The quiet creativity of those once relegated to society’s margins — their energy, over time, now filtering into the mainstream culture.
Shaped by contemplations from the Fall/Winter 2025 season, Hiroaki Sueyasu directly confronted this reality, finding himself increasingly captivated by the multitude of cultures flourishing in Japan. At the essence of this fascination lies a characteristically Japanese imagination, vividly expressed through realms of anime, figurines, electronic music, and cosplay.
During the 1990s and early 2000s — when the word “otaku” still carried a disparaging sting, these communities, Sueyasu reflects, “wove together fragments of reality, exaggerated them, and spun new microcosmic narratives, bringing to life the unreal with a 200% intensity of presence.” Maids at Maid cafes were more maid-like than real life maids; villains appeared as hyperbolic, transgressive embodiments of evil; and giant robots stood as the ultimate extensions of human strength and crystallized ideals. “These imaginations undeniably remain vital attitudes within contemporary fashion.”
The Spring/Summer 2026 collection reimagines Tokyo’s cultural memory—shifting its lens from Harajuku to Akihabara, while spanning distinct eras and reconstructing design fragments into a new visual narrative. Silhouettes inspired by Godzilla’s scales and rubberized textures drawn from figurines evoke what Sueyasu describes as a distinctly Japanese tactile aesthetic. Accessories range from acrylic resin body armor crafted in collaboration with Chuocho Tactical Crafts (CTCTYO) to the floral-patterned “armored nekomimi ear unit”, encouraging the wearers to be “figurized” and transform into figurines themselves. One-of-a-kind pieces also emerge from a collaboration with Tatsunoko Production, pioneers of early Japanese anime, featuring iconic titles such as Science Ninja Team Gatchaman and Mach GoGoGo. The presentation, staged on the opening day of Mens Paris Fashion Week, paid homage to Japanese hospitality “Omotenashi”, unfolding as a tea ceremony with LES TROIS CHOCOLATS, where artisanal chocolates were served alongside traditional tea.
Kidill
KIDILL is distinctively capable of coexisting punk and cyber aesthetics, symbols entwined with lush florals and destruction, kawaii and grotesque intermingling across garments, textiles, and silhouettes. This confluence perpetually generates fresh déjà vu that defies homogenization. The collection’s embrace of ambivalence and psychological complexity, alongside the subversion of hierarchical cultural values, resonates deeply with punk’s rebellious lineage, marking the emergence of a new narrative.
The blossoming of the creative potential, once confined within psychological barriers, now flourishing and evolving through the shifting tides of time defines the visionary horizon Hiroaki Sueyasu aims to convey through his fashion design.
CREDITS :
DESIGNER : HIROAKI SUEYASU
SHOW DIRECTOR : MICHIO HOSHINA *PLANKTON
STYLIST : TATSUYA SHIMADA
HAIR STYLIST : KUNIO KOHZAKI
MAKE-UP ARTIST : KANAKO YOSHIDA *LGA MANAGEMENT
SHOW MUSIC : TOMAD, ILLEQUAL, TELEMATIC VISIONS
CASTING : TAKA ARAKAWA, JOSE MARIA, INO *ALTER
PRODUCTION : DEVI SOK
COLLECTION PHOTOS : KO TSUCHIYA
BS PHOTOS : FLO KOHL, KYOHEI HATTORI, KO TSUCHIYA
SHOW COORDINATOR : AZUSA NOZAKI
WRITER : TATSUYA YAMAGUCHI
COLLABORATION : CTCTYO, HIZUME, DICKIES, BARACUTA, KIRIN TAILORS, NC, TATSUNOKO PRODUCTION
ARTWORK : MAYA SHIBASAKI, KAE TANAKA, OHIANA
SHOES SUPPORT : BOTH PARIS
CHOCOLATIER : LES TROIS CHOCOLATS, EMIKO SANO, SHO KIMURA
JAPANESE TEA : NIHONCHA SEIKATSU
MAID : MIO, YURI
INTERNATIONAL PR : TOTEM FASHION
JAPAN PR : SAKAS PR
FILM PRODUCER : YUSUKE TAMURA
FILM DIRECTOR : NANASE AKIYAMA
FILM MUSIC : TOMAD, ILLEQUAL, TELEMATIC VISIONS
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