Vince Frames Pre-Fall 2026 Through Modernist Design

Tim Dibble joins Melanie + Ramon in La Grande-Motte, where Jean Balladur’s landmark architecture shapes Vince’s latest campaign.

The Fashionisto

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Published July 2, 2026

Tim Dibble sits poolside on a blue chair in a charcoal utility shirt with chest patch pockets, matching shorts, sunglasses, and leather sandals
Tim Dibble fronts Vince’s pre-fall 2026 campaign. Photo: Melanie + Ramon / Vince

Vince’s pre-fall 2026 campaign finds an unlikely companion in La Grande-Motte, the visionary seaside city designed by French-Turkish architect Jean Balladur. The advertisement draws on the ideals that shaped the resort itself, using La Grande-Motte as more than a picturesque backdrop. Balladur imagined a Mediterranean destination where sculptural concrete forms, abundant greenery, and uninterrupted views of the sea encouraged a slower way of living.

Vince Pre-Fall 2026 Campaign

Tim Dibble sits in a pale blue vintage folding beach lounger in a black long-sleeve knit polo, shorts, and sunglasses
Tim Dibble wears Vince’s long-sleeve knit polo. Photo: Melanie + Ramon / Vince

Photography duo Melanie + Ramon use the city’s sweeping arches, pyramidal buildings, and geometric openings to create a visual dialogue with Vince’s understated wardrobe. The architecture gives the collection a context that feels inseparable from the clothes.

Tim Dibble stands in front of a sweeping sculptural concrete arch under an open sky, wearing a navy tailored blazer over a black henley with navy trousers and sunglasses
Tim Dibble stakes out one of Balladur’s concrete arches in a navy blazer and henley. Photo: Melanie + Ramon / Vince

Model Tim Dibble steps into the setting wearing relaxed tailoring, lightweight knitwear, unstructured overshirts, and soft separates in cream, sand, charcoal, navy, and earthy olive. The architecture lends even the simplest looks a sense of permanence.

Black-and-white image of Tim Dibble standing behind a railing beneath a huge octagonal window cutout in a modernist concrete building, wearing an open short-sleeve shirt over dark trousers
Tim Dibble pictured under an octagonal cut-out inside one of La Grande-Motte’s landmark structures. Photo: Melanie + Ramon / Vince

Vince turns to one of modernism’s most distinctive experiments instead of Mediterranean clichés, suggesting that design extends from the spaces people inhabit to the clothes they choose to wear.

Tim Dibble stands framed by a large circular archway in a brown zip harrington jacket over a taupe lightweight knit, off-white straight-leg trousers, and dark flip-flops
Tim Dibble and a female model perch on a low wall in matching pale-toned looks, Tim in a sporty jacket and pants, his companion in a striped knit belted over a full skirt, both in sunglasses
Tim Dibble stands on the sand in front of a modernist lifeguard tower in a black shirt and pleated trousers with a leather belt, and leather flip-flops
Tim Dibble leans against a concrete wall by the sea in a camel ribbed crewneck sweater, joined by a female model in a dark cardigan, ribbed tank, tan paperbag skirt, and dark straw bucket hat
Tim Dibble stands in profile in an ecru open-knit crochet polo and tan trousers, framed by sculptural concrete forms
Black-and-white portrait of Tim Dibble in a boxy overshirt layered over a shirt, paired with straight trousers, standing before sculptural modernist forms
Black-and-white image of Tim Dibble leaning against a sculptural wall in a dark utility shirt, belt, and pleated trousers while a female model in a one-shoulder dark dress stands in the foreground
Tim Dibble walks along a stepped boardwalk beside a gravel-filled architectural planter in a sand-toned zip jacket and matching pants
Tim Dibble reclines against a concrete arch overlooking the Mediterranean in a camel ribbed crewneck sweater and tortoise sunglasses

Vince plays out the same architecture-first instinct in the Bonaventure Hotel lookbook with Valentin Caron and Donovan Wildfong.

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