Cramped Beauty. Magliano SS25

June 17, 2024 | Design & Culture by Ed

Magliano is the much-needed antidote to Milan Fashion Week’s gloss and perfectionism. LVMH Prize-winning Luca Magliano does clothes that are functional but at the same time poetically deep. The designer channels a kind of wrong and cramped beauty. In his charming spring-summer 2025 fashion shows, street-casted models sported romantic shirts with asymmetrical closures and folded trousers revealing waistline measurements. Printed, washed denim and faux fading, along with well-worn peacoats in towel-like fabrics, add a touch of artisanship to the offer. Note the striking pops of bubblegum pink, just to balance all that grittiness. The collection is honest in its simplicity, driving expertise through unexpected materials and retro silhouettes pulled into the present with precision.

Collage by Edward Kanarecki.
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Men’s – Life’s A Journey. Moschino SS25

June 16, 2024 | Design & Culture by Ed

Life is an unexpected journey: that’s the morale conveyed by Adrian Appiolaza‘s first menswear show for Moschino. Before he left Argentina for Europe, the designer once held down a job selling insurance. To present a respectable façade to potential clients, his employer obliged him to wear a company-provided suit. He felt like a prisoner of that ill-fitting, sad suit. That formative trauma collided with something once said by Franco Moschino himself: “it’s better to dress as you wish than as you should.” Appiolaza began his spring-summer 2025 story of resilience and traveling through life with ironic takes on corporate attire. A shirt skirt worn with a real shirt but unreal suspenders and a four-button suit teamed with three hats were amongst the first of many cheeky, archival references. The soccer-ball sweater teamed with a tri-starred baseball cap was a salute back to Argentina, while the Italian flag soccer couple – one with an authentic red sauce splattering! – was a gesture to Appiolaza’s new creative home. Franco Moschino’s recurring goose motif returned in prints on skirts and shirting in a hokey, bucolic countrywear duet. The closing looks reminisced something accidental lovers would wear – and get married in – on a nameless island after a ship wreck. The all-white heavy linen suit with a sleeve skirt is a fresh take on groomswear. The models walked their finale around piles of lost luggage that symbolized the tangle of transformational journey narratives. This designer is really on to something with his vision for Moschino.

Collage by Edward Kanarecki.
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ERL: Made In California

April 25, 2024 | Design & Culture by Ed

No one does California story-telling like Eli Russell Linnetz. Now, the ERL designer has taken a step further, and dropped a capsule collection entirely produced in the Golden State. Key shearling pieces came from sheared sheep that roam around the ERL studio alongside shearling waste from local farmers. In tandem with the California-made production, the collection leans into quintessential Americana styles – whether it be through denim or something as simple as plaid boxer shorts. I literally lost my mind for the cowboy sweater. The entire wardrobe is laden with jackets, flared bottoms, shin-length shorts, plaid shirts, heavyweight zip-ups with matching sweatpants, pocket tees and accessories. But the clear standout of the collection are the canary yellow shearling pieces that extend to an oversized jacket, bags and standout $28,000 chaps (hot). With its American-influenced aesthetic, the collection still channels the gritty-meets-sensual sentiments the brand is also known for.

The “Made in California” collection is available now online.

Collage by Edward Kanarecki.
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Dandy’s Wake-up Call. Dunhill AW24

February 18, 2024February 17, 2024 | Design & Culture by Ed

At Dunhill, an unexpected surprise: the British dandy’s wardrobe gets a refreshment. Simon Holloway‘s debut collection felt like a much-needed wake-up call for this sleepy, London-based brand. The salon-inspired show unfolded at the National Portrait Gallery, transforming it into an elegant, cozy setting reminiscent of a chic café. As a swarm of very fine models emerged, the collection emanated a decidedly classic feel. This setting aptly matched the preppy mood that permeated the garments that felt quintessentially Dunhill. But with a closer look, a majority of pieces were lightweight, and the purposefully mismatched details within the prints and textures felt more modern than was first apparent. There were suits upon suits: two-piece cashmere wool sets here, fabulously cut Donegal tweed three-piece concoctions there. Reinventing the car coat, a nod to house founder Alfred Dunhill’s heritage, the outerwear range varied from camel hair with leather accents to premium double-faced wool. When asked about his intentions in translating Dunhill’s 130-year legacy to a contemporary London audience, Holloway’s response was assured: “There are menswear enthusiasts here, some of whom, particularly older generations, may know Dunhill from the past. But I do think there’s a younger audience obsessed with tailoring and proper menswear haberdashery – it’s a lovely thing to be able to connect with them here, too.”

Collage by Edward Kanarecki.
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Men’s – On Masculinity. Valentino AW24

January 22, 2024 | Design & Culture by Ed

Valentino guests sat on bright blue benches that stood out against the gilded decor. But those expecting a runway awash in cerulean were in for a surprise. Rather than leaning into gender stereotypes, Pierpaolo Piccioli used the color as a starting point for a conversation about masculinity. “This collection is a reflection about men’s identity today without talking about gender, but talking about the way men today can be more gentle, more graceful,” he explained in a preview. “When you break the rules from inside, you can be more subtle and more subversive.” Oversize suits, relaxed outerwear and sweeping coats came in sober shades of black, navy and gray. Piccioli said he wanted his suit jackets, which had no buttons, to feel as comfy as cardigans. Pants were inspired by the suit proportions of the ’40s – cropped and slouchy, yet elegant. Piccioli’s statement was so quiet as to be almost inaudible. This served the collection, as it was a much-needed moment of tranquility after a long menswear fashion month and the haute couture week starting… today. Who makes these crazy schedules?

Collage by Edward Kanarecki.
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