Time. The Row Resort 2025

People went wild when they learnt about The Row‘s photo ban at their Paris Fashion Week show. Well, they didn’t know Ashley and Mary-Kate Olsen were preparing the most beautiful lookbook shot on film by Jamie Hawkesworth that would do absolute justice to their new season offering. Patience pays. In general, time is a big theme for the Olsens. Their garments are so timeless, their look is simultaneously contemporary and as if from another decade.

For resort 2025, the designers – who are having an seismic impact on other brands – eschewed some of their more intense experiments in cocooning and draping, replacing them with a gorgeously thoughtful ease. That was well represented by the likes of the oversized and all enveloping comfort of two masculine-inflected coats, one black, one navy, and popped by the surprise of their accessories; a knitted hat encrusted with silver metal embellishments with the former, ginormous gold and ebony hoop earrings with the latter. Vintage-tinged hats with character are having a huge comeback, all thanks to the Olsens. That easiness was also evident in the way a burnished tan leather blazer was popped over another, with black lean pants; ditto the perfection of cut and fabric evident in a charcoal gray pantsuit. But things took a bit more of a daring turn, too. The ivory shaggy robe coat, with its richly unfettered texture, secured with a knit sash belt whose tassels had been dyed red, somewhat redolent of north African Berber craft. Another robe coat, in the kind of black plissé fabric Issey Miyake might have used back in the day, had a whole lot of volume without weight. The frayed fronds on a rawly woven ivory dress which slinked its way to the floor, or a fluid black top and pants embroidered with a gazillion shimmering beads, were eveningwear specials. And then, just to bring us back to what always seems to last and last and last, what the Olsens have made their life’s work at The Row, out came a simple gray cashmere sweater worn by Malgosia Bela, slouchy, tactile, desirable, and a pair of simple gray pants, a look accessorized by what looked to me to be their now-classic Margaux bag.

The Row classics? Always.

ED’s DISPATCH:


Stepny Oversized Wool And Cashmere-blend Turtleneck Sweater



Roan Pleated Wool Wide-leg Pants



Moon Oversized Cotton-poplin Shirt



Abby Suede Shoulder Bag



Penelope Velvet Beanie



Boheme Leather Mary Jane Ballet Flats

Collage by Edward Kanarecki.
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Muglerettes On A Mission. mugler AW24

Mugler brought some drama and bravado to Paris Fashion Week. For autumn-winter 2024, Casey Cadwallader staged a three-act revue show, full of moody curtain drops and a supermodel cast that included Precious Lee, Kristen McMenamy, Eva Herzigova and Farida Khelfa. Curve creating cuts and corsetry, ergonomic body-cons, futuristic fetish wear, that’s 100% modern-day Mugler. From this season’s novelties, the designer included fluttering asymmetric panels that trail as you stride past; in smooth leather or shiny silk they worked to enhance the models’ silhouettes in motion. Tailoring was as sharp as it can get at Mugler, and wide shouldered coats and jackets were worn with padded leather breast plates. Winged hip contours and wired necklines made the clothes look extra-dynamic, as if the Muglerettes were on a mission.

Collage by Edward Kanarecki.
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Back To Black. Valentino AW24

Similarly to Rei Kawakubo, Valentino‘s Pierpaolo Piccioli sent down the runway an all-black collection as a response to our troubled world. While the Comme Des Garçons designer offered some light at the end of the tunnel – a white bridal cocoon dress – Piccioli presented a fully veiled, transparent gown. This super elegant line-up, filled with very fine day-to-day wardrobe staples and simply beautiful, at points austere in silhouette eveningwear, offered no happy end. And just a moment ago the designer would go PPPink.

Collage by Edward Kanarecki.
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Overload. Balenciaga AW24

What seems truly rare and finite right now is actually creativity itself,Demna said backstage at his autumn-winter 2024 Balenciaga show. “I believe that creativity has secretly become a new form of luxury.” As a big admirer of Demna’s work, however, I must admit I found the creativity part missing this season. The collection felt like AI-generated line-up of the designer’s now-trademark style codes, with plenty, plenty of references to Martin Margiela. Of course, it’s not the first time when Demna goes Margiela, but this time I found it quite redundant. Taped clothes, deconstructed dresses patchworked from other garments, square-legged boots, denim pants worn as tops… the list goes on and on. This season’s Balenciaga tribe – gum-chewing, septum-ringed, eyes wrapped in futuristic silicone masks – marched headlong through a digital AI–aided visual cacophony playing on hundreds of wall and floor screens. “Photoshopped into the fake reality, into basically the overload of content that is killing our society, in a way. You know, like TikTok videos,” the designer said of the immersive experience. It did say a lot for the human brain that there could be any attention spared for the clothes at all. Well. I felt absolutely exhausted somewhere mid-show. But maybe it’s the fashion month that hits hard especially during the last days of Paris Fashion Week.

Collage by Edward Kanarecki.
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