The Debut. Dior Men SS26

For some reason, you always expect a seismic shift from a debut as big as Jonathan Anderson’s first collection for Dior. Interestingly, his first line-up for Loewe – over a decade ago – was menswear too, and many people were puzzled, just like now with his take on Dior. And that’s ok.

Rewriting Dior isn’t something you can pack effortlessly into one collection. Anderson has a vision for the brand for the upcoming few seasons, and probably only when we see more of it, his debut will make more sense – when a bigger picture will take shape.

At the moment, all I see is a continuation of a Dior Men narrative that was planted by Kim Jones: British flamboyance, twisted with codes coming from Jonathan’s namesake label, JW Anderson (like those oversized, millefeuille chino shorts). There were witty references to the maison’s heritage, revived through a new lens: the “Bar” jacket was made from an Irish Donegal tweed – a matter of national pride for Anderson – which featured here and there throughout the collection. There was also an intriguing play with fashion historicism, like Louis 16th frock coat worn with ordinary cotton trousers. I will note that such brands as Marcus Allen’s The Society Archive or ERL experiment with similar vintage-vintage notions for a while now. Interestingly, the collection’s affection for flaneurism had echoes of Rei Kawakubo’s Comme Des Garçons.

I might still not understand the show’s connection with Andy Warhol (the brand released polaroids depicting his famous friends as the collection’s teaser), but I see a dialogue between two fictional man: Louis de Pointe du Lac, played by Brad Pitt in “Interview With The Vampire”, and Ennis, embodied by Heath Ledger in “Brokeback Mountain”. Dramatic, knitted capes (and of course the “Dracula” tote) and slim, brocade waistcoats created an intriguing friction with raw flannel shirts and faded denim.

Designers entering a new brand have more questions than answers – just like the spectators of their debuts. I’m not fully buying new Dior yet, but I look forward to the next pieces of the Anderson puzzle.

ED’s SELECTION:

JW Anderson Oversized Shell Bomber Jacket

JW Anderson Men’s Straight-Leg Jeans


Christian Dior Vintage Gold-plated Bracelet


Loewe Cotton Corduroy-trimmed Checked Wool-blend Padded Jacket


Loewe Men’s High-Rise Cargo Shorts

Collage by Edward Kanarecki.
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Taking Notes. Dries Van Noten SS26

At Dries Van Noten, Julian Klausner delivered a triumphant menswear debut – one so true to the brand that you can barely notice Papa Dries’ absence (he’s quietly consulting the new creative director in-between other personal projects – like renovating a palazzo in Venice).

What resonated most in Klausner’s spring-summer 2026 attempt is the actual joy of dressing up – or rather, not fearing to experiment with clothes. At first nothing seems to match in this collection, but then you see the beautiful method behind all that madness. A gorgeously tailored jacket worn with a floral sarong? Yes. Oversized grey sweatshirt topped with a handsome, embellished cummerbund? Yes. A cropped jacket in red roses styled with electric-blue biker shorts? Hell yes!

This outing offers not just great clothes, but absolutely inspiring solutions that will pimp up your summer wardrobe. I’m taking notes.

ED’s SELECTION:

Dries Van Noten Floral-print Silk-voile Shirt


Dries Van Noten Grosgrain-trimmed Floral-print Silk-voile Wide-leg Pants


Dries Van Noten Oversized Double-breasted Linen, Wool, Silk And Cashmere-blend Blazer


Dries Van Noten Belted Double-breasted Crinkled-organza Trench Coat


Dries Van Noten Suede and Leather Trainer Sneakers

Collage by Edward Kanarecki.
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Industry Veterans. The Row SS26

The Row is celebrating its 20th anniversary this year – meaning that Ashley Olsen and Mary-Kate Olsen are true industry veterans. And their brand is like wine – it does get better with age.

Spring-summer 2026 collection, photographed by Mark Kean (have you noticed the sudden Kean-ification of ad campaigns and editorials? He’s certainly got something of early Steven Meisel), is a fine study of what the Olsens were always interested in the first place: the basics. Don’t forget that The Row’s primary idea – and promise – was to create the most perfect t-shirt. There were a couple this season, as perfect as the ikebanas documented in the lookbook.

Other than crisp cotton shirting, lived-in tailoring, and startlingly monastic black evening dresses that could play a role in an Ingmar Bergman film, there was that one, chic accessory that was responsible for all the inventive styling: a bejeweled, rectangular brooch. Of course, it’s straight out of Miuccia Prada’s sciura playbook (the Olsens are known for referring – sometimes borderline imitating – designers like Martin Margiela or Yohji Yamamoto). A brooch can elevate any dress, fasten a cardigan like a scarf around your neck, or just be, on a jacket’s lapel. Now, since the Olsens have made their stance on this little tiny accessory, expect a lot of mini-essays about the art of wearing a brooch from Substack girls.

The designers, fully based in Paris for a couple of seasons now, know how to keep their loyal clients – and online admirers – in chokehold, in the most noiseless, elegant and sensual of ways.

ED’s SELECTION:

The Row Lea Draped Silk-crepe Tunic


The Row Zalenka Cropped Cotton And Cashmere-blend Twill Straight-leg Pants


The Row Leather And Mesh Ankle Boots


The Row Maxi Classic Calf Hair Belt


The Row Frank Corduroy-trimmed Cotton-canvas Jacket

Collage by Edward Kanarecki.
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Queer & Chic. Vivienne Westwood SS26

For spring-summer 2026 menswear, Andreas Kronthaler returned to Milan Fashion Week – and it did good to Vivienne Westwood, the brand whose soul was kind of devoid in the past few seasons.

The collection blended Kronthaler’s affection for fluid silhouettes and Milano’s sartorial heritage. Tailoring was slouchy and nonchalant, but utterly chic. The coats were broad-shouldered or leopard-printed, and full of Milanese charisma. Hunky men in dresses and killer-high platforms were an exuberant view – especially when seen in a passeggiata through a San Babila café and then out on street side marble-floor arcade. A rose-embroidered tabard with a mid-calf red satin boot was a look that was both ecclesiastical in its clerical regality and campy in its unabashed queerness.

This collection felt like one created in the presence of Vivienne’s spirit – or even blessed by her, straight from the fashion heaven.

ED’s SELECTION:

Vivienne Westwood Doll XL Embellished Tote

Collage by Edward Kanarecki.
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Stranger By The Lake. Prada SS26

Mini-lengths and hairy legs. Peggy Guggenheim-inspired hats. Wallpaper prints and oversized florals you can spot on sciuras’ dresses in the Italian buses. Miuccia Prada and Raf Simons’ latest menswear collection feels like a vibe shift: instead of regality and sophistication, or a sharp take on the Prada uniform, a collection so straightforwardly joyful it’s nearly suspicious.

Nothing conceptual: more of an instinctual approach to summer dressing. Even fashion’s biggest brains need a season off, a mind-vacanza of sorts. “This has been the easiest collection I have ever done”, said Simons. Signora added: “Everything worked with everything.” There’s just something absolutely irresistible about a vintage-y t-shirt (with a seductive “Last Swim” print – the romantic thriller of “Stranger By The Lake” comes to my mind immediately), paired with cropped, aged leather jacket and tailored pants in colour-block shade. Or a simple, chic, all-white look. One of the boys looked both naïve and cool in a mini-length shirt-tunic, styled with a red raffia hat and a pair of flip-flops.

I can totally picture new Prada menswear on myself. All of it.

ED’s SELECTION:

Prada Men’s Re-Nylon Snap-Front Jacket


Prada Men’s Shuffle Leather Double-Monk Strap Mules


Prada Men’s Sartorial Linen Pants

Collage by Edward Kanarecki.
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