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Alaïa Padded Leather Bomber Jacket
Alaïa Le Click Small Suede Shoulder Bag
COS Merino Wool Barrel-Leg Trousers in Grey
Beauty is pain. But this pain is also an unstoppable force. The most heart-wrenching show of the season is now behind us. Matières Fécales’s Steven Raj Bhaskaran said of his partner, Hannah Rose Dalton: “Watching her walk out into the world every day, receiving such judgmental reactions toward her expression, makes me feel sad sometimes about the intolerance of the world around us. It sends a message that being different from the norm isn’t valued in this society – it’s usually degraded. Regardless, she keeps walking through the laughter, the pointing, the stares, and often, the aggression.”
Being different from the norm has always been fashion’s prerogative, especially for designers like Alexander McQueen, John Galliano, and Rick Owens. The duo behind Matières Fécales aim to continue that legacy by challenging conventional beauty standards: not only with their looks, but the multi-generational, diverse characters they cast in their shows. They unveiled their remarkable Spring–Summer 2026 collection at Place Vendôme – where else, if not at the very epitome of Parisian vanity? – a lineup filled with frayed tweeds à la Chanel, strong-shouldered riffs on Dior’s Bar jacket, and couture-inflected, corseted gowns that, from one angle, objectify the wearer to extremes, and from another, become a bulletproof shelter, an armor of sorts.
Bhaskaran and Dalton draw on fashion history directly, but with a fierce bravado. Their message is clear: in an industry where everything is expected to be commercial and sanitized, charging head-on into radical beauty is nothing less than an act of rebellion.
Collage by Edward Kanarecki.
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Peter Copping delivered a sublime sophomore season at Lanvin. Not only would Jeanne Lanvin be proud – I believe Alber Elbaz would have loved it too. Blue – specifically a dusty shade of Giotto blue – has been synonymous with the house since Jeanne’s days. This season, Copping employed it in a myriad of electrifyingly beautiful ways: from the runway’s setting to a phenomenally chic, parachute-volume silk blouse.
But that wasn’t the end of his references to Lanvin’s core codes. He confidently revisited the drop-waisted, wide-panniered robe de style of the mid-1920s – Jeanne Lanvin’s all-time signature – recasting it as something absolutely contemporary and effortlessly wearable.
Ribbons also appeared, woven, tied, or left to flow as fringes: a respectful nod to Elbaz, who had resurrected the maison from years of obsolescence. The collection unfolded as a visual feast, a solid offering that restores Lanvin’s place as an arbiter of Parisian chic.
Copping clearly knows what he’s doing – with Jazz Age geometric prints, moiré coats, and a refreshingly sensual menswear silhouette: a cropped trench paired with short shorts. And let’s not forget the headwraps.
Lanvin Draped Crepe De Chine Maxi Dress
Lanvin Scarf-detailed Gathered Lamé Blouse
Lanvin Asymmetric Satin-trimmed Wool Skirt
Collage by Edward Kanarecki.
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While watching the Saint Laurent livestream and seeing all the celebrities arrive, I couldn’t help but wonder: are they real? Do they walk on the same earth we mortals do? Those girls and boys feel so distant – so distanced. And that’s exactly how Anthony Vaccarello narrates his Saint Laurent. The outdoor show, staged against the Eiffel Tower and awash with white hydrangeas, could not have been more pompous or otherworldly – but that’s its appeal. As in Vaccarello’s recent collections, this one revisited themes from Saint Laurent’s archives, repeated and perfected over and over again to near death. READ MY FULL REVIEW HERE.
SAINT LAURENT Tallulah Patent-leather Wedge Sandals
SAINT LAURENT Draped Wool-jersey Mini Dress
Collage by Edward Kanarecki.
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