Cool Restraint. Alaïa SS26

October 16, 2025 | Design & Culture by Ed

Pieter Mulier’s spring–summer 2026 collection for Alaïa felt like a welcome palette cleanser after last season’s alien-like padded rolls and body-morphing silhouettes. Not that he has abandoned his fascination with silhouette manipulation – the latest collection’s body-enveloping cocoon dresses made the models appear even taller, their figures elongated and almost stretched. Yet there was a distinct sense of harmony and restraint this time: the not-overworked, high-necked jackets and crisp top-slash-mini-dresses exuded confidence rather than spectacle.

Some looks – particularly the zipped-up leather blouson paired with a fringed scarf, or the shaggy ecru coat – had a touch of Phoebe Philo’s sensibility (which only made me wish even more for her to finally do runway). This influence, however, served the collection well, keeping it grounded and unfussy.

Azzedine Alaïa was a devoted believer in the “less is more” philosophy. Mulier seems to be taking notes.

ED’s SELECTION:

Alaïa Gold-tone Hoop Earrings

Alaïa Cotton-poplin Barrel-leg Pants

Alaïa Double-breasted Wool-gabardine Blazer

Alaïa Le Click E/w Small Leather Shoulder Bag

Alaïa Laser-cut Suede Ballet Flats

Collage by Edward Kanarecki.
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Silhouette. The Row Pre-Fall 2026

October 15, 2025 | Design & Culture by Ed

The Row has achieved a rare level of distinctiveness shared only by designers like Yohji Yamamoto and Giorgio Armani: you don’t need to see the full collection – just the silhouettes from afar – to know it’s theirs. Mary-Kate and Ashley Olsen maintained their signature no-photos policy at their intimate Paris presentation, and the images released for the pre-fall 2026 collection are neither lookbook nor editorial. They are supremely elegant black-and-white portraits of the models (and their comb-adorned hair) and the garments, photographed in the traditional, old-school couture way: front, side, back.

The collection features sublime sack dresses (which make Pierpaolo Piccioli’s attempts at Balenciaga look even more unfortunate), an absolutely heavenly full skirt with a beautifully cinched waist, airy balloon pants that convey sophistication rather than laziness, and a handful of crisp cotton shirts, probably meticulously studied on Charvet.

Once again, the photos reveal little – you can’t fully appreciate the subtle embroideries or sequin work – but they show silhouettes that unmistakably speak one name: The Row.

ED’s SELECTION:

The Row Vika Leather Sandals

The Row Lucja Oversized Belted Shearling Coat

The Row Violetta Asymmetric Paneled Silk-crepe Gown

The Row Idro Oversized Cotton-blend Corduroy Shirt

The Row Irene Lace-trimmed Silk-charmeuse Skirt

Collage by Edward Kanarecki.
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Exaggerated Body. Jean Paul Gaultier SS26

October 14, 2025 | Design & Culture by Ed

Duran Lantink’s debut for Jean Paul Gaultier is a collection I’m still making up my mind about. For me, the core of the Gaultier brand has been utterly diffused by the revolving door of guest designers, each coming in for a single couture collection every six months. At this point, the brand could be almost anything.

On one hand, I think it was a wise choice for Duran not to revive Jean Paul’s archives too literally. On the other, this collection revealed that his own repertoire still feels somewhat limited. It could just as easily have been a Duran Lantink show – and honestly, it might have made more sense that way. The razor-sharp cut-outs, the “Lumps and Bumps”-inspired silhouette manipulations, the op-art stripes, the bodysuits printed with a haired male corpse – it’s all Duran through and through, like it or not. But we’ve already seen most of these ideas play out, in slightly different variations, within his own brand. READ MY FULL REVIEW HERE.

Collage by Edward Kanarecki.
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Quirky. Chloé SS26

October 14, 2025 | Design & Culture by Ed

Although Chemena Kamali drew inspiration from Gaby Aghion’s (Chloé’s founder) archives from the 1950s and ’60s, she managed to reinterpret the mini dresses with bubbly, couture-like shapes in a contemporary, quirky-but-chic way. At first, I wasn’t sure about the fullness of some of the floral bows and drapes – often rendered in acidic colourways and styled with contrasting leggings – but there’s something undeniably fascinating about the oddness of this silhouette. I’m also obsessed with the distinctly 1980s make-up moment: the flashy, bold pink lipstick that creates a cool tension against the “safe” beiges of the shoulder-padded trench coats. Add to that the PVC sandals and Vanessa Beecroft’s photographic lens at the show, and you get a fresh, not so obvious vision of the Chloé-by-Chemena girl – less lace-y and Sienna Miller-esque than before.

ED’s SELECTION:

Chloé Paddington Embellished Leather Tote

Chloé Gathered Cotton-dupioni Jacket

Chloé Floral-brocade Mini Skirt

Chloé Misty Laser-cut Leather Ballet Flats

Chloé Ribbed Cotton Top

Chloé High-rise Wide-leg Jeans

Collage by Edward Kanarecki.
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Attic Magic. Valentino SS26

October 12, 2025 | Design & Culture by Ed

Unpopular opinion: I loved Alessandro Michele’s Valentino collection. It seems many people don’t connect with his vision for the house the way they did with his Gucci era. Rumors are already swirling that the designer may be leaving after just three seasons, but I truly hope that isn’t true – he’s only just warming up, still in a chrysalis stage of transformation.

This season, Michele toned down the theatrics, yet I felt he sublimated his signature “attic magic” into something deeply sincere, vulnerable, and ultimately chic. The collection, poignantly titled “Fireflies“, lived up to its name: the models appeared like delicate, enchanting fireflies gliding through a vast, sci-fi-esque setting.

The first look – a gathered peacock-blue blouse tied with bows at the collar and hem, paired with chartreuse satin pants whose hems hugged the heels of the model’s shoes – felt retro-tinged yet somehow modern. Equally striking were a marvelous zebra-printed blouse and a black velvet evening dress adorned with a single pink feather at the V-neck. Another standout was a pleated orange top worn with a simple pair of jeans: so innocent, effortless, and spontaneous. Lana Del Rey sat front row at the show with her family: it all made sense. They all lived happily ever after.