Reviews

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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Heritage. Institution by Galib Gassanoff SS26

| 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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Surplus. ERL Resort 2026

| Design & Culture by Ed

Of course, if you’ve just watched Kathryn Bigelow’s “House on Dynamite“, looking at ERL’s soldiers might make you feel somewhat uneasy. The fear of nuclear war is, well, omnipresent. But Eli Russell Linnetz’s take on army boys carries the attitude of the infamous 2007 Vogue Italia cover and editorial shot by Steven Meisel, where Agyness Deyn and a troop of golden-retriever-looking fighters undergo a kind of sexual awakening.

Linnetz titled hi resort 2026 collection “Surplus“, referencing the surplus store as a constant presence in “a deep corner of American consciousness.” The designer repurposed surplus stock – pieces he says he’s been collecting for years – and juxtaposed them with his more luxurious interpretations. Think glorious patchworked parkas mixed with camouflage separates, chunky Donegal sweaters, and cool-looking cargos in overdyed fabrics.

The clothes have a lived-in quality – and looking at the lookbook, photographed in Eli Russell’s signature theatrical manner – you can almost smell the sweat and adrenaline that these garments are flavored with.

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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