That duality defined the collection. Oceanic blues shifted into incendiary reds, transforming water into fire across the body. Photographs taken by Nakazato in Tenerife were digitally altered and printed onto the garments, creating surfaces that appeared to move between waves, smoke and volcanic heat.
The presentation drew inspiration from monogi, the traditional costume-changing technique used in Noh and Kyogen theatre. Garments transformed in full view of the audience, changing colour and character as they moved from blue to red. Nakazato also referenced the rectangular construction of the kimono, showing how the same essential structure could take on radically different forms depending on how it was wrapped and worn.
The designer’s signature Fragile Armor returned as one of the collection’s most powerful symbols. Made from breakable ceramic, it challenged the conventional meaning of armor: something designed to protect the body, yet here rendered vulnerable. Strength and fragility, surface and hidden meaning, existed within the same object.
Technology once again supported Nakazato’s environmental vision. His partnership with Epson continued through Dry Fiber Technology, which transforms discarded clothing into new materials, while YKK joined the project to create fasteners from upcycled garments. Epson’s digital textile printing reproduced the Tenerife imagery while reducing water and energy use compared with conventional processes.
The collection also marked Nakazato’s tenth anniversary on the official Paris Haute Couture Week calendar, where he remains the sole Japanese maison. With Inferno, he reaffirmed his position as one of couture’s most experimental voices, bringing together performance, craftsmanship, technology and environmental urgency.