FKA twigs × Gentle Monster: The 2026 Bouquet Collection
Words by Lena Sophie Eckgold
Edited by Rachel Hambly and Bailey Tolentino
On 16 January 2026, the Bouquet Collection by South Korean avant-garde eyewear label Gentle Monster, in collaboration with British multidisciplinary artist FKA twigs, was launched online and in selected stores. The campaign combines film, music, performance, product design, and pop-up installations, staging the concept of blooming within a technological age through a comprehensive world-building experience.
At the heart of this launch is the campaign film, co-directed by FKA twigs and London-based fashion photographer and videographer Jordan Hemingway, whom she has previously worked with on her Eusexua music video. The film depicts the blooming of a flower as a physical and energetic transformation. The setting is a tropical greenhouse, which gradually transforms into a psychedelic, surreal dream landscape – marked by heightened sensory perception induced by heat and humidity. At the same time, the setting also points to human intervention in nature; after all, the flowers in the greenhouse are planted.
In a sequence in which FKA twigs wears the new Origami eyewear model, she is stung by a strange, alien-looking flower, triggering a transformation. Ethereal vocals set in as the campaign shifts to a choreographed white cutscene in which she pole dances around the stem of a blooming flower. The sequence culminates in a close-up of FKA twigs’ face with the Bouquet 02 flower glasses, before cutting back to the greenhouse. Only now does the Gentle Monster logo appear. The campaign thus evokes experimental cinema rather than conventional advertising – linking film, music and dance performance through the interaction between humans and nature.
The campaign is accompanied by an unreleased track by FKA twigs, which was originally intended to be part of her album Eusexua Afterglow, released in November 2025, but ultimately did not make the final tracklist and is known among fans as ‘Techno Ballet’. The piece moves sonically between ambient and techno EDM. With the help of repetitive kicks, arpeggiated sequences, and distorted though angelic vocals, a minimalist, yet hypnotic groove is created – very much in the spirit of FKA twigs’ Eusexua era. The sonic repetitions refuse narrative progression, reflecting the cyclical logic of the film and its focus on growth without a destination. The music becomes a structural element of the campaign world, oscillating between organic, human-made, technological, artificial, and almost-alien elements.
However, this world-building does not end on the screen. It is also continued in the form of pop-up installations in shops in Bangkok, Beijing, Dosan, New York, Seoul, Shanghai, and Tokyo. Oversized fabric flowers and shiny chrome sculptures continue the motifs of the film in three dimensions.
The collection itself comprises eight new models inspired by botanical structures characterised by what Gentle Monster describes as ‘unique loops, tangles, and knots.’ These organic forms are transformed into sculptural eyewear designs that imitate the shapes of plant stems. Models such as the Bouquet 02 – £275, now sold out – made from silver mixed materials with bead-like details, clearly fall into the category of statement pieces. Labels such as ‘handle with care’ mark a conscious shift from everyday use to quasi-sculptural artefacts. While the glasses certainly offer functional features such as UV protection and blue light filters, these recede in favour of their aesthetic value, rendering them less wearable. The situation is different with the Origami model for £215, available in silver or gold: oval lenses made of shiny metal, whose frames are shaped into origami-like, organic structures at the sides, appear much more wearable.
Accordingly, the image campaigns show FKA twigs seemingly growing out of flowers, merging with floral motifs, or models presented intertwined with flowers and plants.
Juxtaposed with the organically charged imagery, AI-animated kitschy cat characters appear on Gentle Monster’s Instagram – dancing and DJing. These counterfigures point to the tension between nature and technology coexisting as competing modes within the same aesthetic world. At the same time, the use of AI here feels like a lazy choice that could have been omitted, even though it coheres with the context in which the campaign operates.
The campaign can be seen as symptomatic of contemporary fashion culture, in which brands increasingly use world-building logic rather than image-based logic, positioning artists as co-creators. In this sense, the Bouquet Collection joins a series of prominent world-building campaigns by Gentle Monster: the Fall Collection 2025 with Hunter Schafer, shaped by horror-film aesthetics in ‘The Hunt’; the futuristic BOLD Collection 2025 with Tilda Swinton; and the 2024 collaboration with Tekken 8, which was explicitly set in the gaming universe. The Bouquet Collection combines experimental film, techno music, performance, advertising, and art to articulate the interplay of the organic and the technological, with impressive interdisciplinary and intermedial density. The collaboration is particularly well-timed for FKA twigs in light of Eusexua taking home the 2026 Grammy Award for Best Dance/Electronic Album.
In an overstimulated media landscape where products alone hardly generate any loyalty, world-building becomes a strategy for retention, and art becomes an authority for legitimisation. With the Bouquet Collection, Gentle Monster and FKA twigs demonstrate just how effective this strategy can be.