Paris Fashion Week: The Beat Goes On - Anrealage’s Heartfelt SS26 Show Reframed Fashion as a Living Organism

In Paris, one of the 'living' creations by Japanese designer Kunihiko Morinaga. Photograph above and cover picture by Jay Zoo for DAM. 

At Paris Fashion Week, Kunihiko Morinaga once again reminded the industry why his label Anrealage has become a touchstone for fashion that feels both cerebral and visceral. For Spring/Summer 2026, the Japanese designer staged a show that positioned the heartbeat, a universal symbol of life and love, as the collection’s core metaphor. Story by Jeanne-Marie Cilento. Photography by Jay Zoo

Artistic director of Anrealage.

Kunihiko Morinaga, backstage

in Paris before his show. 

THE runway at the Anrealage show, in Paris at the Palais de Tokyo, unfurled with designs that appeared less like clothes and more like living organisms. Structured dresses expanded and contracted with wired volumes, recalling anatomical forms as much as baroque flourishes. 

Hemlines rippled like tidal waves, while capes and jackets seemed animated, their contours suggesting a presence beyond fabric. Accessories stretched the fantasy further: cat-shaped handbags with gently swishing mechanical tails offered a playful yet uncanny counterpoint, echoing the comfort of companionship in a world increasingly mechanized.

What gave this spectacle depth was the collaboration with Heralbony, a Tokyo- and Paris-based creative company supporting artists with disabilities. Eighteen artists contributed their work, each print translated into textile through Kyocera’s Forearth technology, a sustainable, waterless printing method. The result was garment as gallery, as canvases that displayed personal visual languages while advancing environmental responsibility. 

Sound was integral to the experience. Continuing a partnership with composer Thomas Bangalter, the soundtrack layered rhythmic beats with recordings of everyday noises, many produced by individuals with disabilities. The result felt at once intimate and avant-garde, underscoring Morinaga’s ongoing interrogation of how we perceive difference.

Anrealage has long operated at the intersection of the ordinary and the extraordinary, technology and craft. With this collection, Morinaga not only reaffirmed his reputation as a meticulous innovator but also highlighted a larger cultural shift, one in which inclusivity and creativity are inseparable. The SS26 show was less about theatrics for their own sake and more about shifting perspective: reminding us that beauty is not uniform but plural, and that fashion can serve as a vessel for empathy as much as for aesthetics.

The heartbeat motif ran through every look, not as a literal pulse but as an emotional cadence. In Paris, Anrealage made its case clear: difference does not divide, it can bring us together.

Scroll down or tap pictures to see more highlights from the Anrealage SS26 show in Paris

Paris Fashion Week: Renaissance Reimagined ~ Uma Wang’s Sculptural Minimalism Takes Centre Stage in Paris

Backstage at Uma Wang's show in Paris where the collection's subtle palette melded with the beautiful backdrop of the Musée des Arts et Métiers. Photograph (above) by Jay Zoo for DAM.

Presented at the historic Musée des Arts et Métiers in Paris, Uma Wang’s Spring/Summer 2026 collection marked a quiet yet assured progression in her ongoing dialogue between history and modernity. Referencing the draped elegance of Renaissance sculpture, Wang reimagined classical form through soft tailoring, elongated lines, and textured neutrals that echoed archaic stone. Along with the opening of her newly expanded flagship store in Shanghai, the collection reflected a period of evolution and confidence, refining her signature balance of structure and fluidity. Story by Jeanne-Marie Cilento. Photographs by Jay Zoo 

Uma Wang's exquisite textiles 

are sourced and made in Italy.  

THE conceptual foundation for Uma Wang's new collection was based on the designer's study of Renaissance sculpture, particularly the statues housed in the Loggia di David at the Palazzo del Te in Mantua in Italy's Lombardy region. 

Those works, depicting allegorical virtues draped in marble, became a reference point for understanding how fabric can embody both weight and lightness. The evocative tonal variations of the ancient walls and stones of the Musée des Arts et Métiers reflected the palette of the collection. 

The Arts and Crafts museum was once the medieval Priory of Saint-Martin-des-Champ, an influential monastery completed during the 13th century by Pierre de Montreuil. The surviving parts of the monastic complex became the home of museum in 1802.

The hues of Wang's beautiful textiles, which echoed the weathered surfaces of the former priory, included ochre, cream, sienna, and malachite offset by the glimmer of bronze or silver. 

The subtle colours created a continuity across the collection, underscoring the designer's interest in material evolution rather than seasonal novelty. "The collection is an exploration of fluidity, with a hint of structure to keep it all together," explained the designer. "The tailoring was inspired by the Virtues that populated the Palazzo del Te: statues featuring magnificent marble drapery."

The hues of Wang's beautiful textiles echoed the weathered surfaces of the former priory, in tones of ochre, cream, sienna, and malachite offset by the dull glimmer of bronze or silver 

This subtlety-hued ensemble exemplifies 

the designer's masterful skill creating 

softness with fluid structure. 

She also examined the delicate intersection of structure and softness in the designs. Celebrated for her ability to use fabric with architectural precision, this season she explored fluidity as form, an unbroken rhythm of draping, twisting, and elongation that suggested motion frozen in time. The Spring/Summer 2026 collection's graceful designs exuded composure and serenity. 

Marking a shift from the tailoring of her previous work, Wang’s silhouettes were softened, the waistlines eased, and the shoulders allowed to return to their natural line. The result was a body of work that appeared both effortless and composed.

"The new designs are a direct reaction to the previous collection," Wang said. "The bows are now untied, the waist is liberated, and shoulders are almost natural, but elongation is still there. The silhouettes are a cascade of lines: everything twists, turns, bends and drapes around the body."

On the runway, the designs followed the body with sculptural grace, gentle folds moving with the wearer. Layered dresses curved gently at the hip, while coats and tunics featured panels that spiraled or draped. Every piece appeared to have been cut to express movement in an elegant way.

"The collection is an exploration of fluidity, with just a hint of structure to keep it all together, the tailoring inspired by the Virtues at the Palazzo Te: aged statues with magnificent marble drapery"

Different textures added another

layer of complexity to seemingly

elegant and simple designs. 

The play of fabric was the show’s true focus. Wang’s mastery of material manipulation, a signature since she launched her label, was once again evident. She worked linen, silk, and jacquard into shapes that did not feel purely decorative, rather each fold and crease was part of the design.

Texture added further dimension. Jackets carried a fine crinkle, suggesting fabric that had already lived; distressed knits recalled ancient lace. Embroidered details appeared faintly blurred, as though seen through a soft lens. Even the sharpest cut was tempered by imperfection, an aesthetic that aligns with the designer’s long-standing preference for the tactile and the timeworn.

There were subtle gestures of experimentation: a series of asymmetrical tops with knotted drapes; fluid skirts anchored by internal panels; and garments revealing intricate construction when viewed from behind. 

Each look maintained a tension between precision and ease. Wang’s handling of proportion, narrow shoulders paired with lengthened hems, elongated tunics over wide trousers, reinforced the impression of movement extending beyond the body.

Even the sharpest tailoring was tempered by imperfection, an aesthetic that aligns with the designer’s long-standing preference for the tactile and the timeworn

The subdued atmosphere of the show

reflected the ethos of the collection. 

What distinguished this season’s presentation was how it felt particularly introspective. The choreography, lighting, and the museum’s atmospheric, storied hall, contributed to a subdued atmosphere that allowed the workmanship to speak for itself.

In an environment where fashion frequently turns to exaggeration for attention, Wang’s restraint felt contemporary. Her clothes possess a kind of realism that appeals to a clientele who seek both individual distinction and also longevity. While the collection’s mood drew on classical art, its practicality and proportion made it feel very much of the now.

During the last fifteen years, Uma Wang has established herself as an internationally recognised figure in Chinese fashion. Trained at Donghua University in Shanghai and Central Saint Martins in London, she has built a vocabulary grounded in exquisite fabrics and meticulous design. 

Since joining the official Paris Fashion Week schedule in 2017, she has maintained a reputation for integrity. Her collections, entirely produced in Italy for the past eight years, reflect a consistent partnership between Asian sensibility and European technique. 

This season also coincides with a new chapter in the designer’s broader practice. In Shanghai, the recently expanded Maison Uma Wang consolidates her work across design, art, and craft. The four-storey space includes retail, gallery, and studio areas, underscoring her interest in creating environments as considered as her garments. The development demonstrates the brand’s continued growth within China and its position as a bridge between Eastern artistry and global luxury markets.

Scroll down to see more highlights from Uma Wang's SS26 collection and backstage in Paris.