The Poetry of Paper: Issey Miyake Spring/Summer 2025 Collection in Paris

The delicate folds of the Eau series featured in the new Issey Miyake collection shown in Paris. Cover picture and main photograph by Elli Ioannou for DAM 

In the midst of Paris' Parc Floral, Issey Miyake's Spring/Summer 2025 collection titled The Beauty of Paper was a quiet yet rather profound exploration of one of the world’s simplest materials. Artistic director Satoshi Kondo's captivating design and craftsmanship took paper, something so commonplace it fades into the background of our daily lives, and transformed it into a conduit for creativity and reflection, writes Anna Nguyen. Photography by Elli Ioannou

The seats at the show made

from cylinders of paper 

with the show notes on top.

SATOSHI KONDO'S latest collection is embedded in a centuries-old Japanese tradition: the art of making washi, a traditional Japanese paper that carries with it both cultural significance and a sensory, tactile experience. 

The storied Japanese fashion house's research into this omnipresent material delves into not only its technical properties but also the emotions and sensations it can bring. What makes paper ~ something so simple ~ evoke feelings of purity, comfort, and even nostalgia? Kondo’s exploration begins from this question, evolving into a poetic meditation on the significance of paper in human life.

The set design featured stools made from compressed paper sheet cylinders, once used in the brand’s famous pleating process, and recycled into functional seats for the event. These stools, marbled to mimic the growth rings of tree trunks, subtly nodded to the passage of time, a theme woven throughout the entire collection. 

It was a gentle reminder that while fashion is ever-changing, the materials and traditions we draw from are deeply rooted in history. The designs coming out on the runway constructed from a mix of washi and rayon-silk flakes, called the Fold to Form series, reimagine the traditional techniques of origami, an art form that shares paper’s humble roots, to create angular, three-dimensional designs. 

The result is a blend of structure and softness, where precise, box-like forms draped with the fluidity that could only be achieved through Satoshi Kondo's innovative use of washi fabric. Each piece moves with the body, adapting its rigidity to the wearer’s form, displaying a tension between control and freedom that highlighted the designer's mastery of the material.

The set design featured stools made from compressed paper sheet cylinders, marbled to mimic the growth rings of tree trunks, recycled into functional seats for the show

The Ease series of designs made from

washi paper, hemp, mohair and wool,

draping beautifully on the body.

In contrast to the architectural precision of these pieces, the Eau series (see main picture above) invoked a softer, more flowing aesthetic. Inspired by the fluidity of water, the garments were made from transparent, draped fabric that shimmered with an aquatic quality. As models walked, the light refracted off the undulating folds, evoking the sparkle of sunlight glinting on a calm river. 

These garments emphasized a softness both in texture and in movement, giving the collection an ethereal, dream-like quality: a testament to the idea that paper, though often perceived as static, can also mimic the fluidity of nature.

One of the standout moments in the collection was the presentation of the Ease and Eased series, which paid homage to the traditional Japanese kamiko: clothing made from washi paper that dates back over a millennium. These pieces, crafted from a blend of hemp yarn, mohair, and wool, were designed to drape naturally over the body. 

The rawness of the hemp gives the garments an organic texture, while the mix of yarns provide warmth and depth to the otherwise light and airy silhouettes. The subtle color variations in the fabric emphasize the handcraftsmanship behind each piece, blending the historical significance of kamiko with contemporary design sensibilities.

In another nod to the past, the Hempen section showcased the use of hemp, a material that has been intertwined with both paper and clothing in Japan for centuries. These garments were not only a reflection on the durability and sustainability of hemp but also an exploration of its natural comfort and lightness. Dyed and coated to suit the demands of modern life, the pieces in this series balanced tradition with functionality, demonstrating Kondo's commitment to creating garments that speak to both Japanese heritage and modern living.

One of the standout moments in the collection was the Ease and Eased series, which paid homage to the traditional Japanese kamiko: clothing made from washi paper that dates back over a millennium.

The Wear and Worn designs,

the most playful and 

transformative in the collection.

But perhaps the most playful and versatile part in the collection was Wear and Worn, a conceptual experiment that blurred the lines between fashion and interaction. 

Utilizing seamless knitting technology, Kondo presented garments that could be worn in multiple ways, inviting wearers to engage with their clothing in new and unexpected manners. 

By reversing the front and back, or passing the body through different openings, each piece could be transformed into something entirely new, offering a sense of freedom and playfulness. This series encapsulates the storied Japanese fashion house's ethos: blending technology with craft, and innovation.

The beauty of Issey Miyake’s Spring/Summer 2025 collection wasn’t just in the garments themselves, but also in the meticulous attention to detail evident throughout the show. 

Further integrating the natural world into the collection, the Pressed Flora series featured delicate prints of spring flowers like peonies and ranunculus, their fragile beauty preserved as between the pages of a book. The pressing process resulted in slight creases across the fabric, mimicking the imperfections of nature. This deliberate technique emphasized the vulnerability and transience of the flowers, much like the fragility of paper itself.

The collection’s use of paper was not just limited to inspiration or symbolism. The Paper Bag series, inspired by everyday paper bags, utilized woven yarns made from washi flakes to create bags with the texture and lightness of paper, yet durable enough for daily use. These pieces exemplified the intersection of art and utility, a core tenet of the Issey Miyake’s philosophy. 

Utilizing seamless knitting technology, Kondo presented garments that could be worn in multiple ways, inviting wearers to engage with their clothing in new and unexpected ways

The Cloth and Cord pieces are

airy and light with a fluidity.

secured by cotton ropes.

The Cloth and Cord series stands out for its organic design, shaped from uncut fabric that evokes a raw, almost elemental aesthetic. This unrefined quality is accentuated by cotton rope laces that highlight the artisanal attention to detail. 

The blend of linen and stretch yarns is skillfully woven into a soft, pliable material, offering a light, airy texture. The fabric, gently gathered and secured with ropes, creates a fluid, relaxed drape that exudes a laid-back, yet crafted sophistication. The result is a collection that balances rustic simplicity with refined craftsmanship.

Closing the collection was the Shade and Shaded, where sheer fabrics folded diagonally and partially pleated created garments that oscillated between transparency and structure. The contrast of light and shadow, transparency and opacity, encapsulated the collection’s central theme: the duality of paper as both a delicate, ephemeral material and a tool of permanence and utility.

The Beauty of Paper is a collection that transcends the idea of fashion as mere clothing. It is a meditation on materiality, history, and craftsmanship, all framed within the context of our fast-paced world. 

By turning to paper ~ something so ubiquitous yet often overlooked ~ Satoshi Kondo invites us to slow down, reflect, and find beauty in the simplicity of the things that surround us every day. In doing so, the collection not only honors the past but also offers a glimpse into the future of sustainable and thoughtful design. 

See more highlights from the Issey Miyake SS25 collection in Paris below:

The Power of the Pen: Shiatzy Chen’s Calligraphy-Inspired Spring Collection

Models follow the sinuous lines of Shiatzy Chen's Paris SS25 runway with its giant pen at the centre, suggesting the motif of the show. Photograph by Elli Ioannou for DAM

At Paris' iconic Palais de Tokyo, Shiatzy Chen’s Spring/Summer 2025 merged ancient artistry with contemporary fashion in a masterful celebration of the written word. For the designer, the pen is more than a writing tool, she makes it a symbol of creativity, where tradition meets modernity, and East fuses with West in an inspiring narrative expressed through form and texture, writes Anna Nguyen. Photography by Elli Ioannou

The delicacy and fluidity of 

translucent silk, shimmering

sequins and floating feathers

were highlights of the collection.

SHIATZY CHEN'S latest collection reimagines the writing brush and pen as symbols of artistic expression, weaving then into the very fabric of the designs. "From the nib a symphony of sights can be created: mountains, rivers, birds, and starry nights,” the designer said, describing her inspiration. 

The collection’s silhouettes echo the fluidity of brushstrokes, and from the first model’s stride, the designs are meant to feel as though each movement forms part of a calligraphic painting unfolding on the runway. 

The Paris show opened with a flourish, the models gliding down the runway, following a sinuous ink trail. Each look was deliberate, yet free-spirited, mirroring the precision and spontaneity of calligraphy. The flowing fabrics and delicate details created a dance between past and future, tradition and innovation. 

Soft neutrals dominated the palette with shades of celadon, khaki, and yellow creating a tranquil backdrop, offset by bold dashes of shimmering black. Amid these tones, flashes of translucent red emerged like accents of passion, embodying the dynamic contrast between light and dark, flexibility and strength. 

Each look was deliberate, yet free-spirited, mirroring the precision and spontaneity of calligraphy.

Gauzy fabrics draped beautifully, 

suggested the movement 

of the body beneath.

The fabrics reflected the theme of calligraphy’s graceful, weightless strokes. Light woolen tassels and delicate layers of gauze and silk seemed to move as effortlessly as the tip of a writing brush. Materials were carefully chosen to suggest boldness and subtlety with a refined aesthetic. 

At the heart of Shiatzy Chen’s Spring/Summer 2025 collection are two symbolic figures: the dragonfly and the iris. The dragonfly, with its seeming weightless agility is beautifully designed and accented by topaz, black onyx, and mother-of-pearl. 

The iris, a flower often linked to creativity, bloomed across the garments through intricate embroidery, infusing each piece with a sense of movement and life. The craftsmanship extended to the accessories, where the pen was translated into sleek, sophisticated designs. 

Asymmetrical earrings and waist chains mimicked the fluid curves of brushstrokes, while metal heels added a sharp, modern edge. Shiatzy Chen’s signature jade bangle handles returned in this collection, this time reimagined as the Paint Brush Jade Bangle, suggesting the calligraphy brush. 

Though forward-thinking, Shiatzy Chen’s collection also paid homage to the 1920s, with nods to the straight silhouettes and low-waisted cuts of the era. The modernized versions of cummerbunds and diagonal lapel vests brought a luxurious twist to these retro-inspired pieces, blending them seamlessly with the collection’s futuristic elements. 

Light woolen tassels flowed, while delicate layers of gauze and silk seemed to move as effortlessly as the tip of a writing brush.

Shiatzy Chen's showed her signature

fusion of East and West in the new

collection in Paris.

The result was a fusion of East and West, past and present, creating a look that was simultaneously timeless and avant-garde. The soft-yet-sharp essence of the writing brush inspired not only the garments but also the footwear and accessories. 

From the brushstroke-like curvature of metal heels to the sleek, minimalist lines of angled collars, the collection aimed to embody the quiet power of the pen. 

Since Shiatzy Chen’s debut at Paris Fashion Week in 2008, the brand has established itself as a force on the international fashion scene. With clients ranging from celebrities like Victoria Beckham and Elizabeth Hurley to influential Taiwanese figures, Shiatzy Chen’s designs have gained a loyal following worldwide. 

The brand’s continued presence on the Paris runway, including this latest show at the Palais de Tokyo, solidifies its reputation as a bridge between cultures and eras. 

For this season, Taiwanese designer has once again demonstrated her ability to take inspiration from Chinese culture and translate it into fashion that speaks to a global audience. The pen may be mightier than the sword, but in Shiatzy Chen’s hands, it is also mightier than fabric, crafting not only garments but new fashion stories.

Scroll down to see more highlights from Shiatzy Chen SS25:

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Elli Ioannou

Shiatzy Chen, Ready-to-Wear, Spring/Summer 2025, Palais de Tokyo, Paris. Photograph: Anna Nguyen