Pina. Ferragamo AW25

March 2, 2025 | Design & Culture by Ed

For a second season in a row, Ferragamo‘s Maximilian Davis is inspired with contemporary dance. Pina Bausch was an in-your-face reference for autumn-winter 2025, just looking at the petal strewn runway (a nod to one of her most famous stagings, “Nelken“). Ballerina’s bodysuits from last collection got replaced with thicker jerseys, semi-sheer shifts and airy drapes. Two densely fringed mesh dresses near the end were hung with carnation-like florals. Some of the oversized tailored outerwear (the collection’s standout moments) echoed the masculine garments that Bausch was sometimes photographed wearing. It all seemed right. But in the end, something’s still missing in Maximilian’s vision for the Italian house.

ED’s SELECTION:

Ferragamo Star Leather-trimmed Leopard-print Calf Hair Tote

Ferragamo Gyoia Bow-embellished Patent-leather Pumps

Ferragamo Layered Ribbed Jersey Top

Ferragamo Padded Shell Bomber Jacket

Ferragamo Hug Medium Leather-trimmed Raffia Tote

Collage by Edward Kanarecki.
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Milano Modernism. Tod’s AW25

March 1, 2025 | Design & Culture by Ed

Matteo Tamburini very steadily transforms Tod’s into one of the most interesting brands to observe (and buy into) in Milan. The autumn-winter 2025 show took place at PAC, the Contemporary Art Pavilion, designed in the 1950s in a modernist style. It was the perfect backdrop for the line-up that blended charismatic minimalism with the warmth of the brand’s craftsmanship know-how. “I wanted to emphasize the feel of the hand and make the surfaces eloquent,” the designer mused, explaining that he drew inspiration from the textural works of Italian artists like Carla Accardi and Lucio Fontana. Outerwear stood out in particular, with coats that were elongated, often cinched at the waist or accented with half-belts at the back. Another highlight was the slender mocha knit worn over a earthy-hued, silk pencil skirt, accessorized with a pair of olive-green gloves. Very chic, very Milano.

Collage by Edward Kanarecki.
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Enfant Terrible. Marni AW25

March 1, 2025 | Design & Culture by Ed

Francesco Risso keeps on being Milan’s enfant terrible. His Marni – especially the one we see on the runway, not necessarily in the shops – channels wild exuberance and pursuits nonchalance that feels utterly out of place in the most industrial fashion capital of them all. His artsy approach is always a moment of escapism amidst all the serious brands showing here, and this season the designer fully indulged in this sort of Little Edie mindset. But there’s a fine line between experimental bravery and looking like an art school project. This season, I didn’t entirely buy into Risso’s fussy, unflattering-looking fantasy.

Collage by Edward Kanarecki.
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Chic Wrongness. Prada AW25

February 28, 2025 | Design & Culture by Ed

The beautiful wrongness of Prada.

Messy hair (THAT autumn-winter 2009 girlie is so, so back).

Dress to big. Sack à la Cristobal.

Don’t care about the creases. Who cares about ironing? She certainly doesn’t.

Just as she doesn’t care about the norms.

Fuck the industry.

Fuck the expectations.

Challenge the (pre)conceptions of beauty.

The body is (un)seen.

In a homo-sapiens-chic faux-fur shawl.

Rough, crude leathers.

Primary instincts meet baby-doll.

“We just talk about which clothes make sense now,” Miuccia Prada and Raf Simons said.

Collage by Edward Kanarecki.
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The Main Woman. Fendi AW25

February 27, 2025 | Design & Culture by Ed

Fendi celebrated its centennial in the only right way: with Silvia Venturini Fendi as the main woman at the helm. And after yesterday’s show, I hope she will stay with the brand’s womenswear for seasons to come. The collection just felt really, really good. It was chic and substantial, full of breath-taking craftsmanship and clothes (and accessories – like the netted beanies!) that are actually appealing. And there was a sense of nonchalant fun, reminiscing the spirit of Karl Lagerfeld (and something that was painfully absent throughout Kim Jones’ emotionless tenure). To mark the fact that fur, while central to Fendi, has always been just part of its offer, Venturini Fendi proposed collarless coats and dresses that featured furry facades (in either mohair or shearling) that looked like the reveres of these garments but were in fact removable stoles. Most of the spotlight-stealing fur coats were made in shearling. The red spotted dress was a particularly bravura example of this house’s craft.