Installation art became an important phenomenon in the 20th century. In the 21st century, installations become immersive and involve the widespread use of participatory practices and increased physical contact with the viewer. One of the new trends in contemporary art that emerged in the first decades of the 21st century was the creation of floating, large-scale immersive textile structures or soft “environmental sculpture.” The objects are multivariate “walk-in” labyrinths, knitted or woven from fiber materials. The first steps in creating lightweight mesh structures were mastered by architects in the 1960s. Based on the bold decisions of their predecessors, contemporary artists Toshiko Horiuchi Macadam, Ernesto Neto, Tomas Saraceno, the group “Nume/For Use” and others laid the foundation for immersive textile installations - cyclopean webs of different types of structures and compositional solutions. The purpose of this study is to analyze modern textile immersive “walk in” labyrinths. An attempt was made to understand the reasons for the appearance of these artistic objects, their features and fundamental principles of execution were identified. The antiquity and reliability of textile practices, the properties of the fiber and the wide range of its aesthetic qualities have made textiles indispensable in the creation of installations of this kind. The deep metaphorical nature of the material evokes multiple connotations among the participants involved in the artistic process, enriches the range of their experiences, and awakens the intensity significance of meanings. In addition, the viewer gets the opportunity to have a unique experience and gains personal and subjective experience. Immersive textile installations have become a space for artistic expression and reflect a wide range of contradictions in the modern world.