ISSEY MIYAKE’s Spring Summer 2026 collection asks what happens when clothes begin to think, move, and express on their own.
Summary
- ISSEY MIYAKE Spring 2026 treats garments as living beings with their own intent.
- The collection studies the connection between body and fabric through movement and form.
- Key pieces included sculptural forms, unexpected sleeves, and a new Camper collaboration.
Presented at the Centre Pompidou in Paris, ISSEY MIYAKE’s Spring Summer 2026 collection Being Garments, Being Sentient began with a question: what if garments were conscious? The show unfolded like a study in autonomy and emotion, translating that idea into motion, texture, and form.
In typical Miyake fashion, this was less about fashion-as-decoration and more about a dialogue between the body and what covers it. The collection proposed clothing as something with intent, able to express, respond, and even act on its own. It was a thought experiment grounded in the tactile reality of cotton, polyester, and paper-blend textiles.
The lineup opened with Generic Wear, where T-shirts and hoodies appeared to evolve mid-motion, their seams expanding like organisms shedding a layer. The series, made in paper and nylon, imagined what it would mean if clothing could grow. Arms played with distortion: sleeves were attached in places that didn’t quite make sense, twisting the familiar silhouette of a jacket into something both clever and disorienting.
The concept expanded in Peu Form³, a continuation of the label’s collaboration with Camper. This time, the idea of footwear became part of the body itself. The soft, sculptural garments draped in artificial leather wrapped the wearer as if clothing were multiplying, not constructed. In contrast, A Shopper’s Body turned consumption into a second skin, with stretchy jerseys embedded with object-like shapes that pushed and pulled against the human form.
Palindrome inverted the idea of inside and out. Jackets lined with small ISSEY MIYAKE logos became reversible illusions, blurring the distinction between interior and exterior. Concealed took a gentler approach, focusing on negative space, the void between fabric and body, to form sculptural silhouettes that seemed to hover rather than hang.
By the time Adventitious appeared, inspired by plants growing in every direction, the show had shifted into something organic and instinctive. Collars, sleeves, and openings appeared wherever they wanted, suggesting a free and adaptive kind of design. Urban Jungle Jersey, printed with photographs of windmill palms thriving in city corners, captured that same resilient energy in pleated fabrics shaped to mimic living leaves.
The collection closed with the debut of Karst Finch, a new sneaker collaboration with Camper. Lightweight and bright, the shoes came with two pairs of socks, one tonal and one contrasting, mirroring the show’s theme of duality and freedom.
The soundtrack, composed by sound artist Tarek Atoui, deepened the sense of life within material. Using stone, water, animal skins, and ceramics, he treated the textiles themselves as instruments, merging the auditory and the tactile until the garments seemed to breathe.
ISSEY MIYAKE has long turned technical experimentation into poetry. The brand asked what it means for fabric to exist alongside us, not just as covering, but as something alive.
