Money, Power, Glory. Gucci Resort 2027

| Design & Culture by Ed

We live in the age of mutated hyper-capitalism, where your face (“rich face” vs. “old money face” discourse is insane) defines status more than carrying a crocodile-leather Birkin; where your favorite TV series are all about money (from Your Friends & Neighbors to Industry via Landman); and where Mar-a-Lago goes to fashion shows by designers who once flirted with communism. In his first seasons for Gucci, Demna very clearly orbited around the style of today’s 1%, but his work often felt disturbingly celebratory of the Jeff Bezos and Lauren Sánchezs of the world. But his resort 2027 show, which aggressively took over Times Square, makes you feel somewhat hopeful that the designer is back in his critical-thinking mode – the one that made his Balenciaga so powerfully ironic and highly entertaining. READ MY FULL REVIEW HERE.

ED’s SELECTION:


Gucci Shift GG Canvas Low-Top Sneakers



Gucci Borsetto Medium Leather And Webbing-trimmed Canvas-jacquard Shoulder Bag

Gucci Bombshell Leather Pumps



Gucci Flora Printed Silk-twill Scarf



Gucci D-frame Acetate Sunglasses

Collage by Edward Kanarecki.
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Hollywood Drama. Dior Resort 2027

| Design & Culture by Ed

In her new book, Famesick, Lena Dunham writes that Los Angeles is “the city you go to when possibility knocks on your door. Not just possibility, but glamour, intrigue, the promise of something I didn’t want to admit sounded like it would feel pretty fucking good: affirmation. Boatloads of affirmation.” Did Jonathan Anderson’s first-ever cruise collection for Dior, presented beneath the concrete arches of David Geffen Galleries at Los Angeles County Museum of Art, offer that sense of urgent, soul-shaking affirmation? I’m not so sure.

The problem is that there have been too many “each look a different character” collections lately – not only from Dior, but from many of the brands currently shaping the fashion conversation. Conveniently labeled “eclectic,” this approach often feels like the easiest way to camouflage a creative director’s indecisiveness. Hollywood, of course, is not a singular story. But looking at Anderson’s latest offering, I never felt he captured any of its narratives with real clarity. READ MY FULL REVIEW HERE.

Collage by Edward Kanarecki.
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