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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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.

Collage by Edward Kanarecki.
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Fin. Balenciaga AW25 Haute Couture

July 9, 2025 | Design & Culture by Ed

This haute couture season proves that fashion indeed needs a reset – and the seismic shift of designer departures and new appointments is a healthy cleanse of the system. Chanel’s final pre-Matthieu Blazy show, coming from the overstayed, post-Virgie Viard studio, looked and felt like a parade of dusty, beige utensils that found their way out of a cupboard. Demna‘s final act for Balenciaga, although high on farewell emotions, did convince me that it’s really time to move on. Whatever his Gucci will be, it should definitely operate on a different methodology than the one he created at Balenciaga. It’s understandable he chose to close his chapter at the maison with a collection that was one big bowl of reheated nachos, from the model casting (from synonymous-with-the-brand Isabelle Huppert to on-the-nose Kim Kardashian) to the line-up’s overall look, a Frankenstein hybrid cross-pollinated by the Georgian designer’s idiomatic volumes and proportions, and Cristobal’s archival tropes. But somehow I hoped Demna’s Balenciaga fin would be a one last conceptual stretch, like a dress made from hundreds of meters of taffeta draped on the model a few minutes before the show, or the memorable “Parliament” show.

Nevertheless, here’s to Demna’s new chapter at Gucci, and as for Pierpaolo Piccioli: the Balenciaga floor is yours.

Collage by Edward Kanarecki.
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Sweet, Sweet Home. Celine SS26

July 7, 2025 | Design & Culture by Ed

It’s no longer about appointing a big, legendary name – or, conversely, a total newcomer – to lead a fashion house. In Paris, two striking examples of homecoming designers are taking the industry by storm. First came Chemena Kamali, returning to Chloé after years away and revitalizing it into every girl’s dream once again. Then came Michael Rider, making his comeback at Celine. His debut yesterday felt like a sweet reawakening.

It might be pure coincidence that both designers once worked under Phoebe Philo, who, back in the day, led these two Parisian brands. Or maybe not.

Now, back to Rider and his debut – it awakened something in me. Feelings and emotions I used to experience every season when Celine was still Céline came rushing back. That certain unexplainable spark – one Philo has yet to fully rediscover at her namesake brand (don’t get me wrong – I love it, stan it, and support it wholeheartedly, but you know what I mean??). After the dull, pale, underfed, and frankly uninspired Middle Ages of Hedi Slimane’s reign at Celine, Rider’s confident, bold, and vibrant entrance just feels so right.

The American designer – who cut his teeth at Nicolas Ghesquière’s Balenciaga, then with Phoebe Philo at Céline (one of his greatest hits was the Yves Klein dress from spring-summer 2017, and a photo of him during the fitting is circulating on social media), and later as creative director at Ralph Lauren – very cleverly distilled Celine’s legacy into a single collection and made it feel entirely his own… READ MY FULL REVIEW HERE.