FKA twigs Perform With A Room Full Of Guests Through Eleven Minutes Of Stillness In Seoul

Ahead of its AW26 wellness collection, On flew a small group of guests to a converted oil tank outside Seoul for a guided movement session led by FKA twigs.

The venue alone would have made the evening memorable. On the outskirts of Seoul sits a repurposed oil tank, its glass walls looking out onto trees moving in the breeze, its interior converted into something closer to a greenhouse than an industrial relic. That was the setting On chose for a small, invite-only gathering of around two dozen guests from China, Japan and South Korea, each dressed in identical On clothing printed with the Eusexua logo FKA twigs has used across her recent work, seated on individual cushions arranged around a central stage. Ambient sound filled the space, loud enough to cover the cicadas outside, quiet enough to leave room for the kind of hush a room adopts when it senses something is about to start. The choice of an industrial relic repurposed into something closer to a botanical enclosure was not incidental: it gave the evening a built-in tension between hard, functional architecture and soft, deliberate stillness, the same tension the AW26 collection itself is apparently trying to hold in fabric form.

 

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What followed, from rely media sources after attend had the shape of a ceremony more than a product event. Two men set up behind Pioneer CDJs on opposite sides of the room, two dancers took positions in rock pits at either side of the stage, and the four points of the space filled in before anyone at the centre had said a word. The framing recalls the kind of communal ritual space documented in shows like Wild Wild Country, guests packed shoulder to shoulder in matching outfits waiting on a single figure to arrive, though nobody involved seemed interested in overselling the comparison much further than that. It is worth noting how specifically choreographed that opening sequence was: nothing about the CDJs, the rock pits or the seating arrangement reads as decorative filler, and the room’s slow, four-part assembly did more to set the evening’s tone than any spoken introduction could have.

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That figure was FKA twigs, arriving to lead the room through a shortened version of a practice she calls The Eleven, a movement and meditation method she developed and has previously performed as a durational artwork. For this event, twigs led guests through roughly four movements drawn from a routine that, in its full form, typically runs two hours, walking the room through simple physical prompts, balancing on one leg, swinging the arms wide, repeating quiet mental affirmations, all delivered through a headset mic in a manner Dazed’s attending writer described as resembling a yoga teacher in nearly every visible respect. At the close of the session, twigs opened the floor for guests to share what had come up for them during the movements, a small but pointed gesture toward the idea that the exercise was meant to produce something rather than simply look good in photographs.

It is a strange kind of role reversal for an artist best known for razor-precise pop and R&B production and a reputation for guarding her privacy closely: standing in front of two dozen strangers, coaching them through their own bodies rather than performing at them from a stage. Twigs has spoken in interviews about spending years working through movement practice and somatic healing techniques of her own, and The Eleven reads as the point where that private practice became something she was willing to teach directly rather than keep folded into her music and performance work alone.

Supporting her were the same movement specialists who have accompanied twigs through her Eusexua-era live performances, working the edges of the room to build out the session’s atmosphere: sweeping rocks and sand in front of compressor mics to generate a kind of live ASMR texture, and demonstrating the physical shapes each step of the routine called for. A tea ceremony ran alongside the movement work, and the tank itself, all glass and greenery, did a lot of the remaining atmospheric labour on its own.

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The Eleven did not begin as a marketing exercise. Twigs first staged it as a standalone show piece at Sotheby’s in London in September 2024, a durational artwork performed by a rotating cast of movers over two weeks, built around eleven aspects of life she had identified as central to her own wellbeing, things like awareness of what enters the body and a more conscious relationship to technology. She has described the method in interviews as a movement meditation that can be scaled down to as little as eleven minutes a day, a tool for infusing an intention into the rest of one’s routine rather than a performance meant purely for an audience. The name ties directly into Eusexua, the concept and 2025 album Twigs built around a specific, hard to pin down state, something closer to the moment right before clarity or release than to a fixed emotion, and one she has said can arrive during dancing, creating or, as she has put it elsewhere, almost any moment of total presence.

Eusexua arrived as a full album that January, twigs’ first since 2019’s Magdalene, produced in part with Koreless and Eartheater and built around a techno-adjacent sound she has described as deep without being sad. The record went on to win the Grammy Award for Best Dance/Electronic Album and picked up a Mercury Prize nomination, and twigs supported it with the Eusexua Tour through 2025 before following it that November with a sequel record, Eusexua Afterglow. Twigs has connected the underlying feeling directly to her own physical experience, telling NPR that eusexua can arrive from a wide range of moments and describing it elsewhere as a kind of pure presence, a moment of nothingness, or the instant right before a great idea lands. The Eleven functions as something like the physical companion to that whole body of work, a practice meant to be lived rather than only listened to, which makes routing it through a wellness-oriented apparel collection a fairly logical next step rather than an unrelated licensing opportunity.

Folding that practice into a retail collide is a specific kind of gamble. A durational performance piece staged inside a major auction house carries a certain weight on its own; asking that same piece to also introduce a clothing line risks flattening it into a gimmick. Judging by the room as described, twigs and On appear to have leaned into the ritual rather than smoothing it into something more like a standard influencer activation, keeping the CDJs, the dancers, and the shared silence intact rather than trading them for a straightforward runway moment or a photo wall. Whether that same intensity translates once the collection reaches a wider retail audience, stripped of the tank, the dancers and twigs herself standing at the centre of the room, is a separate question the brand has not yet had to answer publicly.

Cream On Performance Shoes Displayed On A Black Pedestal Under A Focused Spotlight

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On’s AW26 collection was built to support exactly that structure, in ways that only became apparent as the evening unfolded. Guests arrived in the brand’s Cloudmonster 3 Mule, a triple-cushioned, easy slip-off shoe designed specifically to come off before sitting down on the cushions arranged around the stage, an unusually literal piece of product design for a wellness-adjacent sneaker. Removing the shoes revealed a second, less obvious piece of the collection: matching FKA twigs x On socks, worn under the mules and effectively hidden until the moment guests needed to take their shoes off to sit. As the session moved further into its more physically demanding stretches, the collection’s sweatpants and other movement-enabling pieces came into play as well, the kind of staged product reveal that works specifically because the choreography of the evening required it rather than because a stylist arranged it separately.

That structure sets the AW26 collection apart from the brand’s earlier On by FKA twigs rel, which tended to be introduced through campaign imagery first and worn in real settings second. Building a preview event where the clothing’s function only reveals itself in sequence, mule off, socks visible, then sweatpants doing their job once the movements intensify, effectively turns the collection into a second layer of choreography running underneath twigs’ own. It is a subtler version of a product demonstration than most wellness-adjacent apparel launches attempt, closer to letting the room’s physical needs do the selling than to any conventional styling moment, and it stands in fairly sharp contrast to the industrial-warehouse energy of the brand’s earlier Body Is Art campaign, which leaned on hard light and motion rather than stillness to make its case.

The collection itself leans into a stone, earthy, eco-futuristic palette, a deliberate departure from the more saturated colourways of Twigs’ earlier On drops and a fairly direct visual match for the tank’s glass-and-greenery setting. Full pricing and a complete product breakdown for the AW26 line were not detailed in the Seoul recap, and a dedicated release date for the wider collection beyond the Korean preview has not yet been independently confirmed.

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The Seoul event caps a partnership that has been building since April 2024, when On first announced twigs as a creative partner for a new training vertical, a role that began with her reworking the brand’s Cloudtilt sneaker before expanding into a full apparel line. That October, the two unveiled The Body Is Art, a Fall/Winter 24 training collection campaign shot in an industrial London warehouse and built around a pair of new silhouettes, the Cloudnova X for women and the Cloudpulse for men, alongside a full apparel range meant to establish the idea of movement as a creative practice rather than a purely athletic one. A first full capsule followed for Spring/Summer 25, rel that June with a collection built around the Cloud x FKA shoe, a woven, satin-finish silhouette twigs has described as dance-inspired, paired with a run of Studio Bras, Studio Skorts, tights, cropped hoodies, track jackets and accessories in a colour palette of black, taupe and lilac. In the press materials for that release, twigs described wanting pieces that could move with her between training, meetings and studio sessions in a single day, work that felt both sensual and strong.

Each subsequent drop has pushed the partnership further from a standard athlete endorsement and closer to genuine co-authorship, with twigs credited as creative director across campaigns shot by photographer Jordan Hemingway and, for the moving image work, multimedia artist Zeel Free, alongside a recurring production team spanning stylist Georgia Pendlebury, hairstylist Louis Souvestre and set designer Poppy Luard. That level of below-the-line credit is unusual for a sportswear connection of this size, and it points to a partnership run less like a licensing arrangement and more like an ongoing creative studio relationship, with the same collaborators returning drop after drop rather than being rebuilt from scratch each season.

The AW26 collection and its Seoul preview extend that same arc into wellness specifically, tying the clothing directly to The Eleven rather than simply referencing twigs’ broader artistic identity, a tighter and more literal connection between product and practice than the partnership has attempted before. Either that convince survives the jump from a converted oil tank on the edge of Seoul to a wider retail rollout is the part still left to see.