At the core of SOSHIOTSUKI's creative practice is memory. 

Not only personal memories, but also memories inherited through photographs, films, and the 

stories of others̶memories never personally experienced, yet somehow deeply familiar. This season begins with a sense of nostalgia for a resort that has never actually been visited. 

The image at the heart of the collection is that of a usually strict father allowing himself to loosen 

up, just slightly, while on holiday. 

Freed by the atmosphere of a resort, he dresses in ways he never normally would. A shirt with one collar flipped out. Shorts that refuse to close completely. Trunks peeking out beneath them. 

Lapels and belts curving into forms reminiscent of the letter "S." 

There is something imperfect about him̶almost awkward. Yet within that awkwardness lies humanity and charm. Because he is someone who ordinarily strives for perfection, these subtle disruptions never diminish his dignity; instead, they become part of his appeal. It is a fleeting vulnerability that can only emerge in the extraordinary setting of a resort.

Yet these gestures are not the result of the wearer's intention. SOSHIOTSUKI builds this sense of "undone" directly into the product itself. 

What would normally occur by chance̶through styling or the habits of the wearer̶is instead engineered into the garment's construction. 

It is not the wearer's individuality that creates these moments. The garment inevitably becomes this way on its own. There is no deliberate act of dressing carelessly. This philosophy extends directly into this season's exploration of soft tailoring. 

For SOSHIOTSUKI, softness is not simply achieved through soft fabrics or by removing linings and shoulder pads. Instead, the internal canvas construction has been fundamentally reconsidered, pursuing softness through pattern cutting as much as through material selection. 

The lapels maintain their curves through an exaggerated roll line. The belts are shaped by concealed metal inserts. The collar stays are molded into flowing curves. Together, they create silhouettes that subtly evoke the letter "S." 

Behind this approach lies the influence of Salvador Dalí.

Dalí's works present rigid objects that appear to melt. Inspired by this paradox, we sought to create 

garments that appear soft despite being structurally rigid. 

Internal construction, metal 

Reinforcements and carefully engineered patterns hold each form in place while giving the impression that gravity has naturally caused the garments to collapse. 

They are not soft. 

They simply appear soft. 

Designing that visual impression also means designing the way the wearer behaves.

People naturally seek reasons for the way they dress.

"Because it's functional." 

"Because I'm on vacation." 

"Because it was a gift." 

"Because that's how it's designed." 

These small justifications make the act of dressing feel effortless.

SOSHIOTSUKI wanted to build those reasons into the garments themselves. 

The materials this season are composed primarily of newly developed original fabrics and faithful reproductions of textiles produced more than twenty years ago, all manufactured entirely in Japan. 

The wools and linens are yarn-dyed, using different colors and fibers for the warp and weft to create visual depth. The cotton fabrics undergo garment dyeing and washing processes that evoke the passage of time. 

The color palette likewise reflects accumulated time rather than vitality: dry beige, clay-like reddish brown, and faded sax blue. These are not the colors of nature in its prime but the colors of materials that have gradually lost moisture through sunlight and air over time. 

For SOSHIOTSUKI, clothing is not about recreating the past. 

It is a structure that gives form to memories we have never experienced, allowing them to become 

new memories inscribed onto the body.

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