Expensive Wit. Loro Piana SS26

November 25, 2025 | Design & Culture by Ed

Loro Piana is a brand that isn’t about fashion per se – but it is unmistakably about (wealthy) style. The Loro Piana client doesn’t care about fads; rather, they are entirely confident investing a fortune in a wardrobe that is at once timeless, durable, and subtly nonchalant.

For spring–summer 2026, the Italian house’s design team delivered precisely that: tailoring in gentle muesli tones, elongated silhouettes with an aristocratic air (reminiscent of Marella Agnelli’s swan-like neck in Richard Avedon’s photograph), and a poised balance of countryside statesmanship and Milanese sophistication. There is also a touch of playfulness, captured in exaggerated cone-shaped hats that lend a light-hearted quirk to the cashmere empire. Those moments of wit make Loro so compelling – and standout from all the other “beige” minimalism that suffocates the industry at the moment.

ED’s SELECTION:

Loro Piana Reversible Shell And Cashmere Bomber Jacket

Loro Piana Happy Day Large Leather-trimmed Felt Tote

Loro Piana Boris Double-breasted Cashmere Coat

Loro Piana Broderick Corduroy-trimmed Linen And Silk-blend Coat

Loro Piana Alba Satin Slippers

Loro Piana Vivian Cashmere-blend Mini Skirt

Collage by Edward Kanarecki.
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Heritage. Institution by Galib Gassanoff SS26

November 14, 2025 | Design & Culture by Ed

I love looking back at the season in hindsight and highlighting some of the off-the-radar, attention-worthy moments. One of them is Galib Gassanoff’s Institution, a small, craftsmanship-focused brand that has emerged in Milan with great bravado. Gassanoff, who is of Georgian and Azerbaijani heritage, channels those roots in his breakthrough spring–summer 2026 collection. With curving lines inspired by the traditional Georgian chokha and rush skirts crafted using techniques typically employed in rug-making, this line-up stuns with its artisanal sensitivity – and makes some of Milan’s major players look pale by comparison. The backless peplum tops made from tightly loomed shoelaces? Incredible. As are the seemingly levitating panniered dresses and the brutally beautiful leather outerwear. Gassanoff wants the voices of his ancestors to be heard, and he succeeds with great poignancy and elegance.

Collage by Edward Kanarecki.
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A Lot. Bottega Veneta SS26

September 28, 2025 | Design & Culture by Ed

Louise Trotter took her time to deeply absorb the Bottega Veneta‘s 60 years of codes and craftsmanship – not rushing last season, but instead offering a substantial collection now. It’s a collection with many avenues for customers to explore once the clothes and accessories reach the stores, from myriad interpretations of intrecciato to an array of ultra-tactile textures. I’ll say it loud and clear: the techniques, the artistry, and the sheer beauty of each individual piece Trotter presented are beyond words. Yet this may also have been the trap she fell into – the collection felt overpacked and overstimulating. READ MY FULL REVIEW HERE.

Collage by Edward Kanarecki.
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Accomplished. Ferragamo SS26

September 28, 2025 | Design & Culture by Ed

This was certainly Maximilian Davis’ most refined collection for Ferragamo so far – one that didn’t rely on overt references or an overload of ideas. Not that it lacked context: the designer’s imagination settled on a 1925 photograph of silent-screen actress Lola Todd in head-to-toe leopard print, which he connected to a Ferragamo leopard-print shoe from the same period. Davis reflected on the adoption of “exotic” codes at the dawn of the Jazz Age, citing the Harlem Renaissance and Josephine Baker as points of reference.

Those reflections translated into a collection defined by airiness, sensuality, and wearability. The animal-print silk georgette dresses with fringes epitomized this spirit, looking supremely chic in motion. The same could be said of the boxy suits reworked into hourglass silhouettes, cinched with tasseled scarves tied as belts – for both women and men.

Menswear was also among Davis’ most accomplished to date; the sturdy canvas jackets, particularly in faded coral, stood out as highlights. Altogether, the collection is compelling proof that designers need time and space to truly flourish.

ED’s SELECTION:

Ferragamo Nymphe Leather Mules

Ferragamo Belted Wool And Cashmere-blend Coat

Ferragamo Satin Gown

Ferragamo Hug Satin Shoulder Bag

Collage by Edward Kanarecki.
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Polarizing. Versace SS26

September 27, 2025 | Design & Culture by Ed

The fashion industry hasn’t witnessed such a polarizing collection – especially a debut – in quite some time. After Dario Vitale’s late-evening show for Versace yesterday, my DMs were ablaze until morning with radically different opinions. Some people loved it, calling it a startlingly fresh moment for Milan. Others, however, had no mercy for Vitale’s effort. Personally, I would love to hear Donatella Versace’s thoughts. Her complete absence from the show was… loud.

What is Versace without a Versace at the helm? Dario Vitale, formerly of Miu Miu, has a tough nut to crack. One thing is certain: his debut collection was confident. Gone are the days of Donatella’s flawless blondes in sky-high stilettos. In their place comes a sexuality aimed at younger clients – brisker, messier, slouchier, a bit more kinker. At moments, I felt I was watching a very dolled-up Magliano show – which would be head-turning if it were, in fact, Magliano. But is Versace truly ready to dive headlong into such vintage-heavy territory, straight into the 1980s without a filter? Donatella herself tried many times to revive Versus Versace with near 1:1 references to the brand’s past, and those “new” takes on the diffusion line never succeeded. Many of Vitale’s looks could easily have been sourced from a vintage boutique in Rome or Florence, allowing one to cosplay Gianni’s early career days head to toe. On one hand, the collection was about sensuality (“Honcho”-style in case of menswear, which was executed far better than womenswear, with a homo-erotic gaze) and youth; on the other, it smelled faintly of a mothballed closet. Yet the truth is: today’s “contemporary” audience is deeply nostalgic. Maybe this is what they want – rather than Phoebe Philo or Prada, two female-led brands that actually look forward.

It will be fascinating to see where Vitale takes Versace in the coming seasons – those choices will be decisive. For now, what I see is a cry for the past, one that also eclipses Alessandro Michele’s Valentino. The difference? With Michele, you know it’s his style through and through – not a costume.