Objects With Souls. Hodakova SS26

September 30, 2025 | Design & Culture by Ed

I really love how wildly nonconforming – and delightfully nuts – the first day of Paris Fashion Week was. Similarly to Julie Kegels, Ellen Hodakova Larsson explores the theme of deconstruction. But in her hands, the approach takes a distinctly material-driven twist. In Hodakova’s world, garments – being wearable objects – possess souls of their own.

For spring, she reimagines leather furniture covers as bulbous, body-morphing dresses; transforms vintage bed linens into oversized slips; and repurposes deadstock handbag frames as bras. The highlight of the collection, however, was the series of finale looks, which nodded to folkloric craftsmanship in a mystical, ritualistic Midsommar-esque way. Here, Larsson collaborated with Joar Nilsson of Dacapo, a Swede who recently founded a school to preserve the thatching tradition in Skåne.

The thatched mini-dress immediately brought to mind Arkadius’ spring–summer 2001 collection, where the legendary Polish designer dissected Slavic rural themes. In Hodakova’s case, however, the energy felt distinctly Nordic.

Collage by Edward Kanarecki.
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On The Run. Julie Kegels SS26

September 30, 2025 | Design & Culture by Ed

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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Sleeping Beauties. Valentino Resort 2026

July 20, 2025 | Design & Culture by Ed

There are days when all you want is to lounge around and feel like Lana Del Rey in her “Honeymoon” era. Dreamy, otherworldly, a bit of a baddie. Alessandro Michele certainly had one of those moments while working on Valentino‘s resort 2026 collection, photographed on literal sleeping beauties. FYI: his vintage-inspired dresses not only look great on red carpets and concert stages, but also in bed.

The new collection sees Michele re-looking the codes straight out of Valentino Garavani’s archive: look 1 offered a ruched Valentino-red minidress, its bodice pleats gathered in frontal cutouts just as Garavani used to do. And the bow, another Garavani favorite, dotted everything from hems to heeled mules like a frivolous punctuation mark. On the decorative side, gobelin-like tapestries were crafted into boxy waistcoats trimmed with feathers and fringed micro shorts. Elsewhere Michele’s urge for embellishment was interrupted by slender and elegant evening gowns in plain soft pastels or classic black. Meanwhile, the menswear took cues from the style of Parisian students who took part in 1968 protests, a theme Michele often gravitates towards in his work. A child of the bourgeoisie, out in the streets, looking for love.

P.s. The Valentino clients should really take a look at Alessandro’s accessories, especially bags: he knows how to turn a heirloom from grandmother’s closet into a modern-day treasure. I’m absolutely obsessed with all the heavily-embroidered, fringed satchels.

ED’s SELECTION:

Valentino Garavani Nellcôte Fringed Embellished Suede Tote Bag

Valentino Garavani Fleur Lumineuse Necklace

Valentino Garavani Belted Ruffled Polka-dot Wool And Silk-blend Mini Dress

Valentino Garavani Tasseled Wool And Cashmere-blend Jacket

Valentino Garavani Bowow 45 Crystal-embellished Metallic Suede-trimmed Moiré Pumps

Valentino Garavani Panier De Fleurs Snake-effect Leather-trimmed Embroidered Raffia Tote

Collage by Edward Kanarecki.
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Frivolous. Chloé Resort 2026

July 11, 2025 | Design & Culture by Ed

Chemena Kamali‘s Chloé has been vintage-inspired and infused with nostalgia since her debut collection, but it seems the designer is letting some more frivolity to her work. The Chloé girl is ultimately a fun girl: striding the streets of Paris in clogs (a reference to Phoebe Philo’s tenure at the brand), swirling and dancing in flou silks and floating dresses, looking like a nonchalant, mysterious character straight out of a Guy Bourdin photograph. Immersing herself in early ’80s movies, like Brian de Palma’s thriller “Dressed to Kill” and Bette Gordon’s “Variety”, Kamali isn’t exactly interested in the (very exhausted) notion of power-dressing, but rather blending the era’s seemingly-naïve femininity with its by-gone, chic attitude. Bold and quirky shades of cobalt and aquamarine go in pair with sensual lace trims and the irresistibly joyful flamingo motif. Oui, oui, oui.

ED’s SELECTION:

Chloé Lace-trimmed Silk-jacquard Camisole

Chloé Frayed High-rise Flared Jeans

Chloé Eve Leather Over-the-knee Boots

Chloé Bracelet Embellished Suede And Snake-effect Leather Shoulder Bag

Chloé Ruffled Floral-print Cotton-voile Mini Dress

Chloé Button-embellished Wool-blend Bouclé Mini Skirt

Chloé Kick Suede, Mesh And Leather High-top Sneakers

Collage by Edward Kanarecki.
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Brut. Maison Margiela AW25 Haute Couture

July 10, 2025 | Design & Culture by Ed

Couture is the most archaic branch of fashion sensu lato, and this time around I really wondered if it shouldn’t be put to sleep – and wake up only when it has something meaningful to say again. Or at least when a prince – a new, revolutionary talent – emerges and gives it a kiss of life.

Glenn Martens certainly isn’t that prince. I’ve never been a number one Y/Project fan, and his Diesel isn’t my cup of tea either. So when the news broke that he’s the new creative director of Maison Margiela, you can imagine I wasn’t overly thrilled. After seeing his debut artisanal collection yesterday, all I thought was: damn, we’ve been really blessed to see John Galliano’s final act over a year ago (and we just didn’t deserve it).

To me, Martin Margiela isn’t just the ultimate fashion genius – but also a designer of silence. It took years for Galliano to get into that “silence”. Martens, who’s from a generation that studied Margiela at school, and whose work has been heavily influenced by Margiela since day one, is a “loud” designer. As in “pop-loud”.

That says a lot about why his first collection for the house lacked the soul-touching subtlety of Martin – or Galliano – and instead relied heavily on straightforward references, such as the masks. READ MY FULL REVIEW HERE.