Issey Miyake explores the strange beauty of conscious clothes | Issey Miyake Spring 2026 – Paris Fashion Week

We do not own the rights to any of these images and they have been used in good faith. Every effort has been made to ensure that all images are used with proper credits. If you are the rightful owner of any image used on our site and wish to have it removed, please contact us at ayerhsmagazine@gmail.com and we will promptly remove it. We are a non-commercial, passion-driven, independent fashion blog and do not intend to infringe any copyright. Thank you for your understanding.

by brownfashionagal

Very sculptural, very inventive. Interesting garments would be the least to say. The whole thing felt organic and a little alien-like, like something growing out of the earth in slow motion. The styling was layered, structured yet soft, and slightly dystopian. But not in a dark way. More like a glimpse into a future that’s learning how to live again, a dystopia on the rise.

Titled “Being Garments, Being Sentient,” Satoshi Kondo’s collection asked a fascinating question: What if garments were conscious? What if what we wear could feel, react, or even resist?

The show opened with what looked like familiar basics with T-shirts, polos, hoodies but even they seemed to have minds of their own. Shoulders pushed upward, seams shifted out of place, and trousers sprouted extra arms and leg holes. The garments looked like they were trying to separate from their wearers, as if deciding for themselves how they wanted to exist.

It was strange and beautiful at the same time. There were dresses that seemed to be growing from within themselves, green fabrics shaped like blades of grass bursting through concrete, and ribbed knits that twisted around the body like living organisms. Some pieces were even filled with random objects like bottles, Sharpies, rolls of toilet paper, a commentary on our obsession with consumption and the clutter that comes with it.

Held at the Centre Pompidou with live music by Tarek Atoui, the show felt more like a performance than a presentation. The sound echoed through the space, mirroring the movement of the garments. Kondo also found ways to bring nature and humanity into the same frame. Pleated textiles printed with palms and plants hinted at resilience, growth finding its way through manmade environments. Even the collaboration with Camper played into this theme, with sculptural, synthetic-leather pieces that looked molded by time and touch rather than design. The shapes, the movement, the tension; it all came together to question what it means to inhabit what we wear.