From stadium chants to handmade kits, Priya Ahluwalia’s latest collaboration with PUMA transforms fan culture into a language of identity, community and everyday style.
There is a moment, just before the match begins, when everything aligns: colour, sound, bodies moving together. That shared intensity sets the tone for the new collaboration between PUMA and Priya Ahluwalia, launched in April 2026 as their second joint project. Building on their previous work, the collection expands into footwear, apparel and accessories, drawing directly from football culture across Morocco and Nigeria and the broader African diaspora.
At its core, the collection reframes football as a social language rather than a sport. Ahluwalia approaches design through research, diving into PUMA’s archive while observing how fans construct identity through everyday gestures: customised jerseys, improvised games in the street and banners shaped by local typography. This translation of lived experience into design becomes the driving force behind the project, where clothing operates as a carrier of memory and belonging.
Two key pieces anchor the collection: the V-S1 sneaker and the T7 tracksuit. Both emerge as reinterpretations rather than reproductions, connecting early 2000s football aesthetics with contemporary streetwear. The V-S1, with its streamlined silhouette, nods to performance heritage while shifting into a cultural object designed for movement across contexts, from stadiums to daily life. Alongside it, the T7 tracksuit introduces graphic interventions and material textures that echo national colours and fan-made visuals.
Beyond form, the project articulates a broader reflection on football as a space of connection. For Ahluwalia, the sport holds a unique capacity to dissolve boundaries of class, geography and age, turning collective experience into a shared emotional register. This sense of community becomes the central narrative thread, positioning the collection as an exploration of how style circulates within and across cultures.
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