Haider Ackermann’s debut collection for Tom Ford is a triumphant return to fashion this incredible designer has deserved for years (that memorable guest collection for Jean Paul Gaultier and the on-going collab with Canada Goose were proper warm-ups). The evening Ackermann presented his vision for the brand, a palpable energy was perceivable in Paris, especially in the vicinity of Place Vendôme.
Electrifying sensuality. Flirtatious elegance. Powerful sexuality. “To seduce” is how the designer summed up his collection of sublime, sublime tailoring, stinking-hot leathers and flou silhouettes. What made this collection stand out is the way Ackermann didn’t fall for any of the re-editions tropes – there were no in-your-face look-backs at Ford’s Gucci or Yves Saint Laurent days in sight – but he effortlessly stayed in Tom’s deeply sensual vocabulary, perfectly balancing it with his signature touch. The shirting is to die for, just like the silky robes and maxi-length numbers. The final look, a grey dress textured to look like alligator’s leather, was as easy to wear as a t-shirt (actually something many women used to say about Azzedine Alaïa’s dresses).
This is a seamless debut any designer dreams to have. There just wasn’t even one superfluous thing about it. And the casting was utterly hypnotizing, too. Ethan James Green and Saskia De Brauw in creamy cashmeres. Kristen McMenamy in an hourglass-shaped tuxedo. Silver foxes in razor-sharp tailoring and leather gloves. Chic heart-throbs – or maybe heart-breakers?
Oh, how we missed Haider for all these years since he departed from his namesake brand (good riddance, Anne Chapelle – read more about the way she sacked Ackermann and stole his name here). How lucky we’re he’s back for good. Fashion needed him – and some real, good sex.
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram!
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Azzedine Alaïa was an unparalleled maestro of technique and finesse, making women not only look their best – but feel their best. He came up with wearable solutions that let the wearer, without much effort, become an impersonation of chic, an IRL goddess. His dresses – just as daywear – enhanced the body, but never restricted it. Just look at this midnight blue velvet gown from spring-summer 2003 haute couture collection that’s currently showcased at Fondation Azzedine Alaïa:
You just put it on and feel fucking good.
Pieter Mulier,contemporary creative director of Alaïa, has proved many times he has the artisanal know-how that Monsieur Azzedine would appreciate. But this season, something went off course. The Belgian designer tried hard to reinvent the wheel, but the result felt forced and unresolved – rather than innovative. It’s difficult to imagine a woman – not a runway model – radiate with real confidence in those tubular skirts and hyper-padded jackets. These technical novelties made the collection read as complicated and demanding – but not as in intellectual, Prada way, or conceptual à la Comme Des Garçons, but as in difficult to wear. The massive, floor-sweeping coat in the end didn’t help.
The collection, in overall, gives me the impression of Alaïa’s newly-opened boutique on Saint-Honore. Confusing, massive and frankly, cold. Antonyms of Azzedine Alaïa’s legendary hospitality and sincerity.
Discover the collection here:
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram!
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Marking a new decade of creativity, Magda Butrym unveils her most personal collection yet: “Magdalena“. Derived from her full name, which she uses privately, “Magdalena” is an intimate self-portrait that reflects the Polish designer’s raw self-expression while staying true to her brand’s distinct identity.
For autumn-winter 2025, Butrym draws deep inspiration from the emotional depth of poetry and the tactile beauty of knitwear – an art form that holds a significant place in modern and contemporary Polish culture. Weaving has been a defining theme in Polish art for over a century, and with “Magdalena“, the designer pays tribute to this craft through fashion. Influenced by visionaries such as Magdalena Abakanowicz, Paulina Ołowska, and generations of skilled Polish artisans, Butrym infuses the handmade artistry of weaving into key elements of the collection, from eveningwear to the set design of the showcase.
“Magdalena” is shaped by a blend of influences, all filtered through Butrym’s Slavic sensibility. The rich possibilities of loom weaving allow the designer to experiment with texture in unexpected ways. Artisanal dresses, like the striking red mini and the open-knit tutu paired with a black slip, are crafted from intricate blends of yarns and techniques that sculpt the female form in unapologetic beauty. The show’s final look, a wedding dress with a crochet veil and cloud-like textured pumps, is one of the designer’s most personal pieces. Densely woven and rich in texture, its petal-like silhouette echoes traditional Polish tapestries made from the finest, softest yarns. Kept in white – a color symbolizing freedom and new beginnings – it embodies Butrym’s vision of Slavic expressionism, merging handcrafted artistry with a sensual, empowered femininity.
Since “Magdalena” is a deeply personal project, the collection naturally includes elements of Butrym’s everyday style. A sense of modern practicality contrasts with the dreamier elements: a raw shearling coat is effortlessly draped over a luxe tracksuit, while fur shawls are layered atop duvet jackets. To reinforce the brand’s signature aesthetic, Butrym incorporates a vivid, floral headscarf – a defining motif of Slavic heritage. A selection of sculpted black dresses, designed with ultra-feminine, hourglass silhouettes, draws inspiration from the traditional shapes of Polish folk costumes. These looks also pay homage to the enigmatic, powerful women captured in Peter Lindbergh’s iconic photographs – figures who walk confidently along cold, wintry beaches. “I find those images incredibly strong and beautiful,” the designer reflects.
The “Magdalena” collection came to life in a show space that fully embodies its spirit. For this one-of-a-kind, immersive environment, approximately 200 meters of fabric were woven – an intricate process requiring over 150 hours of craftsmanship. Suspended from the ceiling, these woven linen and alpaca pieces underwent meticulous treatments, including warp winding, threading, and precision tying, creating a mist-like, semi-sheer frill effect. These delicate, handcrafted installations echo “Magdalena“’s approach to femininity and craft. Their deep, saturated red hue references the Enchanted Rose, the eternal symbol of Magda Butrym’s brand. As the models move freely through the ethereal setting, they not only animate the space but also embody the essence of the “Magdalena” woman.
For Magda Butrym, “Magdalena” marks the beginning of a more instinctive, experimental phase in her work – one driven by pure emotion and the joy of creation. While it presents a bold, new perspective, it is still deeply rooted in the essence of her brand. The collection embraces novelty, yet its unmistakable spirit—delicate yet strong, sensual yet powerful – remains entirely true to Magda Butrym’s vision. It is a daring, fearless exploration of self, revealing the designer’s artistry in a way never seen before, yet instantly recognizable.
Collage by Edward Kanarecki. Don’t forget to follow Design & Culture by Ed on Instagram!
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This season’s Rick Owens man is both goth and fit. He will show off his muscular torso while wearing a crop-top with padded, Nosferatu-sih shoulders. Tyron Dylan, Rick’s muse, looked like the yassified version of Count Orlock. The elongated, supernatural look was omnipresent in the autumn-winter 2025 collection. This time, the designer was interested in the idea of essentials. Cropped shearling sweaters and coats in black were cut up to the base of the rib cage, while double-face wool caftans in cream were cut down to the knee. Skimpy wide-leg shorts were (sometimes) made secure with thermal long johns of a type Owens only became an evangelical fan of after moving from California to Europe. “It’s about, How can I get rid of stuff and make the stuff that I really need as special as possible?’ And that is a good exercise when thinking about making clothes in the world the way it is today.” It was also a good exercise in showing clothes that, once acquired, you’d wish never to be parted from.
For the second season in a row, I had the unbelievably beautiful experience of seeing the Comme Des Garçons collection IRL, at the brand’s showroom near Place Vendome in Paris. It’s always quite a striking contrast: first you’ve got to cross all the bling-bling flagships, from Cartier to Van Cleef & Arpels, and then you suddenly immerse into the world of Comme. And if you’re lucky, Rei Kawakubo, the mastermind creative and founder of the brand, stands there, just behind the glass wall of her office, keeping her finger pretty much everything this company stands for. Really, not many 82-year old designers of her status are that present in their brands. Actually, not many designers of any age are THAT present in their brands.
Visiting the Comme Des Garçons showroom lets you truly understand Kawakubo’s clothes. Of course, attending the label’s fashion show is a dream, ranked high up in my wishlist of things to do. But at the showroom, you can see the garments upclose, feel their emotional deepness, and be struck by their extraordinary craftsmanship. Sharing the space with the designer herself adds a TRUE Benjamin-esque aura to it, too.
The autumn-winter 2025 collection from the menswear Homme Plus line had a loud, clear statement: “To hell with war”. Confronting the reality that young boys and men are being called up for army service, being sent to kill or be killed by countries across the world, can easily fall dumb-flat in case of fashion. But not when Kawakubo does it, so poignantly and movingly. And in any case, her position was straightforward: her young Comme soldiers are peaceniks. Their metal hats self-decorated with flowers or wrapped in fancy, vintage fabrics felt naive, but in a heart-warming, hopeful way. In their deconstructed field jackets and brass-buttoned army officer’s uniforms, they were “soldiers of love”, as Sade once sang.
Rebel and resist. For love, beauty and freedom. Rei, you’re a force.
Design & Culture by Ed 