Iris van Herpen, Sculpting the Senses, Brooklyn Museum, 2026.
Opening today, Sculpting the Senses marks the North American debut of Iris van Herpen’s largest retrospective to date. First presented at the Musée des Arts Décoratifs in Paris in 2023, the exhibition has since traveled to Singapore, Rotterdam, and Queensland before arriving in New York. Featuring over 140 haute couture works alongside scientific artifacts, fossils, contemporary art, and design objects, the exhibition positions fashion within longer histories of nature, technology, and human inquiry.
Its arrival also extends the Brooklyn Museum’s own fashion history. Since The Story of Silk (1934), the institution has exhibited designers including Madame Grès, Elsa Schiaparelli, Jean Paul Gaultier, Christian Dior, Virgil Abloh, and Thierry Mugler. Nearly a century later, Sculpting the Senses enters that lineage while asking what couture may become next.
Last month, we gathered with members of the FORM community in Mexico City, a city that continues to inspire us endlessly. An evening around fashion, conversations, music, and the people shaping culture in their own way.
Thank you to everyone who came and shared the night with us. More soon.
Special thank you to @olympiaaaa from @casa.parral for opening up such an incredible space, and to @hugojdelahaye and @salazarrrrrrrrrrrrrrrrrrrr capturing it all so beautifully.
ISSEY MIYAKE, New York, 2026.
In the 1980s, @isseymiyakeofficial worked with Japanese designer Shiro Kuramata on a series of minimalist interiors defined by aluminum, acrylic, and industrial materials. In 1999, ISSEY MIYAKE opened its Frank Gehry-designed Tribeca flagship in New York, recognized for its sculptural titanium surfaces and curved forms. During the 2000s, the brand continued collaborating with architects and designers across Tokyo, Paris, London, and New York, treating stores as extensions of Miyake’s ongoing research into material, light, and movement.
Opening May 8, 2026, the new SO–IL-designed flagship at 45 Madison Avenue spans 13,000 square feet inside the historic New York Life Building. Glass panels from the former Tribeca flagship have been repurposed within the new space, which also introduces MADO, the first gallery space inside an ISSEY MIYAKE store outside Japan.
Allen Jones, Selected Works, 1969-2014.
Allen Jones, born in Southampton in 1937, became a central figure in British Pop art after studying at Hornsey College of Art and the Royal College of Art. In the 1960s, his work began examining the body through advertising, fetish imagery, furniture, and consumer display, most notably in Chair, Table, and Hatstand from 1969. His practice later extended into printmaking, stage design, fashion, and editorial culture, including a 2014 collaboration with Kate Moss. Seen at the Met this year, Jones’ body-based work remains an unresolved record of postwar culture, where the human figure is treated as image, object, and display system.
Discover more at form.space/archive.
A.F. Vandevorst Ready-to-Wear, Spring/Summer 2001.
Presented in Paris for Spring/Summer 2001, A.F. Vandevorst developed the collection as a progression from the previous season’s use of nylon stockings, turning hosiery into the show’s central material and concept. It as an ode to An Vandevorst’s fascination with vintage silk stockings: their old methods of construction, delicate packaging, and fragility as garments easily damaged through wear. The presentation took place inside a school gymnasium, where a black nylon gauze box separated the audience from the models, creating the effect of viewing nude-toned clothing through a veil.
Discover the full collection at form.space/archive.
MIYAKE ISSEY: The Work of Issey Miyake, The National Art Center, Tokyo, March 16 to June 13, 2016.
Presented at The National Art Center, Tokyo, the 2016 exhibition MIYAKE ISSEY: The Work of Issey Miyake traced over four decades of production: from early Paris-era garments to late-stage technological experiments, framed through a single question: how clothing is made, and how it lives once worn.
The exhibition did not isolate objects as static artifacts. Instead, it positioned them within a continuous process, monozukuri, where material, body, and technology operate as one. Garments appeared both as flat constructs and activated forms, emphasizing Miyake’s long-standing premise: clothing only resolves when in motion, when inhabited.
Accompanying the exhibition, a bilingual catalogue published by Kyuryudo functioned as a total index. Photographed by Hiroshi Iwasaki, every work was documented with uniform clarity, no hierarchy, no staging, extending the exhibition’s logic into print.
Discover the full scans on FORM Archive, link in bio.
