Directed towards the creative director’s lifelong passions, TAAKK presented its Spring/Summer 2027 collection, The Ability of Discovery, during Paris Fashion Week. With inspiration drawn from flowers and Irving Penn photography, the reflected flowers’ life cycle: bloom, transformation, and eventual disappearance. Takuya Morikawa, the brand’s creative director, mentions looking inwards to existing elements, fabrics, the body, structures, materials, and constructions. It explores how known forms can transform into something new. The collection finds fabric at the initial point of design, as TAAKK maintains its material exploration in weaving, structure, and surface manipulation.
Details in finishing techniques bring dimension and movement directly to each textile. Embroidered structures take the spotlight, combining cutwork with layer embroidery in matching fabrics, creating depth and proportions in garments, to create a three-dimensional perspective. Continuing to use the brand’s signature Gradient Fabrics, the collection integrates textiles to change material composition, resulting in evolving fabric structure and color transition. TAAKK collaborated with Japanese fashion label 4ºC, bringing light to raw minerals as the main characters, focusing on singularity. Belts were worked on together with artist Tomohiro Nakagaki, known for its unique artistry. Along with both collaborations, TAAKK preserved value in change, individualism, personal inspiration, and raw and natural elements.
We spoke with creative director Takuya Morikawa to get more insight into TAAKK’s Spring/Summer 2027 collection. Read the interview below and check out the collection.
Here we are again! Now with your Spring-Summer 2027 collection, The Ability of Discovery. You have always been drawn to flowers and Irving Penn’s photography. How did you mainly portray both of these in your collection?
For this collection, I was not interested in using flowers simply as patterns or decoration. What I wanted to express was the feeling of looking at flowers and the way their forms change over time, through clothing. What draws me to Irving Penn’s photography is that he does not decorate the subject. By looking at it quietly, he brings out the strength that already exists within it. This season began from that act of looking. I brought the outlines, layers, transparent parts, and missing parts of flowers into the garments through embroidery, cutwork, and layering. Rather than drawing flowers, it feels closer to turning the act of looking at flowers itself into clothing.
What are your favorite flowers and Irving Penn photographs?
Rather than one specific flower, I am drawn to flowers that have already spent some time, or flowers whose forms are beginning to change. Sometimes I feel more beauty in a flower that is in the middle of transformation than in one that is perfectly blooming. With Irving Penn, I have always been strongly attracted to his flower photographs, his still lifes, and his work with Issey Miyake. His images are extremely simple, but the subject remains with great strength. I am drawn to the strength that exists within quietness, rather than obvious beauty or glamour.
With this collection, you brought focus to those elements that influence your personal life. What was the process of deciding it’s now time to start drawing more inspiration from what you genuinely love?
I felt that in order to create something new, it is not always necessary to search far away. There can be new discoveries in looking again, from a different angle, at things that have always been close to us or things we have seen many times. Flowers and Irving Penn have both been close to me for a long time. But I felt that by facing them now, with the techniques and perspective I have today, I could see them differently from before. The title The Ability of Discovery is not only about the ability to search for something unknown. It is also about finding something new again within things we already know.
I was amazed by the embroidered cutouts while watching the show. How did this idea first come to mind, and what was the process behind it?
The idea started from wanting embroidery to do more than decorate the surface of a garment. I was interested in how embroidery could become part of the construction itself. Because this collection was connected to flowers, I did not want to simply place floral motifs on the clothes. I wanted to capture the outline of a flower, but also its fragility and the space around it. In some pieces, we first created the floral lines with embroidery and then carefully removed parts of the base fabric. Through that process, the embroidery begins to hold the garment, while the cutouts create space, shadow, and transparency. For me, those openings are not just holes. They allow the body, light, and background to enter the clothing. It connects to the theme of discovery. Sometimes beauty appears not only in what is present, but also in what has been removed.
TAAKK is widely known for new, innovative materials. What were the key materials used in this collection, and what was the process to achieve them?
TAAKK is often recognized for its approach to materials, but for me, material development is never separate from clothing. It is not about presenting a technique by itself, but about discovering how a familiar garment can transform. For this collection, embroidery, cutwork, transparency, layering, and surface treatments were very important. I worked with recognizable pieces such as jackets, shirts, trousers, and coats, but tried to create moments where they begin to shift — where something classical reveals another structure, another texture, or another emotion when seen up close. The floral elements were also treated in that way. They are not simply printed onto the clothes. In some pieces, the flower is drawn through embroidery, and then parts of the base fabric are removed. The embroidery becomes both an image and a structure, creating space, shadow, and transparency within the garment. What interests me is the moment when something familiar becomes unfamiliar. I want the viewer to first recognize the clothing and then discover another layer inside it.
TAAKK worked with 4ºC for jewelry and yuhaku for belts. How did both of these collaborations come about?
For this collection, I wanted to build the world not only through clothing, but also through the smaller elements that exist around the body. For the jewelry with 4°C, we incorporated the natural forms of minerals as they are, and brought them together in silver. Rather than creating something overly refined, we wanted to preserve the shapes and distortions found in nature. I felt that this connected with the organic expression within the clothes. With yuhaku, I was drawn to the depth of the leather colors and the expressions created by handwork. I wanted the clothes, jewelry, and belts to resonate within the same atmosphere, rather than existing separately.
Which would you say are the key looks from this collection?
The looks that express the outlines of flowers through embroidery and cutwork are symbolic of this collection. They show flowers not as decoration, but as structure and space within the garment. The tailored look with cutwork embroidery and the black satin floral look are also important. At first glance, they may appear classic, but when you come closer, you find a sense of tension and discovery within the surface and construction. For this season, I wanted to value both the silhouette seen from a distance and the details that appear when looking closely. The key looks are the ones that carry both of those qualities.
Check out the collection below:
