the campaign imagery, a Persian rug, bookshelves, a sofa and artificial turf share the same frame; padel remains recognisable through objects and colours, without a rally taking place.
A garment cannot democratise a sport on its own, particularly when it belongs to a premium collection tied to a members’ club. It can, however, accelerate visual familiarity. Kith Ivy Fall 2026 gives padel silhouettes precise enough to be read as fashion while remaining connected to an identifiable court.
A sport also gains visibility when its signs can be worn, recognised and carried beyond the court.