Honesty is chic. Marc Jacobs proves it again and again, riffing on his fashion and cultural heroes – Yves Saint Laurent, Bob Fosse, Junya Watanabe, Miuccia Prada – and, of course, on himself. Because at this point, he is THE blueprint. READ MY FULL REVIEW HERE.
There’s been a lot of chatter and speculation about who will eventually take over Giorgio Armani. As if Leo Dell’Orco, the late master’s longtime right-hand man, weren’t already doing a brilliant job. His menswear is sumptuously sublime – like the perfect vitello tonnato, a plate of artichoke hearts, and an espresso martini – and it breathes pure Armani DNA. READ MY FULL REVIEW HERE.
Eli Russell Linnetz – who not long ago curated a capsule collection for Armani, reissuing some of Giorgio’s greatest hits from the 1970s and 1980s – is another menswear designer who deserves all the flowers. This season, the Venice Beach-based creative returns with a collection-script titled The Island, inspired by the deeply personal experience of staying in a stranger’s home and slowly getting to know the people who lived there.
The vibe is hyper-preppy, but what sets it apart from Ralph Lauren is ERL’s proudly loud, unapologetically queer flamboyance. READ MY FULL REVIEW HERE.
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram.
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There’s a sense of distressed, dirty chic about Magliano. In a way, patina was Luca Magliano’s guiding obsession for spring-summer 2027 – “the patina of an old picture, of memory.” The garments carry a distinct 1970s flavor; they feel as if they’ve absorbed cigarette smoke and spilled liquor, as if they were worn all night in some old-school club you might still stumble upon on the outskirts of Rome or Milan (or in any of those smaller Italian towns where time moves differently).
The Milan-based designer – now showing in Paris – approaches classic menswear through a queer lens, filtered with irony and just the right amount of distance. A cheetah-print top paired with matching jeans, an ill-fitting four-button suit jacket that feels lifted from another era, a thrifted foulard worn like a sarong, an aged suit collapsing slightly at the shoulders – all of it carries nostalgia with a flicker of something sharper, almost rageful beneath the surface. Wink, wink.
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram.
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For resort 2027, Magda Butrym reframes sensual power through big-time femininity and soft intimacy. Not a character to be imagined, but a woman already living. In a moment when notions of strength are being redefined, Magda proposes an alternative vision of female empowerment: one rooted not in performance or conquest, but in self-possession, intimacy, and the rituals of everyday life.
The collection draws inspiration from the elusive photographic oeuvre of Teresa Tyszkiewicz, the Polish artist who, throughout her practice, created erotically charged self-portraits depicting a self-aware woman at the height of her power. In the late 1970s and early 1980s, Tyszkiewicz used photography – alongside her experimental film work – as a tool for self-analysis and the construction of a private mythology. Immersed in domestic surroundings and fully embracing her feminine instincts, free from shame or concern for external judgment, Tyszkiewicz embodied a formidable presence that resonates deeply with Magda’s vision of designing for women. The female experience so poignantly evoked by Tyszkiewicz became a powerful source of inspiration for the resort 2027 collection – and its elegantly fetishistic undercurrents.
The lookbook presents an array of feminine codes in which contradictions are celebrated as markers of real attitude. The resort 2027 woman envisioned by Magda can be both regal and nonchalant, pristine and distressed, covered and exposed. A white ruched dress emanates sexual confidence, while tailored jackets with dropped waists and exaggerated shoulders evoke a masculine stance. Signature hourglass silhouettes, which make a woman appear impeccably dressed with effortless ease, meet flapper-inspired shapes that recall the spirit of the Roaring Twenties. Bustiers are hyper-exaggerated, challenging conventional notions of proportion, while plays on transparency render sensuality suggestive and unspoken rather than explicit. A floral apron-housecoat layered over a lace-trimmed slip dress serves as an ode to a woman at work – dressed functionally and pragmatically, yet fully attentive to and embracing of her feminine nature.
This is an ode to the idea of domestic chic – and to the growing insistence that the ever-evolving codes of femininity, emotional complexity, and the beauty of homemaking are not antithetical to power, but central to it.
CREDITS: Creative Director Magda Butrym / Photographer Mark Kean / Video Tatiana + Karol / Stylist Jacob K / Talents Apolline, Alaina Rae / Casting Director Julia Lange / Make Up Artist Lucy J. Bridge / Hair Stylist Tom Wright / Nails Marzena Kanclerska / Stylist Assistant Ioana Ivan / Set Design Anna Szczęsny / Art Coordinator Edward Kanarecki
