Lovers. Gabriela Hearst Resort 2026

June 9, 2025 | Design & Culture by Ed

Gabriela Hearst makes no-nonsense clothes. Her work is often criticized for lucking “edge” – but then, somebody has to make proper, classic, always-good-looking clothes. And there actually is something edgy about her resort 2026 collection, starring Malgosia Bela, Leon Dame and Alex Olson, photographed by Zoë Ghertner. Some context: the designer is lately obsessed with Tarot, pulling a card each morning and writing down the results. The Lovers card in the Marseille deck gave this collection its radiant color palette: cobalt blue (take a look at the sumptuous cashmere poncho she did in this magnetic hue), with sprinkles of pastel-pink and bottle-green. It also gave her a template for this simple, but evocative lookbook. In the Marseille deck, there are three figures on the Lovers card rather than the usual pair: two women and a man. Hearst did some rearranging, and she’s got one woman and two men in these pictures. A power move. The garments, un-fussy and “un-styled”, are remarkably handsome: think M-65 field jackets, double-face cashmere coats and all-black eveningwear. Looking for edge? There’s the Americana-inspired cow print, a lovely springboard from the understated vibe Hearst’s clothes emanate with.

ED’s SELECTION:

Gabriela Hearst Girard Shirred Dress in Sapphire Aloe Linen

Gabriela Hearst Lacquered Tote Bag in Black & Ivory Patchwork Leather

Gabriela Hearst Lyla Knit Ponco in Dip Dye Bordeaux Multi Welfat Cashmere

Gabriela Hearst Amethyst Stalactite Necklace

Gabriela Hearst Harriet Raffia Mule

Gabriela Hearst Wyn Jacket in Recycled Denim Linen

Gabriela Hearst Fatima Crochet Skirt in Multi Cashmere

Magda Butrym AW24 Campaign

October 11, 2024October 11, 2024 | Design & Culture by Ed

Magda Butrym proudly unveils her latest campaign, “Decade of The Rose,” celebrating ten years of redefining contemporary femininity. This visually stunning campaign, which blends intimate, dark backdrops with glimpses of Warsaw’s historic streets, perfectly encapsulates the brand’s signature aesthetic-a mix of romantic dreaminess, Slavic heritage, and modern empowerment.

The “Decade of The Rose” campaign – photographed by Vitali Gelwich and styled by Jacob Kjelgaard – artfully juxtaposes a mood of quiet intimacy with feminine confidence. Set against shadowy urban landscapes, the images feature evocative shots of the internationally acclaimed supermodel Malgosia Bela. Her role as the star of the campaign is not just a reflection of her global icon status, but also her embodiment of the sophisticated, sensual, and resilient femininity that defines the brand.

The autumn-winter 2024 collection clothing, including ink-black leather jackets, broad-shouldered coats, and petal-shaped red dresses, reflects the tension between softness and assertiveness. The rose motif-central to the brand- makes its presence felt in both the collection’s floral detailing and the overall theme of the campaign, symbolizing beauty, resilience, and feminine power. At the heart of the visuals lies a duality: a dark, cinematic mood intertwined with moments of softness and grace. The campaign resonates with Butrym’s ongoing dialogue with Slavic identity, subtly evoking folk influences through pieces like the floral headscarves and handmade lace from Koniaków.

More than just a backdrop, Warsaw plays an important role in this campaign. The city, with its blend of history and modernity, reflects the essence of Butrym’s design philosophy. From the cinematic alleyways to glimpses of historical architecture, the setting of Warsaw mirrors the contrasts present in the collection itself. For Magda Butrym, Warsaw is where her journey of fashion innovation began-a city that continuously fuels her creative process with its resilient spirit and cultural richness.

The campaign video, directed by Tatiana + Karol, is enriched by its soundtrack, featuring “Szał niebieskich cial” (“Frenzy of The Celestial Bodies“) by the legendary Polish band Maanam, sung by Kora. This iconic track, deeply rooted in Polish music history, encapsulates the passion and intensity of the campaign’s visuals. Discover – and fall in love with – the full video here.

Reject The Rules. Balenciaga AW24 Couture

June 26, 2024June 27, 2024 | Design & Culture by Ed

This was Demna‘s fourth haute couture collection for Balenciaga, and his most subversive in its rejection of the formality of this exclusive, highly-elite discipline. The designer is also returning to his Vetements roots via his shaping years at Margiela, which as a result gives a collection that riffs on subcultures and plays with garment (de)construction. “I wanted to create a fusion or a tribute to my personal vocabulary as a designer, which is subcultures… but I needed to bring in that kind of equilibrium with Cristóbal, obviously, because this is couture,” he said. The first mashup combined a sculpted oversize gray tee and slouchy faded jeans engineered to look like a jacket was tied around the waist, with a saucer hat of the kind he introduced in his memorable couture debut. As the show progressed, it moved from haute lumberjack shirts and hand-painted faux merch t-shirts styled with hysterical butterfly-wings masks (an IYKYK reference to Janine Janet’s 1950s and 60s window display installations for Cristobal Balenciaga’s Avenue George V salon – which today happens to be the brand’s couture boutique and show venue) into the fancy evening silhouettes associated with couture, only they were patchworked together from denim and colorful parkas that looked like they could’ve been repurposed from Demna’s earlier collections for the house. Or he constructed them with new fabrics and techniques; one column dress was made from melted plastic shopping bags molded onto the body and a strapless number was constructed with golden aluminum foil. It seems that the designer questions couture’s preciousness and the certain, imposed obligation of using the finest materials and the most fragile decoration – a stereotypical trap that literally engulfs couture work of such designers as Thom Browne. The final look was a swirling mass of black nylon, chosen because it best evoked Cristóbal’s precious gazar. It was constructed just prior to the show, a one-off piece of “ephemeral couture” that will come with three Balenciaga staffers for its assembly for the client who buys it. Love it or hate it, Demna still has it.

Collage by Edward Kanarecki.
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The Greatest. Dries Van Noten SS25

June 23, 2024 | Design & Culture by Ed

Who would have known a fashion heartbreak could hurt so badly? Yesterday, in anticipation of Dries Van Noten‘s last show ever, the fashion industry was going through a collective mourning. Today, it’s a collective hungover, and not the most uplifting one. The thought that spring-summer 2025 collection was the last Dries show by Dries, and that there won’t be a Dries moment every Paris Fashion Week is just way too much to handle. I can hardly imagine how will this brand operate without its founder, and please, whoever takes it over – don’t dare to remove “Dries” from the brand name. And I really hope it’s true that Van Noten will quietly advise the design team or the still unknown successor for the next couple of seasons. Still, I want to own every single piece from the Belgian designer’s final outing, his 120th one (he held his first ever Paris runway show back in 1991), as it’s absolutely, quintessentially DVN. The show was opened by Alain Gossuin, silver-fox model who walked Van Noten’s first show. The celebration of the designer’s maverick work was closed by a parade of his all-time favourite models – Małgosia Bela, Debra Shaw, Kirsten Owen – as well as new faces. This wasn’t a collection of literal “greatest hits”, but it had all ingredients that made Dries Van Noten a space for people who didn’t want fashion, but style. No dramatic gowns or somber eveningwear, but highly wearable garments for everyday life. Dries was really committed to innovation here, experimenting with unlikely fabrics like brushed wool fused to neoprene or a crinkled polyamide that he likened to glass. “I didn’t want to make old clothes, and things which are looking old,” he said backstage. “But you have the transparent tops which sometimes catch some memories, and that for me was important.” Then, the color palette. The transition across shiny ripe purples, that incredible pink silk overcoat, the apricot mohairs, and pistachio lurex… this was Dries in full bloom, and a reminder he’s the ultimate colorist in fashion. The runway laid out with silver foil was later on replaced with a huge disco-ball for the after-party. The designer didn’t want to make his good-bye a teary one (still, many tears were dropped, at the show and in front of screens), but rather joyous. He’s about to start a fresh phase of life, leaving fashion on his own terms. That’s what the greatest do!

Now we all need a Dries wardrobe fix.

ED’s SELECTION:

Dries Van Noten Oversized Double-breasted Denim Blazer

Dries Van Noten Wrap-effect Ruffled Floral-print Crepe Skirt

Dries Van Noten Embellished Silk Clutch

Dries Van Noten Checked Cotton Bralette

Dries Van Noten Ruffled Floral-print Silk-blend Chiffon Midi Dress

Dries Van Noten Padded Velvet Thong Platform Sandals

Dries Van Noten Curled Gold-tone Pearl Earrings

Collages by Edward Kanarecki.
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La Famiglia. Emilio Pucci Resort 2023

November 17, 2022 | Design & Culture by Ed

The resort 2023 line-up is Camille Miceli‘s next, bold chapter of Emilio Pucci‘s revival. The designer has already proven that she has a natural affinity for the brand, sharing a penchant for expressive style, glamour, joie de vivre, and a flair for travel. Tying all this together for Miceli is the idea of La Famiglia, the tight-knitted Italian lifestyle which is a kind of precursor to today’s widespread concept of community. “For me Pucci evokes a family of people spending time together, to enjoy life, parties, and well-being.” The cross-seasonal collection covered a wide-ranging spectrum of pleasurable activities – weekends on the slopes, sun-kissed holidays in seaside destinations, celebrations, and various moments of day/night fun. Miceli wants the travel-loving, generations-spanning Pucci famiglia to be dressed not only to impress, but to express the self-confidence and lust for life with which she herself is abundantly imbued. The lineup reads as a flexible, adaptable proposition, festive and mood-lifting as well as suited for an efficient, fast-paced everyday life. Miceli worked a round, egg-shaped silhouette inspired by the swirls of the blown-up archival prints she has reinterpreted. Short padded nylon puffers, midriff-baring drop-shaped foulard tops, and patineuse swinging miniskirts and blouses with ballooning sleeves all conveyed the slightly trippy roundness of Pucci’s curlicued motifs. Counterbalancing the bold all-over-printed effect, Miceli introduced optic white and deep black as eye-soothing alternatives, playing with cool proportions and alternating silhouettes, either voluminous or form-fitting. Archival stripes were a new introduction, as was gold leather, which highlighted the bold glamour Miceli is after. It was particularly appealing rendered in a shiny patchworked bolero, worn by Malgosia Bela, who was part of an age-diverse cast of beauties, whose undisputed queen was the rarely photographed, camera-shy Doris Brynner. “I’m so proud and honored she accepted to do it for us,” said a delighted Miceli, who surely scored high in having such an age-defying legend join the ever-growing Pucci famiglia.