Powerfully inspired by the ancient Jōmon culture, TAAKK presented their Fall/Winter 2026 collection, Impulse, Springing Up, during Paris Fashion Week. Creative director Takuya Morikawa reminisces about “a time when life in Japan was that of hunting and gathering”, a time when humans and nature lived in harmony. Guided by impulse and power, nature’s power, humanity’s power, the collection has raw bits of nature, with jewelry that allows the natural form of minerals to exist, while also featuring garments so complex that human hands need power to bring them to life.

Models walked down the elevated runway with garments full of intricate details to give each look its spotlight. The collection features fur jackets, bags, and accessories made out of leftover fur remnants that create a unique material. Gradient fabrics were present as a material expression that metaphors TAAKK’s innovative soul, where in one single garment, different materials morph into each other, allowing the brand to use original textiles. Wagyu leather was used to create elaborate embroidery as it was folded, layered, and stitched together, resulting in sculptural detailing. The collection showcased how human hands are capable of creating the impossible.

We spoke with creative director Takuya Morikawa to know more about the process that made this Fall/Winter 2026 collection possible. Check out the interview and the collection down below:

This collection is called “Impulse, Springing Up”. What is the impulse you felt when you started designing this collection?

This is a title that is about everything in the collection, from the details to the inspiration, everything. But it’s something that comes from the soul, from inside, and how I express my emotions, and this is where the impulse comes from. And then it’s going with the story, which is about the Jōmon period, which is very, very old, like ten thousand years ago in Japan. I also want the collection to reflect the potential that human hands can have, with clothes where everyone can feel the human power that went into making them, because there’s a lot of challenge for the artisans and people who are working on making these fabrics, and this shows the power humans have.

You said Jōmon style is very different from the simple “Japanese Minimalism” most people know. Why did you want to show this “other face” of Japan?

I think Japanese designers are more known to be very clean and sophisticated, but what I purely want to do is more inclined towards embroidery, fur, and enabling sculptural, three-dimensional expressions, and these kinds of things that help create. For example, we inscribed onto the surface of some of the garments, inspired by a tattoo design that existed during the Jōmon period. The making of these pieces felt a little like tattooing since it’s a lot of work, it took a lot of time, and the quality can last a lifetime.

For the fur pieces, you used scraps from past seasons instead of new material. Why was it important to give a new life to these pieces?

We like keeping materials from past collections to embrace the past and reusing them in new ways to show the idea of improvement in every collection. So this season is really improving what I used to do in the past. For the fur garments, there are a lot of materials that we mix to create them, to also work with the idea of evolution.

TAAKK is known for innovating through textile creation. What materials and techniques were used for this collection?

There are new materials and techniques in this collection, especially focusing on garments that evolve. For example, there’s an army jacket that degrades into a shirt, and a shirt that degrades into a jacket. And it’s very important to me because that’s the core of TAAKK, to create new textiles and use new techniques with every season. We also used a heat press method to print patterns into some of the pieces, as well as using a paint roller with bleach to create a unique pattern. Another new technique for this collection is a new textile in which denim is expressed through velvet. Here at TAAKK, we love to work with original fabrics for our collection.

For the jewelry, you kept the minerals in their raw and undifferentiated forms. Why was it important not to refine or break them down?

I’ve always had this notion that nature is wild, that it is beautiful as it is, and very, very wild, so I’m trying to keep that wildness alive with this collection. We used a very new technique which makes pure silver be able to mold onto something, so that’s why I was able to use minerals while keeping their forms.

To finish off, what does “Fucking Young!” mean to you?

I’m a long-time fan of this magazine, so I just feel very happy to be able to speak with you!