Paris

High & Low. Saint Laurent Resort 2026

| Design & Culture by Ed

In between the ’80s-heavy color-block coat-dresses of the winter collection and the couture-inspired maxi gowns crafted in technical nylon for summer, Anthony Vaccarello introduces a cool-looking, smooth transition: a Saint Laurent resort line-up that revolves around the idea of combining – or rather, clashing – a lace-trimmed slip dress with an oversized track top. High meets low. Boudoir meets athleisure. Paris meets Los Angeles. The collection’s radiant color palette – salmon pink, cherry red, emerald green, and electric blue – reads like a visual dose of vitamin C, one that makes you pray for autumn’s grayness to give instant way to spring.

ED’s SELECTION:

SAINT LAURENT Belted Leather Jacket


SAINT LAURENT Ruched Floral-print Tulle Mini Dress


SAINT LAURENT Amalia Patent-leather Slingback Pumps


Yves Saint Laurent Vintage Gold-plated Clip Earrings


SAINT LAURENT Grain De Poudre Skirt


SAINT LAURENT Pussy-bow Checked Cotton-blend Shirt

Collage by Edward Kanarecki.
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It’s A Dance. Tom Ford Resort 2026

| Design & Culture by Ed

Haider Ackermann likes to compare his creative endeavor at Tom Ford to a dance. In his hands, it can be slow and sensual in one moment, then electric and seductive in the next. His sesort 2026 collection – an effortless bridge between his brilliant debut and an even stronger sophomore offering – shows just how fluently Ackermann speaks Ford’s design vocabulary.

In his press notes, the designer described the “unremitting verticality” of his vision for Tom Ford’s “beautiful creatures,” a concept rendered sublimely through masterfully elongated silhouettes, punctuated by bold color accents (green! blue! pink!) and razor-sharp shoulders. The collection – now arriving in stores – also introduces Ackermann’s take on day-ready pajama suits, for both him and her, that feel almost too good to be true.

If this collection were a dance, it would land somewhere between Ralph Fiennes’s unpredictable moves in “A Bigger Splash” and the magnetic elegance of Cyd Charisse and Gene Kelly in the “Broadway Melody Ballet” sequence. Delightful.

ED’s SELECTION:

TOM FORD Double-breasted Cotton And Silk-blend Hammered-satin Blazer


TOM FORD Eva D’orsay Satin Pumps


TOM FORD Belted Draped Silk-satin Maxi Skirt


TOM FORD Stretch-silk Georgette Gown


TOM FORD Leather Shirt – Blue

Collage by Edward Kanarecki.
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West End Girl. Abra SS26

| Design & Culture by Ed

“Who the fuck is Madeline?” asks Lily Allen on her new album “West End Girl” – the result of sixteen days spent in the studio dissecting and analyzing her unhappy marriage to David Harbour. The album – released without promo or a meticulous marketing ploy – has unofficially claimed the title of AOTY, and Allen seems to be living her best life, dressed as the Madeline for Halloween.

Her latest work plays with different tropes: the busy housewife, the single mother, the other woman. Interestingly, I see a full-circle correlation with the heroine of Abraham Ortuño Pérez’s spring–summer 2026 collection. Abra – the brainchild of one of the industry’s most renowned footwear designers – has always been “for the girls.” The woman Ortuño Pérez envisions this season certainly has a past: a good girl gone bad for her own sanity’s sake.

The line-up features hyper-girly pink satin skirts, flirty mini dresses finished with rosettes, and princessy frou-frou gowns made from translucent materials – yet all that saccharine sweetness is grounded by the grittiness of fringed suede boots, tough leather bombers, and very good-looking cut chino shorts. If “West End Girl” were a fashion collection, it would be this one from Abra.

Collage by Edward Kanarecki.
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Stars Aligned. Rick Owens SS26

| Design & Culture by Ed

Quite naturally, Rick Owens’s spring–summer 2026 collection – presented, as usual, in the courtyard of the Palais de Tokyo, just steps away from the Palais Galliera where his retrospective is now on – gave you chills and a sense of otherworldly euphoria, as if straight out of his Temple. The lineup of models, their eyes obscured by black contacts that covered not only the irises and pupils but also the whites, embodied all the hallmarks of the designer’s alien-esque uniform, honed over three decades: muted, bleached tones; 1930s-inflected silhouettes evoking Old Hollywood; sharply exaggerated shoulders; sculptural draping; and towering platforms that stretched the silhouette to near-impossible proportions. The spiky, fringed leather capes were the work of young London-based designer Straytukay, while the print – a rarity at an Owens show – appeared on the long dresses in the finale and was a reproduction of the designer’s own star chart, originally drawn for him by his father. Whatever the astral prophecy was, the stars truly did align.

ED’s SELECTION:

Rick Owens Athena Arrowhead One-shoulder Draped Crushed-velvet Gown


Rick Owens Cantilever 8 Hydra Leather Sandals


Rick Owens Padded Shell Bomber Jacket


Rick Owens Fog Layered Suede Mini Skirt


Rick Owens Tied Taco Kiss Leather Ankle Boots

Collage by Edward Kanarecki.
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Eccentric Madame. Louis Vuitton SS26

| Design & Culture by Ed

The eccentric madame envisioned by Nicolas Ghesquière for Louis Vuitton never ceases to confuse – and to intrigue. In the summer apartments of Anne d’Autriche at the Louvre, a parade of crystal-embellished silk vests, beaded fringe top-and-pants sets that evoked Impressionist landscapes, and historic-looking robes and capes made their royal entrance. One look – a pastel-blue cloak paired with a matching turban-like hat – gave big dumpling energy and made me smile. Then there were the genuinely lovely, extra-fluffy knitted pieces with tubular necks and balloon sleeves. At times, it’s hard to keep up with the cascade of ideas Ghesquière sends down his Louis Vuitton runway. But perhaps that’s precisely the charm.

Collage by Edward Kanarecki.
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