Issey Miyake’s shape-shifting A/W 2025 collection transforms the paper bag into something you can wear

‘Can anything be considered a garment, as long as it’s on the body?’ says creative director Satoshi Kondo of the art-infused collection, which sees the everyday reimagined

Issey Miyake AW25 art collection
‘Paper Bag (Poster)’ bag, £650 (available isseymiyake.com); top, £1,090, both by Issey Miyake (enquire at isseymiyake.com)
(Image credit: Photography by Neil Godwin)

‘Can anything be considered a garment, as long as it’s on the body?’ This was the question posed by Satoshi Kondo with his A/W 2025 collection for Issey Miyake, presented at Paris’ Le Carrousel du Louvre earlier this year.

Backdropped by a series of performers enacting artist Erwin Wurm’s ‘one-minute sculptures’ – developed by the Austrian artist in the 1980s, the continuing project sees Wurm encourage public participants to interact with everyday objects for 60 seconds, becoming an ephemeral ‘sculpture’ – the energetic show saw garments twisted in silhouette or context, from trompe l’oeil prints of knitwear which ran across twisted plissé gowns to heat-pressed fabrics used to create structural silhouettes evocative of paper dolls.

Shape shifter: Issey Miyake A/W 2025

Issey Miyake runway show at Paris Fashion Week A/W 2025

The A/W 2025 runway show, which was shown at Paris’ Le Carrousel du Louvre earlier this year.

(Image credit: Courtesy of Getty Images)

Elsewhere, quotidien objects were transformed: a ‘paper bag’, printed with an imaginary exhibition titled ‘Abstract, Concrete, and In-Between’, became a dress, complete with a pair of handles on its side. ‘[It’s about] the freedom of wearing [clothing] in one’s own way and the exciting possibilities that are yet to be discovered within the garments,’ said Kondo.

‘[It’s about] the freedom of wearing [clothing] in one’s own way and the exciting possibilities that are yet to be discovered within the garments’

Satoshi Kondo

It continues the evolution of the Japanese brand undertaken by the Kyoto-born designer and his studio, which draws on the namesake designer’s pioneering spirit without being trapped in the past. ‘Miyake was never guided by trends from the wider industry. There was always a story to tell, and that story was original. We’ve continued a creative process that doesn’t allow too much influence from the outside,’ Kondo told Wallpaper* earlier this year.

Erwin Wurm One-Minute Sculptures at Issey Miyake

Erwin Wurm’s ‘one-minute sculptures’, which backdropped the show

(Image credit: Ophélie Maurus)

‘Miyake was tenacious and stubborn. It’s something that echoes with me, too – that tenacity, that perseverance. He continued until he found something really original. It’s a mindset. When you want a really beautiful flower, you don’t go to the florist, you go out into the forest.’ 

This article appears in the November 2025 Art Issue of Wallpaper*, available in print on newsstands from, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 9 October. Subscribe to Wallpaper* today

Fashion Features Editor

Jack Moss is the Fashion Features Editor at Wallpaper*, joining the team in 2022. Having previously been the digital features editor at AnOther and digital editor at 10 and 10 Men magazines, he has also contributed to titles including i-D, Dazed, 10 Magazine, Mr Porter’s The Journal and more, while also featuring in Dazed: 32 Years Confused: The Covers, published by Rizzoli. He is particularly interested in the moments when fashion intersects with other creative disciplines – notably art and design – as well as championing a new generation of international talent and reporting from international fashion weeks. Across his career, he has interviewed the fashion industry’s leading figures, including Rick Owens, Pieter Mulier, Jonathan Anderson, Grace Wales Bonner, Christian Lacroix, Kate Moss and Manolo Blahnik.