Author: Design & Culture by Ed

Toned-Down. Fendi SS25

| Design & Culture by Ed

This year, Fendi celebrates its 100 years. Maybe that was the reason for Kim Jones to finally deliver a good collection for the brand. What kept it cohesive was the combination of house craft, toned-down color palette, and an attitude that stemmed from the jazz-age modernism of the 1920s. The embroidered flapper-dresses worked nicely with all the streamlined minimalism. Still, looking at the taupe shirt-dress, one just wonders what differs Fendi from Max Mara? Except for Baguette, pretty much nothing. It would be great to see some fun back at the brand, a Karl Lagerfeld-ian wit.

Collage by Edward Kanarecki.
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High & Low. Burberry SS25

| Design & Culture by Ed

While Burberry‘s financial performance is under scrutiny, it seems to me that Daniel Lee has found his ground at the brand. His last collection already had that “something”; spring-summer 2025 is a further exploration of Britishness (through a London lens) meeting modernity. A spirit of late 2000’s London style was palpable, especially in the imaginative clash of high and low: maxi-skirts worn with polos, utilitarian parkas with dazzling, embellished dresses. A cropped trench jacket styled with cargo pants was another highlight, just like Maya Wigram’s faded-green denim look. The storm flap, epaulettes, shoulder vent, Napoleon collar and belt of the house-archetype trench were intelligently applied across multiple garments including open-backed dresses, a popper-peppered twinset, and abbreviated, feather-collared jackets. This was a good show with good clothes.

Collage by Edward Kanarecki.
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The Well Of Loneliness. Erdem SS25

| Design & Culture by Ed

This season, Erdem delivered one of his best collections… ever. It’s just felt breathtakingly beautiful without being frou-frou. There was an aristocratic, yet romantically decaying quality about it. And between the lines, a meaningful context that didn’t make the spring-summer 2025 collection feel heavy with history as it often happens with Erdem Moralioglu’s work. The title page of Radclyffe Hall’s “The Well of Loneliness” was printed on cavas and sewn as a badge of honor to the cuff of every suit – with a monocle pinned to each of the lapels. The novel was notoriously banned by the British government in 1928 for its portrayal of a female character called Stephen and her lover Mary. “Radclyffe was born Marguerite, and went by the name of John,” said Moralioglu. “What I was most interested in was how intensely she was masculine, and how feminine Una was.” Una, Lady Troubridge, who mostly wore pretty dresses, was reflected in the flapper-ish eveningwear bedazzling with chandelier crystals and fragile cotton. Trouser suits were an ode to Radclyffe. The collection resonated with the audience, and marked another great moment of this London Fashion Week.

Collage by Edward Kanarecki.
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