MASU
FW25 "20XX"
1st Delivery

The first delivery of the "MASU" FW25, designed by Shinpei Goto, will be on sale from Saturday, July 26th.

The theme for this season is 20XX (Two Zero Double X), expressing the idea that this is "a collection unlike any other." Archive pieces from Spring/Summer 2017 to Spring/Summer 2025 have been updated.
GALAXY STRAIGHT TROUSERS sparkle like a galaxy. Covered in countless rhinestones and colorful studs, they are one-of-a-kind pieces. Made from supple and firm Giza cotton, they are wide and straight. This is a long-awaited release of items that have not been released in collections until now. We have the signature spiky top, a shirt featuring scanned data of a messily pressed bandana, and a cake bag updated with quilted leather.
Furthermore, from the MASU BOYS line, we have a denim jacket with an argyle pattern that has been changed from flocked to laser bleached. Sweatpants with a baggy silhouette that are also a favorite of the designer. This season, we have prepared a rich lineup of items for the first delivery, including a new model with a delicate embroidery of the brand's icon, an angel, on the left side of the body. Please enjoy it.

2025 FALL WINTER COLLECTION
20XX

Wearing a felt helmet, from which wounds brought about by the passage of time glow brightly, the man arrives at the "Kijiiki", a place where different time periods mix and melt together like the ebb and flow of the tides.
"Kiiki" is a coined term indicating a place where the past and future intermingle, discovered through dialogue with the man by artist Hiromasa Kishi, who sees AI as a different kind of intelligence. Like a brackish water area where fresh water and sea water meet, different times intermingle, and it contains a dual temporality that cannot be captured by the existing time axis. It is as if the concept of time itself melts and disappears.
And in the "Ki-ji-kai," the moment "right now" becomes "somewhere other than here and now," freed from the frameworks of past and present. "Now" is such an ambiguous tense, "that's why it's full of possibilities," the man said.
The future-oriented man wandering through the "Ki-ji-kai" reaches out to all the clothes released from April 3, 2018 to the present, facing the brand's history and himself. As he sincerely confronts the carefully selected pieces, sometimes looking at them from a bird's-eye view, and sometimes observing them microscopically, he realizes that each piece retains almost the same energy as "that time." There are traces of the creation of not only himself but also all the people involved, and a new consistency that blends with the past emerges. Here, where the brand's style is vividly manifested, the angel's prankster's bow and arrow fly out, and swans appear playing in the air on the water's surface. The man also writes, "The mist hanging over the Ki-ji-kai invites me with a will. I feel like I can see a faint door of light beyond it." The figures that emerge from within continue to move forward with a firm will, as if invited by their future selves. This shows that the man's journey was short, but dense - a journey that radiates a certain light.
"I can now choose to distance myself from fashion and build an oasis where I feel comfortable," says the man. "But I don't want to turn my back on fashion just yet." His words express a strong skepticism towards the modern fashion system, as well as an unchanging love for the existence of clothing. "The infinite future of clothing, this simple tool, is in danger of being lost. Rather than following the inertia of new creations, I want to reexamine the true essence of clothing that is loved without being bound by time or capitalism." This declaration that closes one of Hoshigiri's routes is also a clear act of resistance from the man, who is questioning the value of clothing itself. "That's why I'm not making 'new clothes' right now."