Collections

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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Rock Music. Chloé AW02

| Design & Culture by Ed

Charli Xcx released a song called “Rock Music” and everybody hates it. Obviously it’s not rock – it’s about rock. It’s the most deliriously vague, hedonistic song you’ll hear in 2026, in a moment where everything has to mean something, has to come with a performative second layer. I love it.

If “Rock Music” was a collection, it would be the most underrated and least talked-about Phobe Philo moment ever: autumn-winter 2002 for Chloé. Her sophomore season doing it solo, freed from McCartney’s reign. READ MY FULL TEXT HERE.

Collage by Edward Kanarecki.
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One For The Books. Rochas AW03

| Design & Culture by Ed

Looksmaxxing? I’d rather be Theyskensmaxxing.

Many people forget that Olivier Theyskens – the Belgian designer whose signature blends sumptuous fantasy with a kind of solemn, gothic rigor – had a stint at Rochas (a historic Paris-based brand that, much like Nina Ricci, Vionnet, and Carven, never quite found its footing in the 21st century). His stellar debut – the autumn–winter 2003 collection (and, by the way, 2003 really was a great year for fashion, this is why) – is one for the books.

The eveningwear alone deserves a proper Met Gala appearance, especially the Velázquez “Infanta”–inspired velvet pannier dresses, draped and proportioned so exquisitely they seem to levitate over the body. The white rose placed at the back of each look is almost unbearable in its beauty. Fun fact: Stella Tennant’s pink taffeta gown, covered in black Chantilly lace – cut close through the torso, then bursting into undulations at the shoulders and below the knee – was unearthed last year by Lauren Santo Domingo for Bal d’Été. It only proves how timeless this body of work really is. READ THE FULL TEXT HERE.

Collage by Edward Kanarecki.
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When In Biarritz. Chanel Resort 2027

| Design & Culture by Ed

The sun-drenched hydrangea hill facing the ocean. The old-school seaside promenade where time seems to have stopped when Coco arrived in 1915. The dreamiest Hotel – once Empress Eugénie’s literal Palais. The Les Halles market, brimming with the best of Basque produce. The spaceship-shaped rock – or the Atlantic’s gate – that stands tall in the waters and eternally guards the town. Biarritz is a place very dear to my heart, shaped by many childhood summers spent here – idyllic, breezy, sounding like a Vanessa Paradis album. The moment it was announced that Chanel would present Matthieu Blazy’s first cruise collection here, you can imagine how thrilled I was. I don’t think I’ve ever wanted to attend a show so badly.

What Blazy presented was not what I expected. A couple of days ago, I posted two nearly forgotten campaigns by Karl Lagerfeld – from 2001 and 2003 – when he brought Chanel to Biarritz. The post went viral, and I found myself trying to manifest a collection that would reflect what modern-day women actually wear here: a well-fitted tweed jacket (their mother’s or grandmother’s), a vintage T-shirt, a pair of jeans, and a (very) lived-in Flap bag. Because Biarritz is about a certain duality: it’s both one of the most aristocratic and the most chill places in the world. You have Napoleonic chandeliers alongside surfers breaking records on towering waves. It’s a town of striking – and beautiful – contrasts. Matthieu’s collection leaned more toward a fantasy of what French resort wear can be. And I’m not mad about it. READ MY FULL REVIEW HERE.

Collage by Edward Kanarecki.
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