DESIGN and ART MAGAZINE

Sunday, 26 January 2025

KidSuper's Colm Dillane Unleashes a Whirlwind of Creativity at Paris Fashion Week Autumn/Winter 2025

Amid the vaporous 'tornado' and keening voice of Ekaterina Shelehova, American designer Colm Dillane presented an engaging, eclectic and wearable collection in Paris. Photograph (above) by Jay Zoo. Masthead picture by Elli Ioannou for DAM

At Paris Fashion Week, KidSuper’s Colm Dillane once again demonstrated why his label remains one of the most dynamic and inventive forces on the global fashion stage. With a 'visual storm' on the runway, the American designer harnessed the power of art, engineering, and bold design to deliver a spectacle that was both theatrical and thought-provoking along with an evocative collection, writes Antonio Visconti. Photography by Jay Zoo

The 'tornado' created by artists

Daniel Wurtzel and Lynn Newman

at Colm Dillane's Paris show

THE ATMOSPHERE inside the 19th century hall in the historic la Villette centre in the north of Paris was charged with anticipation as the KidSuper Autumn/Winter 2025-26 show opened with an otherworldly display, thanks to artist Daniel Wurtzel and his wife Lynn Newman. Known for their intricate manipulation of air and vapour, the New York-based duo collaborated with Dillane to transform the stage into a visual storm. “Performative arts and fashion share a common thread: the ability to evoke emotion and tell stories through spectacle,” Wurtzel said.

Hidden vents released curling streams of vapor that gathered into a high-speed vortex under the guidance of an airscrew. This meticulously calculated performance set the tone for an evening that was as much about storytelling as it was about style. The collection itself mirrored the turbulence of the staging, presenting a blend of chaos and cohesion. Dillane’s designs embraced a raw, layered aesthetic that spoke to themes of apocalypse and resilience.

The show, called From a Place I Have Never Been, came with KidSuper 'passports' for guests that looked official with stamps and ID. The evening show's finale was the stirring singing by Ekaterina Shelehova: "Her performance was the emotional heartbeat of the show,” Dillane said.“The best art doesn’t happen in isolation, it’s born from a collective effort, a dialogue between different talents and perspectives.”

The new collection's upcycled materials, including painted army surplus kit bags, formed a rugged foundation for several looks. In a nod to KidSuper’s growing global reach, it also featured the brand’s first-ever Made in Italy pieces, a significant milestone for Dillane, who emphasized his commitment to keeping his designs affordable rather than luxury items.

Familiar motifs from previous collections resurfaced, providing continuity amid the innovation. Dresses crafted from discarded canvases, a standout feature of Dillane’s past work, returned with new energy. The designer’s signature face collage puffers, denim barn jackets, and embroidered doodle outerwear also made an appearance, proving that KidSuper’s playful yet poignant approach to fashion remains central to its identity. Highlights included a moody black leather trench coat inscribed with poetry and an intricately quilted white suit that showcased Dillane’s technical prowess.

KidSuper’s blend of artistic vision and entrepreneurial ambition continues to offer a fresh perspective at Paris Fashion Week

Designer Colm Dillane takes his

bow at the end of his show

One of the most talked about aspects of the show was KidSuper’s collaboration with Japanese streetwear giant Bape. The partnership yielded a range of pieces, from shark hoodies and camouflage jackets to a pinstriped suit adorned with vine leaf patterns.

A caricature Baby Milo T-shirt featuring Dillane himself added a touch of humor to the lineup. The collaboration felt particularly meaningful for Dillane, who reminisced about selling his own printed T-shirts outside Bape’s New York store during his school days.

As Dillane took his bow, the energy in the room was electric. “I try to do the impossible every time,” he remarked at the end of the show, capturing the spirit of his brand.

KidSuper’s blend of artistic vision and entrepreneurial ambition continues to make waves, offering a refreshing perspective at Paris Fashion Week. With his storm-themed spectacle, Dillane once again proved that fashion can be a powerful force for creativity and disruption.

Scroll down to see highlights from the Paris KidSuper Autumn/Winter 2025-26 collection

Subscribe to support our independent and original journalism, photography, artwork and film.

Saturday, 25 January 2025

Paris Fashion Week: Dynamic Forms and Dancing Robots at Issey Miyake’s Autumn/Winter 2025-26 Menswear Collection

The interplay between fabric and movement is a recurring theme in Issey Miyake's work, as in the new show in Paris. Photograph and masthead picture by Anna Nguyen

In the storied hall of the former Franciscan convent Réfectoire des Cordeliers in Paris, a space imbued with centuries of history, Issey Miyake’s IM Men debuted its Autumn/Winter 2025 menswear collection. As the models navigated a stark white runway flanked by futuristic robotic sculptures, the show unfolded as a celebration of the late designer’s enduring vision. Marrying traditional Japanese craftsmanship with avant-garde innovation, the collection explored the transformative relationship between cloth and body, writes Isabella Lancellotti. Photography by Elli Ioannou, Anna Nguyen and Jay Zoo

Tokujin Yoshioka robots that rotated black panels

in a synchronized dance at the Paris runway show.

THE first Parisian showcase for the label’s newly defined menswear line was a bold statement: IM Men is not just a tribute to Issey Miyake’s legacy; it is the next chapter of his evolving philosophy. The presentation of the new collection married futuristic design with tradition.

The show was a masterful exploration of the relationship between fabric, form, and the human body. Helmed by the new design trio of Yuki Itakura, Sen Kawahara, and Nobutaka Kobayashi, the collection paid homage to the brand’s late founder while propelling the label into new, uncharted territory.

The venue itself, a 16th-century former monastery, set the tone for the collection’s narrative of transformation. Against this backdrop, models walked between two monumental robotic structures, designed by artist Tokujin Yoshioka. The robots rotated black panels in a synchronized dance, mimicking the fluidity and dynamism of the garments on display. This integration of technology and artistry underscored the brand’s commitment to innovation while reflecting Miyake’s enduring philosophy: the endless possibilities of a single piece of cloth.

Helmed by the new design trio of Yuki Itakura, Sen Kawahara, and Nobutaka Kobayashi, the collection was a masterful exploration of fabric, form, and the human body

Intricate folds and voluminous

draping were key motifs of the

AW25 collection designed by

three new creative directors.

Photograph: Anna Nguyen

The collection’s title, To Wear a Piece of Cloth, encapsulates the essence of the show. Miyake’s design philosophy has always revolved around the transformative potential of fabric. The opening segment featured monochromatic ensembles in shades of creamy white and greys that emphasized simplicity and purity.

These pieces, constructed with intricate folds and voluminous draping, included capes while long swathes of fabric formed sweeping coats. The new design trio’s expertise in pattern cutting allowed them to create dramatic silhouettes with designs that could easily be worn to a (minimalist) kitchen or garden party.

As the show progressed, the collection transitioned to more contemporary, functional designs. Sophisticated yet simple jerkins in treated cotton, suede baseball jackets, and unadorned sweatpants exemplified the versatility of the line.

The use of innovative materials, such as plant-based nylon fiber and recycled polyester, showcased the brand’s commitment to sustainability. These fabrics were not only environmentally conscious but also offered a tactile richness that elevated the garments beyond mere utility.

The collection’s Fly line featured garments with selvage details that allowed for multiple configurations. Coats could be worn upside down or sideways, depending on how the buttons were arranged, emphasizing modularity and adaptability. Similarly, the Wall series introduced outerwear with transformative hoods and inside-out design elements, blending practicality with avant-garde aesthetics.

The use of innovative materials, such as plant-based nylon fiber and recycled polyester, showed the brand’s commitment to sustainability

The fabric squares floated like kites,

a metaphor for freedom and fluidity.

Photograph: Anna Nguyen

Performance art has long been a hallmark of Issey Miyake’s shows, and this collection was no exception. The final segment saw models donning capes that, with a simple unbuttoning, transformed into large fabric squares.

As the models ran around the runway, these squares floated like kites, creating a visual metaphor for freedom and fluidity. This evocative conclusion was a nod to Miyake’s 1977 Fly with Issey Miyake show, where fabric was similarly celebrated as a medium of limitless creativity.

The IM Men label, which debuted in 2021, represents a new chapter for the Issey Miyake brand. By replacing the Homme Plissé line on the Paris Fashion Week schedule, IM Men signals a shift towards a more experimental, technology-driven approach.

The design team’s decision to revisit foundational elements of Miyake’s work while incorporating modern innovations demonstrates respect for the brand’s heritage. The result is a collection that feels both rooted in tradition and boldly forward-looking.

One of the standout aspects of the Autumn/Winter 2025 collection was its ability to straddle the line between art and functionality. The garments, while undeniably sculptural, remained wearable. This balance was particularly evident in the use of Ultrasuede and artificial sheepskin, materials that added textural depth without compromising comfort. The collection’s headwear, including scarf-beanie hybrids and bucket hats with extended ear flaps, further illustrated the brand’s ability to merge utility with whimsy.

The IM Men label, which debuted in 2021, represents a new chapter and the design team revisited foundational elements adding modern innovations

Splashes of brilliant colour

enlivened the monochrome

parts of the new collection.

Photograph: Elli Ioannou

In keeping with contemporary fashion’s emphasis on sustainability, the collection incorporated eco-friendly materials and processes. The Switch line utilized plant-based nylon fibers derived from castor and corn, while the Metallic Ultra Boa division employed foil printing techniques to create angular outerwear with a futuristic edge.

These innovations not only reduced the collection’s environmental footprint but also reinforced its position at the cutting edge of textile technology

Throughout the show, the interplay between fabric and movement was a recurring theme. The Flat Drape segment featured garments that seemed to come alive with each step, the shirts, coats, and trousers rippling like waves.

This emphasis on movement highlighted the collection’s kinship with dance, a motif that has long been central to Miyake’s work. By incorporating elements of performance art, the show transformed the runway into a stage for storytelling, where each piece of clothing became a character in its own right.

The Autumn/Winter 2025 collection marks a significant milestone for IM Men. Under the guidance of Kawahara, Itakura, and Kobayashi, the label has emerged as a dynamic force within the Issey Miyake universe. By blending the brand’s storied past with contemporary innovation, the design trio has created a collection that is as intellectually stimulating as it is visually striking.

This emphasis on movement highlighted the collection’s kinship with dance, a motif that has long been central to Miyake’s work

The three new artistic directors of Issey Miyake's

IM Men collection: Yuki Itakura, Sen Kawahara

Nobutaka Kobayashi at their exhibition in Paris.

Photograph: Jay Zoo

The designers say that IM Men is still based on Issey Miyake's original idea of "a piece of cloth," but they aim to redefine the concept through shape and construction, combining engineering and design.

Back in Paris, as the final models sprinted off the runway, their capes billowing behind them, the audience was left with a sense of exhilaration. This was more than a fashion show; it was a celebration of creativity, craftsmanship, and the enduring legacy of Miyake himself.

With IM Men, the brand has not only honored its founder’s vision but also charted a course for its future, one where tradition and innovation coexist in harmony.

Scroll down to see more highlights from the Issey Miyake Autumne/Winter 2025-26 collection in Paris