NIGO fuses Warhol’s Factory spirit with Kenzo Takada’s flowered legacy for a collection built on satin jackets, punk prints, and snow-globe platforms.

At Maxim’s, the Paris landmark of mirrored walls and late-night lore, NIGO presented KENZO Spring 2026 collection that linked three creative hubs: Andy Warhol’s Factory, Kenzo Takada’s 1970s studio, and the artistic director’s own street-savvy circle. The clothes imagined club nights where romance begins on the dance floor and lasts long enough to swap shirts the next morning.
Italian tailoring arrived through a punk lens. Hot-pink dinner jackets, lined with a new custom monogram, were suggested for daylight swagger. NIGO’s take on Japanese suiting slipped into evening territory in fine satin, while navy military smocks gained bright faux-fur collars and mother-of-pearl buttons. A rose-adorned chef’s shirt with off-center fastening nodded to Takada, and archival bottoms kept the silhouettes unmistakably Kenzo.




Patterns pushed that playful collision further. A revived rose print from the archive met early-1990s florals that turned psychedelic when layered with stars, checkerboards, and harlequin checks. Ivy-style crests were air-brushed, screen-printed, then finished with studs, echoing punk and DIY culture. From last season’s story came K@li the Bunny, Quique the Tiger, and their striped offspring Mimi, Jojo, and Zaza—proof that unlikely pairings can feel natural once the beat drops.




Accessories sealed the punch-line. Last season’s mule returned as a men’s shoe, and the bowling shoe became a literal platform, one version balancing a working snow globe in its sole. Lived-in leather and hardy canvas bags carried patches and spray paint, belts spelled cheeky lines in metal letters, and New Era’s 59FIFTY caps reappeared in a fresh capsule. As Hiroshi Fujiwara’s soundtrack ricocheted through the room, garments and guests blurred the line between collector’s piece and club gear.


