Issey Miyake unveiled its Fall/Winter 2025 collection at the Carrousel du Louvre, channeling the tension between opposites into garments that bend the rules of shape and function. Inspired by Erwin Wurm’s unconventional worldview, creative director Satoshi Kondo worked with four main ideas—Abstract Concrete, Body Object, Nature Fabrication, and Clothing Sculpture—to blur lines of interpretation and prompt a fresh look at how we dress.
The show began with performers interacting with sculptural props, echoing Wurm’s philosophy of casting viewers as co-creators. Pieces showed up in unexpected states: sweater sleeves swallowed hands, and shapeless shirting expanded into new silhouettes. Models flowed through the runway in layered looks that challenged the notion of what fits where, especially when ribbed knitwear was placed on solid blocks with only a hint of direction. Larger-than-life coats in striped teal, exaggerated puffer jackets, and knit hats that towered overhead took center stage in the final chapter of the show.
Satoshi Kondo, who has led the brand since 2019, stayed true to Miyake’s legacy of fusing art and technology. The collection balanced a sense of freedom with an intentional embrace of the unknown. Onlookers were reminded that Issey Miyake has always explored fabric as sculpture, and this season affirmed that tradition with voluminous forms and a playful disregard for rules. Everything felt personal yet open-ended, letting wearers decide how to inhabit the clothes.
Recent years have seen the brand amplify its global footprint, with new retail spaces and continued innovation in pleating and textile development. The steady expansion complements its commitment to boundary-pushing design. That spirit was present throughout the show, where clothes functioned as statements on the body’s relationship to art. The standing ovation at the finale proved the audience was ready for this exploration of form and possibility.
