For Fall/Winter 2026–27, Hiroaki Sueyasu makes the deliberate choice of Silence. By stripping away performative staging, he allows garments and bodies to breathe, revealing within a simplified stage the essence of his designs.
At its core, KIDILL has always been rooted in punk. Sueyasu’s gaze remains fixed on contradiction: chance and inevitability, chaos and stillness, audacity and fragility, cuteness and hardcore. Rather than resolving these oppositions, he insists on their coexistence. Through clothing, conflicting values collide and assert themselves. For Sueyasu, fashion becomes a means of survival an intimate way to steady the mind and recover balance within chaos. A resilient yet flexible spirit. Resistance towards preconceived ideas of justice. Cute aesthetics infused with hardcore intensity. Sueyasu holds onto a fragile purity that is at risk, an innocence embedded in boyhood and girlhood. It is a naivety closely tied to inner conflict. Instead of calculated beauty, KIDILL’s utopia depends on raw contradiction, left visible and unresolved.
In the Fall/Winter 2026–27 collection, these tensions are distilled into individual garments. Smoky, muted color palettes are confronted with black silicone rubber distressing. A collaborative MA-1 with ALPHA INDUSTRIES wraps rigid military construction in soft tulle, softening the boundary between femininity and aggression. Artworks by Trevor Brown, an artist deeply rooted in Tokyo’s underground scene for over three decades, appear throughout the collection: oversized devil and angel wings that engulf the body, sharply curved mods coats, and layers of tulle cutting across graphic imagery of girls. Together, they give physical form to opposition.
Cut-out fabrics, quilted skirts, traditional tartan checks, belt-bound bondage details, safety pins and metal embellish- ments, piping that traces the garments’ contours. Fabrics range from jacquard weaves to reflective materials. Punk symbols, intuitively understood by Sueyasu, are pushed to excess most notably in the UMBRO collaboration, where more than 40 adjustable points are embedded across panel transitions. At the same time, ongoing collaboration with teams skilled in bespoke tailoring allows technical refinement and rebellion to coexist.
The cultural turbulence and impulses Sueyasu has absorbed everyday scenes from London, underground chaos, early 1990s Tokyo, and lingering cyberpunk imagery have always driven KIDILL forward. When creativity shaped by personal memory intersects with the present moment, encounters between seemingly incompatible forces emerge. Sueyasu intentionally distances himself from sophistication, continuing to embrace the strength of what remains unfinished.
“HEAVEN” does not refer to a conventional utopia.“It represents liberation from taboo and oppression, and a questioning of social norms,” Sueyasu explains. “It functions as a metaphor in which opposing states, child and adult, come together.”
Fall/Winter 2026–27 clearly reasserts the core of what KIDILL has built to date, presenting a vision of freedom and an unfiltered future. Destructive outcomes and unreal fantasies, these, too, can exist as a form of heaven.