GET THE LOOK:
Alaïa Padded Leather Bomber Jacket
Alaïa Le Click Small Suede Shoulder Bag
COS Merino Wool Barrel-Leg Trousers in Grey
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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At the beginning of the month, I found myself thinking about how much Vaquera’s bravado and energy are missed in New York. Patric DiCaprio and Bryn Taubensee have now fully relocated their operations to Paris, and their affection for fun and fashion – both with capital “F’s” – has an intoxicating effect. You can’t help but smile when you see their fabulous hats swathed in netting, worn so nonchalantly with draped party frocks in clashing fabrics and over-the-top volumes. Keeping things lighthearted and doll-like, their mini-dresses (some in kitschy-chic prints) were really only half a dress, suspended from one side of a pointy cup bra and paired with track pants or a faux-fur skirt. The all-striped jersey look with a draped rosette on the shoulder? It’s a clear nod to Carrie Bradshaw in Paris, when she stepped out onto her Plaza Athénée hotel balcony to gaze at the Eiffel Tower. It’s safe to say that Paris now boasts two of New York’s finest – and utterly opposite – exports: The Row and Vaquera.
Collage by Edward Kanarecki.
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Julie Kegels opened Paris Fashion Week with a bonkers show – exactly the right way to launch the long week ahead and set the tone for day one: fun, bold, inventive.
I’ve been following Kegels’ work since her master’s collection “The Dinner Party“ at the Royal Academy of Fine Arts in Antwerp. Even then, it was clear that domesticity would be a central theme in the Belgian designer’s practice. Her spring–summer 2026 show unfolded inside a metro station in the 16th arrondissement. Models emerged as if on their way to an important meeting – or a party – moving with confidence, unconcerned about being late or expected. The presentation read like a story of transformation: a woman in constant motion, always just a step behind time.
That sense of the everyday marathon was brilliantly distilled in the collection. Kegels’ woman dresses in haste, between chores: bra straps hastily knotted, collars stretched and smudged with makeup, skirts slipping down as if about to fall, undergarments peeking through at every glance. Nightgowns edged in lace reappeared as daywear, with no drama attached. Imperfection lingered not as failure but as imprint: stains turned into prints, wrinkles into structure, seams into memory. And her constant companion? A garment-messenger bag, naturally.
Julie Kegels proves that fashion can be witty without tipping into gimmickry – and at the same time, wholly functional.
Collage by Edward Kanarecki.
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