Prada's Fall/Winter 1999 menswear collection moves from muted tailoring and leather into technical outerwear, close-fitting performance layers, and a final return to dark suiting. This complete sequence preserves all 80 runway looks in the official order.
Salomon SOLUS Autumn/Winter 2026 was developed with guest designer Jeremy Karl around REFORM: rebuilding trail-running apparel through structural geometry, functional interaction, and a low-saturation palette drawn from terrain and changing outdoor light. The men’s range combines purple and navy hooded shells, split shorts, fitted layers, hydration equipment, and a high-visibility yellow lower-body system.
Its five RE:SYSTEM functions are engineered around adjustments made while moving. RE-ADJUST uses a self-locking woven hook-and-loop cord for one-handed waistband tuning; RE-EXTENSION lets a jacket’s back expand over a hydration vest and return to a streamlined form without it; RE-CUFF changes glove cuffs between full coverage and half-finger use; RE-HOOD follows the head closely; and RE-CARGO provides rapid integrated storage.
The studio images isolate these interactions: a soft flask carried at the shell chest, glove and watch access at the cuff, close hood geometry, underarm ventilation, a hydration vest, and a waist system carrying folded trail poles.
The Spring / Summer 27 collection was presented under the narrow yellow spectrum of low-pressure sodium light. Bodies and garments were engulfed in a near-monochromatic atmosphere, an interpretation of a black and white sunset. Colours became perceptible only when struck by full spectrum light, momentarily revealing their true tones. The cast travelled around a physical interpretation of a deconstructed Möbius strip. cc: J.L - A.L _ _
Yohji Yamamoto’s Fall 1995 ready-to-wear show was presented in Paris on March 16, 1995. The images trace layered tailoring, openwork textures, chunky knits, wide-brimmed hats, and sculptural backs.
UNDERCOVERISM 2012–13 Fall/Winter portrait feature The Men Who Wear Undercoverism, photographed by Taro Mizutani with text by Issey Enomoto.
A limited-edition Nintendo DS Lite created by honeyee.com and fragment design. The matte-black exterior carries the honeyee.com wordmark and fragment's lightning-bolt insignia, while the opened console reveals a white interior.
The collaboration was announced in February 2008 and released in Japan in March 2008 under model number USG-S-FRGA(JPN).
Arte Antwerp x adidas F50 “Feather Patent Leather/Black” (HQ3324) in Core Black, scheduled for release September 10 through adidas.
Glossy synthetic patent leather replaces the usual sportswear upper, with perforated quarters and a tonal black sole.
Comme des Garçons Fall 1993 ready-to-wear moves between fractured tailoring, graphic panels, reflective surfaces, floral and plaid clashes, and increasingly fluid asymmetric layers. Across 89 looks, Rei Kawakubo builds contrast through muted tailoring, metallic textiles, deep purple, pale pastels, and vivid printed passages while maintaining a continuous conversation between structure and drape.
Silent Poets for Issey Miyake Spring/Summer 2001 is a hardcover lookbook photographed by Françoise Huguier. It presents imagery from Issey Miyake’s Spring/Summer 2001 collection and includes the collaboration CD Red Eyes Tribe at the back of the book. Japanese electronic duo Silent Poets produced the music for the runway show.
Gustav Frich photographed by Alasdair McLellan and styled by Beat Bolliger for Margaret Howell Autumn/Winter 2016.
Undercover Spring/Summer 2015 carried Takahashi's twisted fairytale into a more digital setting, with LED screens integrated into garments and bags.
Photography by Jeff Henrikson; styling by Emma Wyman.
Jun Takahashi framed Undercover Autumn/Winter 2014 around fear, warmth and royalty. Braided crowns and rhinestones were offset by vamp-red contact lenses, red mascara, tartan and toile de Jouy interrupted by UFOs, turning the runway into a corrupted fairytale.
Photography by Jeff Henrikson; styling by Emma Wyman.
Hermès Fall 1998, inside the Margiela years: a private uniform with the lights left low.
The house codes are still there, but drained of announcement. Long coats, sleeveless shells, leather sleeves, flat boots, gloves, cashmere, grey wool, tobacco brown, black. Luxury held like a tool, not a trophy.
It is almost hostile in how little it performs. Monastic, office-punk, weatherproof, expensive without asking to be seen. A wardrobe for people who know exactly what they are looking at.
Interview with Jun Takahashi on Undercover AW13
Q: After two years away from the Paris catwalks, why was now the right time to show a runway collection?
A: After the earthquake disaster, we Japanese were spiritually in the worst state. It’s been two years since then and everyone is hoping to improve the present situation. I am one of them. I chose to have a runway show in Paris in order to restore myself. I thought it would work because going back to the runway was one of the things I had been hoping to do.
Q: Talking of the scar that Japan’s earthquake left on you, did it creatively affect your AW13 collection?
A: I was craving for creation, and that resulted in those one-off dresses. Two years ago, mentally and financially I wasn’t able to create such things. Those one-off pieces are my original works and made intuitively by myself. I am the only one who could make them. They are sacred works to me. I guess I like things where you can feel human warmth.
Q: Why did you call the show ‘Anatomicouture’? Was your intention to expose the inner bones of the garments?
A: It is a mentality of exposing the inner self, corresponding to my desire to reveal my creation and what’s going on in my head.
Q: Despite the skeleton and organ motifs, the collection is beautiful and seductive – does this come back to your interest in the contrast between ugly and beautiful?
A: Ugliness and beauty co-exist in human mentality. I always want to express those emotions.
Q: The AW13 show had the feel of punk performance art – why did you stage it like theatre?
A: Because the theme of this collection is related to human emotions, I thought my theme could be conveyed much better with such staging effects that would move people’s hearts. That’s why I used songs by Cat Power and James Blake. All the songs are great and meaningful and helped me convey what I wanted to express through the lyrics of songs too.
Q: When did your love of fashion start, and how did that lead to Undercover?
A: When I was little I loved drawing and had a twisted personality. I was so into punk during my high school years. My interest in fashion arose when I was around 15 years old and I was hoping to become a designer. At 18, I entered Bunka Fashion College. I was questioning about learning ‘design’ from teachers who were much older than me. So I told myself that I would learn only techniques in the school, nothing else.
Q: Undercover was considered part of a new wave of Japanese designers. How did your approach differ from the likes of Rei Kawakubo and Yohji Yamamoto?
A: I am not sure if Undercover is part of a new wave and I don’t really care. But Rei influenced me a lot on things like breaking stereotypes.
Q: You and your friend Hiroshi Fujiwara collected vintage Seditionaries pieces and published a book about them, and you even appeared in a show of Vivienne Westwood’s designs in Tokyo in 1990. Can you describe the impact punk made on you and explain why it still resonates today?
A: To me, punk means a spirit that questions and abolishes conventional ideas. That is my fundamental principle. You can apply the principle to fashion design. It depends on each season, but I instil punk interpretation into my designs in many ways – for example, by fusing two contradicting elements or applying techniques that are generally considered taboo.
Q: You recently designed lines for Uniqlo and Nike – how did you enjoy those two experiences? Did they feed back into your work with Undercover?
A: The Uniqlo and Nike collaborations are totally different types of designs from that of Undercover. Therefore the collaborations didn’t really affect my work with Undercover. But for my career as a designer, both collaborations became good experiences. Working with Uniqlo gave me the opportunity to learn about the creation of mass products and newly standard items that are totally different from designing avant-garde pieces. As for the collaboration with Nike, I am very satisfied both as a designer and as a runner with the fact that I have been able to create products which integrate necessary functions for running with fashion-design aesthetics, which had often perhaps been missing in the existing sportswear.
Q: You’ve talked in the past of the difficulties with keeping up with the six-month cycle of fashion shows, and skipped showing in Paris for a couple of seasons – how are you currently finding working within the fashion calendar?
A: Right now, I’ve come to the conclusion that the six-month cycle is appropriate. Themes of each Undercover collection vary by season. If we could spend more than six months on a collection, and if we continue to work with the same theme for a year, it would be difficult to keep up the tension towards the theme and I am afraid that the freshness would be lost.
Q: AW13 got a great response. Will we be seeing you back on the runway next season?
A: I could strongly feel that a lot of people were waiting for Undercover and I was very thankful about it. I will be back on the runway next season.
Q: Next year will mark the 20th since you began showing as Undercover. How do you feel you’ve evolved in that time?
A: I went through many phases and experienced many things. There was a time we faced various troubles, or we jumped into things just by force of circumstances. But nothing was wasted. I am responsible for all success and failure of Undercover. I will go forward without being ashamed of the paths I’ve chosen.
Mawashi designed the T-RED ('Tegman — Real Ergonomic Design') personal protective equipment for use-of-force training with law-enforcement, corrections, and military personnel. The body-moulded suit uses adjustable fastenings for mobility and quick removal. Its passive cooling structure reduces the contact area between the equipment and the body to improve airflow.
“I Wish They Made This for Girls” is a recurring photo series by artist Vincent Tsang on onandbeyond.com, his menswear and technical-apparel journal. Each installment documents men’s garments worn by a woman.
This installment: Arc’teryx Veilance Spring/Summer 2012.
Deploy Composite Jacket (above) — black. WINDSTOPPER 3L front, shoulders and hood; stretch plain-weave nylon back and sides; asymmetric main zip carried over from the Arc’teryx Sidewinder.
Field Jacket LT (above) — Cirrus (grey). Stand collar with snap tabs; flap chest pocket.
Published on onandbeyond, March 2012.
N.Hoolywood’s Autumn/Winter 2010–11 collection was Daisuke Obana’s final Tokyo presentation before moving the brand’s runway shows to New York. Built around the Vietnam War, the collection works through olive field uniforms, cargo trousers, utility vests, berets, combat boots, camouflage, padded outerwear, and oversized packs, while later looks shift toward distressed denim and countercultural styling. This Techspec edit preserves the 41 supplied runway images in their original numbered order.
