Rock Music. Chloé AW02

May 11, 2026 | Design & Culture by Ed

Charli Xcx released a song called “Rock Music” and everybody hates it. Obviously it’s not rock – it’s about rock. It’s the most deliriously vague, hedonistic song you’ll hear in 2026, in a moment where everything has to mean something, has to come with a performative second layer. I love it.

If “Rock Music” was a collection, it would be the most underrated and least talked-about Phobe Philo moment ever: autumn-winter 2002 for Chloé. Her sophomore season doing it solo, freed from McCartney’s reign. READ MY FULL TEXT HERE.

Collage by Edward Kanarecki.
Don’t forget to follow Design & Culture by Ed on Instagram.

Hey, did you know about my newsletter – Ed’s Dispatch? Click here to subscribe.

Men Behind

July 27, 2014 | Design & Culture by Ed

While searching 2002 in fashion, I found the first runway collection by Rick Owens. The mood of Owens’ presentation was somber—a dark, raw space and a sound track of Alice Cooper and Iggy Pop—but the clothes were gently sexy and even cozy. Not one for color (despite his indigenous climate), Owens worked in grays, chalky white, black and taupe. Long clinging dresses were paired with fuzzy ankle-length sweater coats, while soft, baggy corduroy pants looked great with the distressed leather jackets the designer is known for.But all those greys and forms reminded me of something- the latest Haider Ackermann collection for women. His AW14 was totally like the description of Rick’s in 2002, but a bit more romantic and soft. I love both of these, and I can’t say that Haider copied Rick- rather, he was inspored by him and his first dark fashion moment.

#TBT: Shaggy Balenciaga avec 2002

May 22, 2014July 28, 2017 | Design & Culture by Ed

And… it’s… Thursday… The 26 looks that Balenciaga designer Nicolas Ghesquière showed here today at the Gagosian Gallery will be more scrutinized than Enron’s balance sheet. That’s because Ghesquière has become one of fashion’s magnate designers, able to change the look of a season with one outfit. Moving his Fall show to New York from Paris added a significant jolt to fashion week, increased by the fact that getting one of the 200 tickets was well-nigh impossible.The all-black opening was tough-girl chic: variations on the motorcycle jacket, with exaggerated knit collars and worn with skintight pants or tight, flippy skirts. He showed soft, oversized sweaters and jackets, and a small group of colorful knee-length collage dresses apparently influenced by Cubist paintings. Ghesquière helped usher in fashion’s current love of artisan craft, and the dramatic, shaggy ivory coats that closed the show could double as soft sculpture.