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“FOREARTH” adopted for ANREALAGE’s Paris Fashion Week AUTUMN/WINTER 2026-27 collection, presented in collaboration with “GHOST IN THE SHELL”

Paris Fashion Week 2026 A/W Collection by ANREALAGE
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Comment from Kunihiko Morinaga, Designer at ANREALAGE

Through ongoing collaboration with Kyocera, I have come to see FOREARTH not as a technology that limits expression by reducing water use, but as a tool that expands creative possibilities. It has opened up the idea of using printing to reproduce textures and material feels once thought achievable only with water or specific substrates.

Regarding the collection’s emblematic motif—floral patterns without defined outlines—we normally use water to blur edges in a watercolor-like way. This time, we attempted to recreate the bleeding and soft focus long associated with watercolor using a printing process that minimizes water. From a distance, floral outlines emerge; as you approach, those outlines dissolve and the forms become ambiguous. The result is a floral motif that appears and disappears with viewing distance, much like a ghost.

By printing a denim texture onto UltraSuede, we created a textile that looks like denim at first glance but feels like suede to the touch. Unlike conventional denim, which frays at cut edges, the suede substrate allowed us to realize the sharp design expressions we aimed for. We also reproduced a leather-like look on a faux-leather material using FOREARTH printing: from afar it reads as real leather, but it is actually a light-transmitting special material whose leather appearance is achieved by print. We even produced a look in which the main “GHOST IN THE SHELL” logo appears within a Western-style leather-look that transmits LED light.

We also took on the challenge of printing the same pattern across different materials and thicknesses. Individual garments combine materials such as silk satin, velvet, and silk crepe, and we made delicate adjustments to deliver consistent texture and color across these substrates. Cinematic expressions were achieved as well—for example, placing over 250 scenes from the 1995 “GHOST IN THE SHELL” film within velvet using FOREARTH printing.

Over the past two and a half years of working with FOREARTH, I feel it has the potential to significantly change the environmental impact of printing technologies, particularly regarding water resources. The intersection of creation, technology, and sustainability is a central theme for ANREALAGE today, and I believe that expanding collaborations with FOREARTH across the fashion industry can be a catalyst for reshaping the future of manufacturing.

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