Perfect Conditions. Loro Piana SS27

Today I woke up with a realization: I really don’t want late fall (the rainy part of it that lies ahead after the very comforting yet unreliable gossamer), and winter? I’m signing out. But I’m very much here for the not-too-serious layering season that, sadly, at least in Poland, lasts barely two weeks sometime in October and then briefly reappears in April.

Oh, how I would love to wear Loro Piana’s spring-summer 2027 collection during those couple days of just perfect weather, neither hot or cold. READ THE FULL TEXT HERE.

ED’s SELECTION:


Loro Piana André Herringbone Linen Shirt



Loro Piana Bale Small Leather And Canvas-trimmed Nubuck Tote



Loro Piana Cashmere Jumpsuit



Loro Piana Leather-trimmed Cashmere Jacket



Loro Piana Open-knit Silk Top



Loro Piana Venice Embroidered Cashmere-blend Flannel Slippers



Loro Piana Pleated Pinstriped Wool And Cashmere-blend Wide-leg Pants



Loro Piana Fobello Cashmere Sweater



Loro Piana Checked Wool And Cashmere-blend Flannel Shirt



Loro Piana Jekel Leather-trimmed Shearling-lined Suede Jacket

All collages by Edward Kanarecki.

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Warmer, But Not Hot. Alaïa SS27

Pieter Mulier turned Alaïa into a cold house – which is why I’ve never been entirely convinced by his vision there. Now that he’s working on Versace, the Parisian maison has been left to its own devices. And maybe that’s for the better. This studio-designed collection felt a tad warmer (but not hot) than the house’s repertoire of the past few years, while also being more essential. Gone were the weird, overly architectural structures Mulier couldn’t seem to stop using to cover women up. What Alaïa needs – and deserves – now is a bit of va-va-voom. Maybe the studio has it. We might just need a season to see it fully unleashed.

All collages by Edward Kanarecki.

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Ring A Bell. Jean Paul Gaultier SS27

Jean Paul Gaultier was bonkers. A year in, it’s safe to say that Duran Lantink’s appointment as creative director was the best decision the brand could have made – precisely because it was also the riskiest. Of course, if you look at his spring-summer 2027 collection from a “pragmatic” point of view, it’s very easy to dismiss. But remind yourself that fashion can, after all, be fun – and that for designers like Gaultier, Sonia Rykiel and Franco Moschino, this was practically a mantra – and suddenly what Lantink is doing feels brilliant.

There are no in-your-face references to Jean Paul’s archives. Instead, Lantink seems to have understood a Jean Paul way of thinking – if only Sean McGirr had found a similar pattern at McQueen. There are cheeky nods to Holland, Lantink’s native country, but also to Tyrol and Bavaria: dresses covered in jingling bells, folk-inspired patterns, white milkmaid nightgowns. And then, all of a sudden, seriously mundane clothes for getting your hands dirty, like a parka jacket. After this collection, you just want to book a trip somewhere in the mountains. And never come back.

All collages by Edward Kanarecki.

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Ghesquièrenaissance. Louis Vuitton SS27

It’s weirdly fascinating to see Nicolas Ghesquière return to minimalism – even if its lines are distinctly Belle Époque. His Louis Vuitton collection, closing Paris Fashion Week, ended up being one of my favorites of the season. The way he juxtaposed a very, very simple-looking camel-hued biker jacket with not-quite-slip dresses, or played with the breeziness of couture windbreakers, somehow made it all feel like a convincing wardrobe for today. It made me think warmly of his golden Balenciaga days. “Ergonomic” is the word that comes to mind, as well as “the impression of minimalism” – something Ghesquière has always been particularly good at playing with in the past. It’s very exciting to see the designer return with a line-up so urgent yet also light, which is always the most difficult thing to achieve. (Jonathan Anderson, for instance, failed to deliver that lightness at Dior this season.) Ghesquièrenaissance is upon us.

Pulpy. Dries Van Noten SS27

I know everybody loved Julian Klausner’s latest effort at Dries Van Noten, but I’m not entirely sold on it. On paper, it looks solid. But on second glance, its pulpiness starts to feel dangerously Prada-ish, or even Marni-ish – specifically the Consuelo Castiglioni era, with a few tinges of Francesco Risso thrown in.

Klausner can’t be a forever A+ student of Papa Dries’s school, and he’s very welcome to step outside that particular comfort zone – one that Dries Van Noten clients clearly adore and can’t seem to get enough of. But somehow, the spring-summer 2027 lady-like turn towards the 1950s didn’t quite click for me. Neither did the extremely layered styling, which often concealed the actual clothes rather than allowing them to speak for themselves.

There’s nothing wrong with Klausner wanting to move on. In fact, he probably should. I’m just not sure this particular detour has found its destination yet.

ED’s SELECTION:


Dries Van Noten Belted Pleated Linen-blend Jacquard Skirt



Dries Van Noten Ripa Giant Egg Printed Satin Coat



Dries Van Noten Ruched Satin Mules



Dries Van Noten Mélange Grain De Poudre Blouse



Dries Van Noten Printed Twill Scarf

All collages by Edward Kanarecki.

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