Paris

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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Simply The Best. Maison Martin Margiela SS03

| Design & Culture by Ed

I don’t like naming favorites – but this might be it. The Maison Martin Margiela spring–summer 2003 collection has been living in my head for a while now. You already know I’m not really feeling what Glenn Martens is doing at the house right now (though I’ll always have a soft spot for the MM6 team). So instead, I’ve been going back – properly back – into Martin Margiela’s archives. Not the forced “Folders” narrative the brand is pushing, but the real thing. And honestly? I couldn’t be happier to have unearthed the full set of images from this collection.

Because this collection is a reminder – no, proof – of how much everyone owes him. From Hodakova to Vaquera, from Phoebe Philo to Marc Jacobs – they’re all, in some way, walking a path he cleared. He ran so the rest could even begin. READ THE FULL TEXT HERE.

Collage by Edward Kanarecki.
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The Kids Are All Right. Abra AW26

| Design & Culture by Ed

For Abraham Ortuño Perez, the kids are all right. While designing his autumn-winter 2026 Abra collection, the Spanish designer – who has spent years building his reputation with some of the most imaginative footwear for leading brands – found himself thinking about his niece and nephew rummaging through their parents’ closet, piling on whatever they could get their hands on. He recalls his own childhood with similar fondness: he and his sister played with roles, she the tomboy and he the girly one. “At some point, we kind of blended together.”

That spirit of childlike naïveté – so beautiful, and so fleeting – runs through Perez’s latest ready-to-wear collection. Sack dresses are slashed and patchworked from contrasting materials, while blazers and jackets hang several sizes too big. The playful energy continues in confetti-like dresses, and long gilets crafted from vintage rabbit-fur belts feel like something discovered in an attic treasure chest – exactly the kind of find that would spark a child’s imagination.

We need fun, and Abra is where seriousness goes to die.

Collages by Edward Kanarecki, featuring backstage photos by Jamie-maree Shipton.
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Women. Givenchy AW26

| Design & Culture by Ed

Ending fashion month on a show I’m still on the fence about – but one that clearly signals a designer stepping outside her comfort zone: Sarah Burton’s Givenchy.

The good news is that Burton has shed what I like to call the “Taylor Swift–ness” that weighed down her earlier work for the house – a certain safety and plainness that defined her first two seasons. Her third outing is anything but bland; this is no longer boring chicken with boring rice. There’s spice here, and bravado – plenty of both. I was especially taken with the draped, turban-like hats, as if lifted straight from a Jan van Eyck portrait, created in collaboration with Stephen Jones. They paired beautifully with Burton’s richly draped velvet halter tops and sharply tailored trousers. Her use of leopard prints and textured jacquards clashing with butch-leaning tailoring feels unexpectedly compelling. At times, I found myself thinking of that “Sex and the City” episode where Charlotte York discovers the world of art-world lesbians – there’s a similarly unapologetic feminine energy running through Burton’s work. It manifests in both boxy suiting and off-the-shoulder party dresses, creating a dynamic tension.

What made the collection slightly less legible, however, were the clunky bags and heavy boots that seemed to weigh the looks down. A stylist with a lighter touch might help Burton sharpen her message. Still, something is clearly shifting at Givenchy. And I suspect we’ll see the most coherent vision emerge in a season or two, once Burton has fully settled into her role.

ED’s SELECTION:


Givenchy Crepe Midi Dress



Givenchy Silver-tone Crystal Earrings



Givenchy Pinch Mini Embellished Leopard-print Calf-hair Shoulder Bag



Givenchy Cape-effect Silk-satin Mini Dress



Givenchy Paneled Leather Midi Skirt



Givenchy Patent-leather Pumps

Collage by Edward Kanarecki.
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Play-Doh. Loewe AW26

| Design & Culture by Ed

Jonathan Anderson transformed Loewe into a fertile ground for experimentation, yet the results – even at their most conceptual and surreal – retained a warmth reminiscent of the Balearic sun. Lazaro Hernandez and Jack McCollough continue this experimental tradition, but their work comes across as awkwardly distant and cold. Their sophomore collection showcases an array of the brand’s technical possibilities – zip-front latex coats resembling Play-Doh toys, bell-shaped silhouettes rendered in shaved and dyed brushed shearling – yet, despite these inventive constructions, there is a noticeable absence of wit and lightness in the voluminous, built-up forms. The eveningwear, too, feels overworked, burdened by unnecessary folds and wraps. The former-Proenza duo would benefit from rediscovering a sense of sensuality – and a more vibrant, actually playful spirit – in their Loewe. I’d argue that nobody wants to look like a serious alien.

Collage by Edward Kanarecki.
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