It’s A Dance. Tom Ford Resort 2026

November 16, 2025November 16, 2025 | Design & Culture by Ed

Haider Ackermann likes to compare his creative endeavor at Tom Ford to a dance. In his hands, it can be slow and sensual in one moment, then electric and seductive in the next. His sesort 2026 collection – an effortless bridge between his brilliant debut and an even stronger sophomore offering – shows just how fluently Ackermann speaks Ford’s design vocabulary.

In his press notes, the designer described the “unremitting verticality” of his vision for Tom Ford’s “beautiful creatures,” a concept rendered sublimely through masterfully elongated silhouettes, punctuated by bold color accents (green! blue! pink!) and razor-sharp shoulders. The collection – now arriving in stores – also introduces Ackermann’s take on day-ready pajama suits, for both him and her, that feel almost too good to be true.

If this collection were a dance, it would land somewhere between Ralph Fiennes’s unpredictable moves in “A Bigger Splash” and the magnetic elegance of Cyd Charisse and Gene Kelly in the “Broadway Melody Ballet” sequence. Delightful.

ED’s SELECTION:

TOM FORD Double-breasted Cotton And Silk-blend Hammered-satin Blazer

TOM FORD Eva D’orsay Satin Pumps

TOM FORD Belted Draped Silk-satin Maxi Skirt

TOM FORD Stretch-silk Georgette Gown

TOM FORD Leather Shirt – Blue

Collage by Edward Kanarecki.
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Surplus. ERL Resort 2026

November 4, 2025 | Design & Culture by Ed

Of course, if you’ve just watched Kathryn Bigelow’s “House on Dynamite“, looking at ERL’s soldiers might make you feel somewhat uneasy. The fear of nuclear war is, well, omnipresent. But Eli Russell Linnetz’s take on army boys carries the attitude of the infamous 2007 Vogue Italia cover and editorial shot by Steven Meisel, where Agyness Deyn and a troop of golden-retriever-looking fighters undergo a kind of sexual awakening.

Linnetz titled hi resort 2026 collection “Surplus“, referencing the surplus store as a constant presence in “a deep corner of American consciousness.” The designer repurposed surplus stock – pieces he says he’s been collecting for years – and juxtaposed them with his more luxurious interpretations. Think glorious patchworked parkas mixed with camouflage separates, chunky Donegal sweaters, and cool-looking cargos in overdyed fabrics.

The clothes have a lived-in quality – and looking at the lookbook, photographed in Eli Russell’s signature theatrical manner – you can almost smell the sweat and adrenaline that these garments are flavored with.

Collage by Edward Kanarecki.
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Scuba-Chic. Rabanne SS26

October 17, 2025 | Design & Culture by Ed

Similarly to Dries Van Noten‘s Julian Klausner and the Proenza boys at Loewe, Rabanne’s Julien Dossena was mentally by the beach this season, surrounded by surfers in spirit. His collection, however, felt among the most intriguing – especially in its brilliant menswear. There weren’t many looks, but each one, styled with scuba-diving pants, oversized flip-flops, and vintage Hawaiian-print shirts, exuded an undeniably cool attitude. The metallic flower necklaces – a nod to Paco Rabanne’s conceptual use of metal – added an especially striking touch. The interest in scuba style recalled Nicolas Ghesquière’s now-cult-classic Balenciaga collection from 2003. Dossena, who worked with Ghesquière for years, had the Louis Vuitton creative director cheering him on from the front row. As for womenswear, Julien played with 1950s pin-up references, making skirts fuller, florals bolder, and colors flashier. His use of exaggerated belt buckles gave the collection a tongue-in-cheek energy.

ED’s SELECTION:

RABANNE Lace-trimmed Chainmail Midi Skirt

RABANNE Chain-embellished Paisley-print Crepe Maxi Dress

RABANNE Paillette-embellished Twill Shoulder Bag

RABANNE Cropped Scalloped Stretch-lace Top

RABANNE Gathered Striped Wool-blend Midi Skirt

Collage by Edward Kanarecki.
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High Voltage. Tom Ford SS26

October 2, 2025 | Design & Culture by Ed

A collection I can wholeheartedly call this season’s standout favorite: Haider Ackermann’s Tom Ford, now in his second season. His debut last March electrified the industry – this time, he doubled the voltage. It was white-hot, feral-level good. The sensuality, the technique, the cuts, the sheer aura of seduction… and yet, it all felt otherworldly, as if an alien civilization had landed in the midst of Paris Fashion Week. Honestly, I want to be abducted.

There wasn’t a single filler in this collection – only killers: decadent robe-coats, razor-sharp tailoring, and flawless eveningwear in the most sublime shades of cobalt, orange, and emerald. What struck me most was how brilliantly Haider acknowledged Tom Ford’s legacy without ever being literal: a black leather suit, a languid beige column dress, jockstraps peeking from beneath trousers, plunging necklines – intoxicating in the best possible way.

And then came the unmistakable Haider touch: one male model in an ivory sweater tied around his neck like a scarf (just as the designer himself wears), paired with a matching oversized shirt, tailored wide-leg pants, and thong-thin flip-flops. The collision of Ackermann and Ford feels like one of the greatest gifts fashion has ever received.

ED’s SELECTION:

TOM FORD Eva D’orsay Satin Pumps

TOM FORD Asymmetric Crepe-jersey Gown

TOM FORD Sequin-embellished Wool-blend Blazer

TOM FORD Belted Draped Silk-satin Maxi Skirt

Collage by Edward Kanarecki.
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Polarizing. Versace SS26

September 27, 2025 | Design & Culture by Ed

The fashion industry hasn’t witnessed such a polarizing collection – especially a debut – in quite some time. After Dario Vitale’s late-evening show for Versace yesterday, my DMs were ablaze until morning with radically different opinions. Some people loved it, calling it a startlingly fresh moment for Milan. Others, however, had no mercy for Vitale’s effort. Personally, I would love to hear Donatella Versace’s thoughts. Her complete absence from the show was… loud.

What is Versace without a Versace at the helm? Dario Vitale, formerly of Miu Miu, has a tough nut to crack. One thing is certain: his debut collection was confident. Gone are the days of Donatella’s flawless blondes in sky-high stilettos. In their place comes a sexuality aimed at younger clients – brisker, messier, slouchier, a bit more kinker. At moments, I felt I was watching a very dolled-up Magliano show – which would be head-turning if it were, in fact, Magliano. But is Versace truly ready to dive headlong into such vintage-heavy territory, straight into the 1980s without a filter? Donatella herself tried many times to revive Versus Versace with near 1:1 references to the brand’s past, and those “new” takes on the diffusion line never succeeded. Many of Vitale’s looks could easily have been sourced from a vintage boutique in Rome or Florence, allowing one to cosplay Gianni’s early career days head to toe. On one hand, the collection was about sensuality (“Honcho”-style in case of menswear, which was executed far better than womenswear, with a homo-erotic gaze) and youth; on the other, it smelled faintly of a mothballed closet. Yet the truth is: today’s “contemporary” audience is deeply nostalgic. Maybe this is what they want – rather than Phoebe Philo or Prada, two female-led brands that actually look forward.

It will be fascinating to see where Vitale takes Versace in the coming seasons – those choices will be decisive. For now, what I see is a cry for the past, one that also eclipses Alessandro Michele’s Valentino. The difference? With Michele, you know it’s his style through and through – not a costume.