Fashion

Attic Magic. Valentino SS26

| Design & Culture by Ed

Unpopular opinion: I loved Alessandro Michele’s Valentino collection. It seems many people don’t connect with his vision for the house the way they did with his Gucci era. Rumors are already swirling that the designer may be leaving after just three seasons, but I truly hope that isn’t true – he’s only just warming up, still in a chrysalis stage of transformation.

This season, Michele toned down the theatrics, yet I felt he sublimated his signature “attic magic” into something deeply sincere, vulnerable, and ultimately chic. The collection, poignantly titled “Fireflies“, lived up to its name: the models appeared like delicate, enchanting fireflies gliding through a vast, sci-fi-esque setting.

The first look – a gathered peacock-blue blouse tied with bows at the collar and hem, paired with chartreuse satin pants whose hems hugged the heels of the model’s shoes – felt retro-tinged yet somehow modern. Equally striking were a marvelous zebra-printed blouse and a black velvet evening dress adorned with a single pink feather at the V-neck. Another standout was a pleated orange top worn with a simple pair of jeans: so innocent, effortless, and spontaneous. Lana Del Rey sat front row at the show with her family: it all made sense. They all lived happily ever after.

ED’s SELECTION:

Valentino Garavani Bowow Leather Ballet Flats


Valentino Garavani Velvet-trimmed Floral-jacquard Wool And Silk-blend Satin Jacket


Valentino Garavani Carry Secrets Embellished Cord-trimmed Velvet Clutch


Valentino Garavani Satin Bow-detailed Ruched Silk-chiffon Strapless Top


Valentino Garavani Bow-detailed Raffia Hat

Collage by Edward Kanarecki.
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Directionless. Balenciaga SS26

| Design & Culture by Ed

Alongside the stern, cold, and soulless Mugler collection by Miguel Castro Freitas, Pierpaolo Piccioli’s Balenciaga debut stood out as this season’s bleakest. This was particularly surprising given the now-legendary moments he once delivered at Valentino. I’m still not sure why Piccioli tried so hard to merge Demna’s aesthetic – oversized glasses, tough leathers, exaggerated proportions – with Nicolas Ghesquière’s urban coolness, which the collection only vaguely attempted to channel. The result was a confusing mix of directions that ultimately rendered the collection entirely directionless.

One could, of course, play fashion trivia and identify the visual nods to Cristóbal Balenciaga’s vast archives: the single-seam wedding dress, cocoon and sack silhouettes, elongated architectural forms… Yet Piccioli’s interpretations felt rushed and, above all, unflattering. There were even moments when I thought I was looking at a Victoria Beckham collection. She has a tendency of trying hard to make fashion statements through unnecessary gestures (that was the case this season). Very worrying.

But then I never was a number one fan of Piccioli’s ready-to-wear at Valentino. He’s a haute couture guy, so I’m very much looking forward to his take on the maison‘s sacred heart.

Collage by Edward Kanarecki.
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Housewives. August Barron SS26

| Design & Culture by Ed

August Barron – you might remember it as All-In – is a brand that makes you feel like a pop doll. Their vintage-inspired dresses are short and cute, often slashed in the most unexpected places and finished with a cartoonish twist. No wonder Addison Rae wears them on her tour.

I loved how Benjamin Barron and Bror August Vestbø approached the theme of the housewife. Unlike Marc Jacobs, who explored that notion at Louis Vuitton back in 2010 in a Mad Men-ish way, the August Barron duo envisioned Grey Gardens’ Little Edie through a Lynchian lens. The result? High-octane drama mixed with 1950s floral skirts, heads wrapped in brooch-pinned cardigans, underpinnings peeking from beneath dresses in a chicly scandalous way, and an undercurrent of despair.

The collection – styled, of course, by Lotta Volkova – is filled with clothes that will be an absolute joy to wear all day and all night.

Collage by Edward Kanarecki.
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