Hatra Fall 2025 Collection: A Vision of the Future in Motion

HATRA has long been a brand that dances on the edge of reality and the digital unknown. At Japan Fashion Week 2025, Keisuke Nagami once again proved why his work sits at the intersection of fashion and the future. His Fall/Winter 2025-2026 collection, “WALKER,” was an exploration of fluctuation, movement and shifting perspectives, resulting in a collection that felt alive, both conceptually and literally.

At first glance, the collection’s emphasis on pleats and fluid tailoring set the tone. Every pair of trousers carried an element of movement, whether through carefully structured folds, asymmetrical fly details, or 3D pleating crafted using CLO, a digital simulation software. When models walked, the fabrics almost rippled, giving the impression of garments in constant transformation.

Prints also played with motion. Chrome-like patterns shimmered over sheer tops and billowing dresses, reminiscent of light bending over water or the iridescence of a soap bubble or an oil slick. These weren’t just digital illusions; they were Nagami’s take on fleeting, fluctuating perspectives which is a visual metaphor for moments slipping through time.

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Nagami’s approach to design is equal parts fashion and computational art. His prints, for instance, weren’t simply AI-generated, they were a dialogue with artificial intelligence, which he describes as a form of “alien intelligence.” Unlike a straightforward prompt-and-response system, his process involves feeding fragmented concepts into an AI system and letting it create unpredictable, dreamlike results. The outcome? Supernova-like jacquard knits, hypnotic geometric patterns, and hallucinatory landscapes printed on soft, flowing fabrics.

Meanwhile, structural elements brought a sharp contrast to the fluidity. Origami-like jackets folded into themselves, creating architectural silhouettes, while trousers with chrome hardware and misplaced paneling disrupted the traditional idea of tailoring. These weren’t just garments; they were engineered illusions, designed to distort perception and challenge the way we see clothing.

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Nagami’s fascination with fragments of time and space played out in the accessories as well. Models carried crystals, actual geological stones that symbolised microcosms of Earth held within the palm. The alien theme didn’t stop there: runurunu, a sci-fi artist, collaborated on eerie spherical bags with mollusk-like suckers that added to the sense of spacy mystery. The entire show felt like stepping into a future where clothing, technology and philosophy merge into one seamless entity.

Nagami’s work fits seamlessly into a major trend dominating Japanese fashion right now: juxtaposition. The way he merges fluidity with structure, soft flowing fabrics with sharply engineered tailoring and organic, shifting prints with precise digital craftsmanship is a perfect reflection of this aesthetic. In Japan, designers are increasingly playing with contrasts, blending tradition with futuristic elements, or mixing natural, draped silhouettes with hyper-modern, technical materials.

It’s easy to imagine these garments on the streets of Tokyo’s high-fashion districts, worn by tech-forward creatives, digital artists and futurists who embrace experimental design. The structured jackets and pleated trousers would also fit effortlessly into the wardrobes of those in architectural or design fields, where form and function merge seamlessly.

On a grander scale, the collection would thrive in editorial fashion spreads, sci-fi inspired styling, and experimental red carpet moments. As we step further into an era where technology and fashion collide, one thing is clear: Nagami doesn’t just design for the present—he’s already in the future.