Marrow 2026 Collection draws its inspiration from encounters during travels. Standing within Kyoto's ICC—a 1960s futuristic structure designed by Yukio Ohtani—I suddenly lost all sense of time.

From that moment, I began contemplating what Marrow's futurism truly means. "At the Chengdu Art Museum, viewing artist Xu Bing's exhibition, I was profoundly moved by his words in <Xu Bing Tianshu Rocket>: Human civilization's progress relies on two kinds of people. Some, like scientists, organize and systematize, understanding the world through reason. Others, like artists, disrupt these systems. Only when order is loosened do opportunities for creation arise."

Perhaps the sequencing of time is meaningless. Is there truly a clear boundary between retro and futuristic? As Wisława Szymborska once wrote in her poetry: "When I pronounce the word Future, the first syllable already belongs to the past."

This season, Marrow fuse classical and futuristic elements, shattering rigid boundaries. It is a blend—imbued with the spirit of romanticism, yet revealing new strength through this very loosening.