Radical Uniform. Rick Owens AW26

Rick Owens’s latest collection? Hard as ice-cold metal, raw as Kim Gordon’s newest song, emotionally explosive like a Lynne Ramsay film – yet, at the same time, utterly and devastatingly beautiful. This season, the designer was invested in the idea of uniforms: they command presence and provoke threat, but once mocked, they can easily tip into something almost hilarious. It was therefore intriguing to see how Owens reimagined hyper-masculine utilitarianism within his twisted universe, where darkness functions as the true source of light.

The athletic models appeared even more otherworldly in elongated, skin-tight silhouettes, ornamented with floor-sweeping tentacles, razor-sharp shoulder pads, and origami-like constructions that quite literally enveloped the wearer. Color-washed, cropped gothic cashmere coats took on a grunge edge when paired with stone-washed pants, while Rick’s signature high-platform boots pushed each look into even more extreme, radical territory. It’s a tough world out there, and Owens designs clothes that protect you – physically and mentally – from the harsh detriments of reality.

ED’s SELECTION:

Rick Owens Jumbo Tabard Silk-chiffon Turtleneck Blouse


Rick Owens x Dr. Martens 1460 Quad Sole Megalace Leather Ankle Boots


Rick Owens Triple Donut Convertible Cashmere Sweater


Rick Owens Cropped Bleached Brushed-cotton Bomber Jacket


Rick Owens Satin Wide-leg Cargo Pants

Collage by Edward Kanarecki.
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Pragmatic. Lemaire AW26

On the stage of the Opéra Bastille, the Lemaire troupe emerged in small configurations, each representing different themes and attitudes across the collection. One model moved a chair; another wandered into the audience; and then there was dancer Julie Anne Stanzak, who gleefully leapt and twirled in a floaty yellow dress while clutching her pumps. Theatrics aside, this was a quintessentially Lemaire collection, defined by “a very pragmatic approach to clothes,” as Christophe Lemaire and Sarah-Linh Tran stated. It is grounded in the everyday – somewhere between the utilitarian and the functional – yet at the same time unmistakably chic. Whether a quilted skirt that converts into a cape, a sculpted bag shaped like buttocks, or the dramatic insertion of impressionistic colour layered into earthy tones, Lemaire’s pieces are designed to be worn, loved, and lived in.

Collage by Edward Kanarecki.
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Debonair. Wales Bonner SS26

As Grace Wales Bonner gradually prepares for her new, high-profile role at Hermès (her debut will arrive exactly a year from now), the autumn–winter 2026 collection under her namesake label serves as a reminder of why she is so perfectly suited to one of Paris’s most prestigious menswear positions. It is a serene meditation on debonair elegance, informed by modernist architecture. Her thinking this season revolves around Indian modernism and modernist architecture more broadly, approaching modernism as a means of renegotiating and creating new identities, while also exploring something graphic, almost uniform-like in its clarity and restraint.

There is no shortage of such propositions, whether in the tailcoat and tuxedo trousers – tailored in indigo linen and paired with a linen wingtip-collar shirt, softened through washing – or in a Madras-checked jacket with a leather collar. This season, Wales Bonner also added John Smedley, the Derbyshire knitwear manufacturer founded in 1784, to her select circle of suppliers, delighting in its archive and fine British craftsmanship. She has long favored collaboration with highly specialized makers, valuing depth of knowledge and precision above all else.

One can only imagine what awaits in January 2027 – after all, great things take time.

ED’s SELECTION:

adidas Originals x Wales Bonner Karintha Sequined Satin Sneakers


Wales Bonner Anthem Embroidered Mesh-trimmed Jersey Track Jacket


Wales Bonner Presence Studded Organza Blouse


Wales Bonner Echo Leather-trimmed Organic Denim Jacket


Wales Bonner Java Macrame Fringe Midi Skirt

Collage by Edward Kanarecki.
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EXCLUSIVE: Matthieu Blazy’s Chanel Resort 2026

Even though Chanel presented its resort 2026 collection last spring at a fashion show staged on the shores of Lake Como, the brand has now released an updated, tightly edited lookbook—one clearly marked by Matthieu Blazy’s very visible touch. It is a far cry from the post–Virginie Viard studio work: no more dorky-looking dresses that dominated the brand over the past few years. What emerges instead is a vision of a truly contemporary woman wearing Chanel.

Relaxed styles, conceived from morning to evening, revolve around the eternal little black jacket, worn either with a matching tweed mini-skirt or with flared jeans – naturally, with flats. Although the look is instantly familiar, the jacket’s lines feel sharper and cooler. A creased velvet slip dress, finished with a camellia brooch, appears easy and chic when paired with mid-heeled two-toned pumps. The super-soft cardigan-jacket in the creamiest shade of ecru? It recalls the best of Karl Lagerfeld’s finest collections, like the spring 1999 couture line-up where he did similar fitted styles with plunging necklines.

This lookbook, arriving under Blazy’s creative direction, reads as a smooth foretaste of his debut runway collection, soon to hit stores. The pajama shirt hints at the forthcoming Charvet collaboration, while the boxy grey suit feels like a simpler, more day-appropriate version of the show’s opening look. It is refreshing to see Matthieu Blazy’s vision of the Chanel woman outside the context of runway spectacle – just highly-aspirational ideas for how to wear the brand in 2026.

Collage by Edward Kanarecki.
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New Look. Dior Pre-Fall 2026

Jonathan Anderson’s new look for Dior continues to intrigue – and puzzle. Women’s pre-fall 2026 is already his fourth collection, which sounds quite absurd given that the first Dior pieces designed by Anderson will only start hitting stores in January at the earliest. But this is how the industry works. We’ve seen his neo-preppy menswear debut over the summer, followed by pre-fall just over a week ago. His women’s debut during the last Paris Fashion Week still leaves me on the fence, even though certain details are gradually growing on me. The lookbook released this week seems to reveal more about how Anderson envisions the Dior woman, stripped of runway spectacle and contrived styling. READ MY FULL REVIEW HERE.

Collage by Edward Kanarecki.
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