Harvest Season. Bevza AW24

Collage by me featuring Bevza AW24 look and works by Maria Prymachenko – Ukrainian folk art painter, who worked in the naïve art style. The Ivankiv Historical and Local History Museum, where several works by Prymachenko were held, was burned after a deliberate attack on a museum during the 2022 Russian invasion of Ukraine, with the reported loss of 25 of her works.

It’s over two years since Russia launched its full-scale invasion of Ukraine, so for her autumn-winter 2024 collection, Svitlana Bevza – formerly Kyiv-based designer – set out to celebrate her motherland’s vibrant culture and history through distinct, soft-minimalist lens. Bevza selected the Ukrainian Institute of America – which specializes in promoting the art, music and culture of Ukraine – for her New York Fashion Week presentation. The collection was centered around Ukraine’s role as one of the world’s largest grain producers. Apron dresses were crafted from eco-leather and outerwear was made from sheepskin; it largely focused on an A-shaped silhouette inspired by a traditional 19th-century Ukrainian coat called a Kozhukh. The Tisto vest – named after the Ukrainian word for dough – sported plaits that echoed the texture of traditional Kosa bread. As for the palette? It was muted with the occasional pop of canary and gold coming through to mirror the lush colors of a healthy harvest. These monochromatic looks were elevated by shapes that were experimental yet considered, edited with geometric collars and belt-scrunched waists. Beautiful, functional and emotionally moving at the same time.

Collage by Edward Kanarecki.
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She’s A Textile Girl. Maryam Nassir Zadeh AW24

Maryam Nassir Zadeh has finally dropped her autumn-winter 2024 lookbook, and oh boy, it’s so good. The designer is one of the leading fashion voices of New York, and she certainly doesn’t need the platform of New York Fashion Week to prove that. Nassir Zadeh’s textile-informed (“I’m a textile girl“), tactile approach to her brand is widely copied by up-and-coming brands, but nobody does it so authentically and with such instinctual ease as her. There’s just lots and lots to love in this new collection, from the styling (perfectly matching the look-book’s location, shot somewhere in the South of France) to the clothes and accessories. The pastel pink fringed scarf in either pastel pink, beige or graphite, made from soft suede, will very likely become the label’s top-seller: you can drape it around the neck in many different ways or wear it as a shawl. Styled with new season workwear jackets, the vibe of this pieces is supremely cool. The goovy fringe story continues in skirts of different lengths. Then we’ve got citrus-colored metallic-threaded Indian materials made into charming bra-tops, mini-bags, and boxers. The designer recently visited Rajasthan, so that sun-drenched color palette definitely originates from that experience. Maryam achieves more with less, but she isn’t really after minimalism. She offers playful garments, but not in an adorned way (there are pretty much no superfluous embroideries or embellishments in her work) – it’s more about the way you can nonchalantly style and layer these pieces. The New York-based designer keeps on experimenting with merging womenswear with menswear, and the results are more than inspiring. “I’m putting the men in more feminine things and the women in more masculine things,” she noted. “It’s a full circle moment.”

Collage by Edward Kanarecki.
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Upside Down. Hodakova AW24

Ellen Hodakova Larsson indulges in imperfection and inventiveness. This Swede has built a practice of finding treasure where others see trash, echoing ideas of new materialism. She crafts witty, contemporary classics using already-existing materials, many of which carry a patina that only time can impart. Bras, belts, metal trays, a constellation of buttons, waistbands, and underwires have all been through her hands, turning into artisanal garments. Through her work, which often involves turning things over (see the trouser dresses) and inside out (the garments made of lining fabrics), patchworking (this season’s argyles), and accumulating, Hodakova is turning the idea of value upside down. Her bricolage pieces – often rough at the edges and with emphasis on tactility – are related to the designer’s own values and upbringing. A former competitive equestrienne, she was raised on a working farm that, she said, made her “very aware of what things cost, what you can do, how you can grow things yourself – what you can do with nothing in general.” It’s been proven over and over how limitations foster creativity, and that’s reflected in the designer’s autumn-winter 2024 collection. Smart tufted looks referenced the chesterfield sofas the designer grew up with. The attaché case that turned into a dress belonged to her father. Beret shoulders on a top and a top made of molded-metal serving trays flirted with the romance of Paris. The designer has made it a signature to crown every collection with a dress made of one object: this time, prize ribbons replaced the viral spoons and watches of last season.

Collage by Edward Kanarecki.
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Accidental Impressionism. Danielle Frankel AW24

If there’s one designer that leads the bridalwear game today, then it’s definitely Danielle Frankel and her New York-based studio. However Danielle isn’t limiting her designs to weddings only; she describes her namesake brand as “a fashion label” whose “medium is bridal,” a minor yet important distinction that indeed manages to capture her stunning creative output. The latest collection, starring Italian beauty Mariacarla Boscono and styled by Vanessa Traina, is an in-depth study of texture, unique fabrications, and gesturally arranged flowers lead to a sort of accidental Impressionism. The brand’s signature interplay of hard and soft and its relaxed refinement join pointedly feminine details that are naturally mussed at the edges. Oil-on-canvas landscapes are interpreted by hand-painted petit-fleurs, watercolor prints, and sculpted blooms. Painterly brushstrokes adorn featherweight organza juxtaposed by castings of metal and clay blossoms created by artisans in Ukraine and South Africa. The introduction of silk jersey brings a goddess-like liquidity to the range, while the addition of Lyon lace elevates an exploration of sheerness and structure. Silk woven with metal fibers creates beautiful wrinkles that are meant to last rather than be pressed away; a sort of “perfect imperfection“. In a continued exploration of color for the aisle, alabaster is joined by patinaed rust, hibiscus, citrus, pale chrysanthemum (Frankel’s favorite) and various shades of ivory. Degradé-dyed and pearl-tipped organza fringes mimic grasses in the hand-brushed expanses that inspired them. This really isn’t your average bride-to-be wardrobe.

Here’s a couple of Danielle Frankel beauties you can get right now…

ED’s SELECTION:


Nina Pleated Wool And Silk-blend Satin Gown



Harper Open-back Draped Wool And Silk-blend Satin Gown



Guinevere Shirred Grosgrain-trimmed Tulle Gown



Wendell Tiered Ruffled Lace And Tulle Mini Dress



Lucy Cold-shoulder Lace-trimmed Tulle And Cady Mini Dress



Lottie Strapless Appliquéd Silk-organza Mini Dress

And here’s a selection of gorgeous bride-perfect shoes just in case!


Manolo Blahnik Hangisli 70 Crystal-embellished Satin Slingback Pumps



Manolo Blahnik Rinialola 70 Bow-embellished Embroidered Mesh And Crepe De Chine Pumps



Magda Butrym Spiral Appliquéd Satin Sandals



Roger Vivier Belle Vivier Trompette Leather Pumps



René Caovilla Crystal-embellished Lace And Leather Pumps

Collage by Edward Kanarecki.
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Bulbous Shapes. Duran LaNtink AW24

There’s no way you haven’t seen oneof those bulbous denim shorts or red dresses in one of the latest editorials (or magazine covers). Stylists went crazy for Duran Lantink‘s spring-summer 2024 collection, being his big break-through moment. Garments with built up shoulders and hips with padding, torsos exaggerated with stretchy body stockings: these extreme proportions make for great photos, and are just really fun to play around with. For his autumn-winter 2024 collection, the Dutch designer is on a similar wave of thought (big shapes and sustainable approach to garment-making) but with hints of commercial sensibility. Instead of delving into such summery essentials as bathing suits and lifesavers, he trained his attention on wintery gear like ski sweaters, long johns, and cozy wool socks, complemented by some power tailoring. “We’re really trying to figure out new ways of presenting clothes, creating new shapes and forming a new identity,” he said. Using padding, he exaggerated the shoulders on both a sweater dress and a single-breasted jacket by bringing them forward, and thickened the chest and back on cropped jackets in leather or upcycled puffer nylons. The effect is somewhat sexy. Unsurprisingly, these shapes aren’t easy to achieve. “They’re very labor intensive,” Lantink said “but I’m kind of a romantic thinker in that way. From my perspective, I don’t think that it’s something only conceptual.” Still, he has to think about commerciality, so on smaller pieces like sweater vests and button-downs he inserted a good inch or inch-and-a-half of foam between two layers of fabric, sometimes slicing them horizontally or diagonally to show off their unusual thickness. Damn, this year’s LVMH Prize season is really intense: Duran is in the game along with Elena Velez, Niccolo Pasqualetti, Vautrait, Marie Adam-Leenaerdt and other talents.

Collage by Edward Kanarecki.
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