School. Miu Miu SS27

October 4, 2026 | Design & Culture by Ed

A year ago, Miuccia Prada sent aprons down the Miu Miu runway – blue, floral, not unlike the ones worn by Bożena at my favourite greengrocer. As usual with Prada, her fascination with the supposedly mundane first caused confusion, then collective obsession. The apron became less a fashion statement than a political one. For spring-summer 2027, Prada takes us somewhere else entirely: from the market to the schoolyard. More specifically, the gym. READ MY FULL REVIEW HERE.

ED’s SELECTION:

Miu Miu Leather Slingback Mules

Miu Miu Logo-Knit Silk Sock

Miu Miu Diagonal Rib Silk Skirt

Miu Miu Contrast-Striped Cotton-Blend Polo Shirt

Miu Miu Embellished Satin Slide Sandals

All collages by Edward Kanarecki.

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Showgirl. August Barron SS27

October 2, 2026October 2, 2026 | Design & Culture by Ed

If you’re even remotely familiar with The Real Housewives of New York, I’m sure the algorithm has already served you the fresh clip of Countess Luann – whose life really is a cabaret – telling the other women that you should always leave the party first, keep them guessing about your next move, and, above all, let the divaaaaaaa out! August Barron’s delightfully showgirl-ish new collection perfectly captured the spirit of these charismatic, loud and bold women à la Luann. We need more of them in this world, really. READ MY FULL REVIEW HERE.

All collages by Edward Kanarecki.

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Earthy Modesty. Miu Miu AW26

March 15, 2026 | Design & Culture by Ed

The earthy, grounded modesty (and honesty) of Miu Miu’s autumn–winter 2026 collection was exactly what was needed on the last day of Paris Fashion Week. Miuccia Prada stripped her Miu girl (and boy) of anything superfluous. Knee-length pencil skirts and vintage-coded camisoles in peachy shades felt beautifully realistic when paired with trapper hats – somewhat primal, especially given the moss and twigs scattered underfoot along the runway. Fur-lined jackets, cropped nylon anoraks, and crude leathers were utilitarian in form, yet they oozed a palpable sense of humanity (something Pierpaolo Piccioli seemed eager to capture in his Balenciaga collection, though he advanced little beyond a lengthy press release). Chloë Sevigny, who modeled for Miu Miu more than three decades ago, appeared on the runway in a jacket-and-dress set with furry hems that looked like a fungi-esque organism creeping across the garment. It read as Miuccia’scall for peace between humans and nature. And the 1920s-inspired flapper dresses – embroidered, yes, but far more restrained than is typical for Miu Miu – worn in the finale by Gemma Ward, Kristen McMenamy, and Gillian Anderson? A small, poignant pinch of innocence in our being in this world.

ED’s SELECTION:

Miu Miu Leather Casual Derby Loafers

Miu Miu Aventure Lambskin Leather Shoulder Bag

Miu Miu Allacciate Leather Buckle Low-Top Sneakers

Miu Miu Striped Oversized Long-Sleeve T-Shirt

Miu Miu Antic Buckle Distressed Leather Knee-High Boots

Collage by Edward Kanarecki.
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Home. Hodakova AW26

March 3, 2026 | Design & Culture by Ed

I haven’t been this struck by fashion in a long time. What Ellen Hodakova Larsson did on the opening day of Paris Fashion Week was so profound, heart-wrenching, and purely beautiful that I almost wonder whether the term “fashion” even applies.

For autumn–winter 2026, Hodakova returned to the idea of home – a theme she has explored for some time, but which here felt more substantial and powerful than ever. True to her practice, she transformed everyday objects into garments: an itty-bitty bra fashioned from teacups; a rug crafted into a capelet; pieces incorporating parts of chairs. The effect was as subversive as when Meret Oppenheim covered a teacup in fur: feminine decorum gone rogue, yet also wildly sensual.

But the distortions and subtle provocations did not end there. Mirrors appeared as accessories – an ode to vanity, but also to introspection. Silken strands that snaked up the body and fastened at the neck (where zippers might once have been) were not samples of blonde hair, but horsehair violin strings. She imagined a musician impeccably dressed for a performance, only to lose herself entirely in the music. And the fur coats that seemed to levitate, hovering like oneiric corpses above the models’ bodies? A literal “home for the body”, staged in a manner reminiscent of an Olivier Saillard and Tilda Swinton performance.

Hodakova’s work is at once literal and strangely elusive: like a dream that floods you with feeling, only to dissolve the moment you awaken. That is not to say her clothes are ephemeral. On the contrary, she is a designer who, like few others, champions a return to meaty, tactile, hyper-real materiality. Her latest collection marks a striking plunge into the sartorial world, with deconstructed Harris Tweed jackets and coats anchoring the vision.

A very, very good start to Paris.

Collage by Edward Kanarecki.
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Maritime Sensuality. Ferragamo AW26

March 1, 2026 | Design & Culture by Ed

At Ferragamo, Maximilian Davis is committed to subverting the classics, often approaching them from a different perspective or reworking their well-known codes. For autumn–winter 2026, he turned his attention to the aesthetic of maritime attire, successfully transforming its references into something glamorous and refined.

The opening segment of the collection featured handsome, oversized peacoats in navy cashmere, to which panels lined in ivory silk were buttoned in, creating a sense of Cubist deconstruction. Two Guernsey-inspired sweaters – one navy, one white – were designed with raised collars left unbuttoned to fall softly around the neck. This simple manipulation introduced a note of subtle sensuality (made me think of “Querelle“, Rainer Werner Fassbinder’s 1982 homoerotic sea-port drama).

A swimming vest was reimagined as a quilted leather orange gilet, while georgette dresses with mid-calf, cinched accordion pleats moved through the air like sails in the wind. With each collection, Davis moves closer to the vision he continually strives to realize.