On February 2, 2026 (local time), JOHN LAWRENCE SULLIVAN presented its Fall Winter 2026 collection at Berlin Fashion Week. Drawing from designer Arashi Yanagawa’s background as a professional boxer, the collection proposed garments structured around defense and tension, deliberately distancing themselves from excessive embellishment and social conformity.

Courtesy of JOHN LAWRENCE SULLIVAN

Hero pieces such as long coats, tailored jackets, bomber jackets, and biker jackets introduced crouching silhouettes reminiscent of a boxer’s fighting stance. Sleeves were dramatically shifted forward, with exaggerated volume and curvature, while shoulder lines were repositioned toward the front, encouraging a guarded posture that directs awareness inward.

Courtesy of JOHN LAWRENCE SULLIVAN

Materials including leather, functioning as a second skin, and durable melton wool formed the foundation of the collection. These textiles act as defensive membranes, shielding the body from external forces while heightening internal awareness. Textures such as kenpi melton, silver leather, and silk-nep fabrics evoke the material presence of Nordic natural environments.

Courtesy of JOHN LAWRENCE SULLIVAN

The color palette centered on deep black, recalling Nordic nights, alongside snow white and ice silver. Camouflage prints designed by Katariina Lamberg and dot motifs evoking falling snow introduced additional depth, while graphic elements referencing forests and rivers reflected mythological imagery embedded within the collection.

Courtesy of JOHN LAWRENCE SULLIVAN

Accessories densely embedded with regimented stud work function not as decoration, but as structural elements that generate tension. Collaborative jewelry with YOSHiKO CREATiON and long combat boots created with KIDS LOVE GAITE introduced durability and practicality, reinforcing the protective character of the garments.

Courtesy of JOHN LAWRENCE SULLIVAN

The womenswear line extended the same conceptual foundation, presenting exaggerated shoulder silhouettes and garments that transpose traditionally masculine constructions onto the female form. Pieces such as denim skirts inspired by HAKAMA and TOKKOFUKU, alongside lingerie-informed tailoring, explored new relationships between body and garment.

Courtesy of JOHN LAWRENCE SULLIVAN

What Arashi Yanagawa proposed was not decoration, but posture itself. Forward-driven silhouettes, protective materials, and structures directing awareness inward collectively examined how the body positions itself against the external world.

Presented in Berlin, the collection articulated defense and tension not as symbols, but as conditions embodied through clothing.

Arashi Yanagawa/Courtesy of JOHN LAWRENCE SULLIVAN