Swaggering. Soshiotsuki SS26

January 16, 2026 | Design & Culture by Ed

Menswear fashion month kicked off with its brightest emerging star: Soshiotsuki, the Tokyo-based brand rooted in 1980s-inspired sartorial craftsmanship, recalling the glamour and prosperity of Japan’s Bubble Era. Back in September, following Giorgio Armani’s still-unbelievable passing, I wrote that Soshi Otsuki was the designer the Italian mega-brand should consider in the near future. With his guest show at Pitti Uomo and his autumn–winter 2026 collection, he confirms that belief.

The LVMH Prize winner delivered a line-up that sharpened his tailoring ideas while expanding the vision of who the Soshiotsuki man is. One look featured a trompe l’œil jumpsuit combining a button-up shirt and trousers – a moment that recalled Phoebe Philo’s early Céline collections and sparked a question: why has no one adapted this idea to menswear sooner? Another highlight was the sashiko suit and jeans, created in collaboration with Proleta Re Art, a Japanese brand known for its painstakingly hand-stitched fabrics reinterpreted through streetwear. The silver-fox model seemed to gaze beyond in that grey, distressed-looking suit.

Then there are the details that make Soshiotsuki stand out even among affluent-men favorites such as Zegna or Berluti. Extra fabric is built into the inside placket of a shirt to suggest a tucked-in necktie, while trousers are given reams of belt loops or draped with so many pleats that they hang like curtains. The effect? A dapper, swaggering handsomeness – intoxicating, like the smell of smoke in a high-end izakaya.

Collage by Edward Kanarecki.
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For Giorgio. Soshiotsuki SS26

September 4, 2025 | Design & Culture by Ed

The news of Giorgio Armani’s passing is heartbreaking. What lifts my spirit, however, is knowing that his legacy – a body of work spanning five decades – will live on forever, especially in the work of younger generations of designers who have studied Armani since their teens.

*Giorgio Armani photographed by Juergen Teller for System Magazine.*

It must be some astro-numerological coincidence that yesterday Soshi Otsuki won the LVMH Prize. His Tokyo-based label, Soshiotsuki, is rooted in tailoring – one inspired by the sartorial craftsmanship of the 1980s, but filtered through a distinctly Japanese perspective. His suits, elegantly draping the body – always smooth yet refined – would surely make Mr. Armani proud.

In his delightful spring–summer 2026 collection, Otsuki mesmerizes and intrigues with nearly invisible details that make all the difference. For instance, extra fabric is built into the inside placket of a shirt to suggest a tucked-in necktie, which could be hidden or revealed depending on how it was buttoned. Deadstock kimono silk was repurposed into button-up shirts, while 1980s cotton-washi fabric was used for much of the tailoring – recalling the glamour and prosperity of Japan’s Bubble Era, a moment in time the designer enjoys riffing on.

What’s fascinating about Soshiotsuki is that the clothes don’t feel “vintage,” but utterly contemporary – and in a strikingly handsome way. That sensibility resonates with the final collections Giorgio Armani presented in recent Milan Fashion Weeks, which we were fortunate enough to witness.

Collage by Edward Kanarecki.
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Passage Of Time. Vautrait AW24

March 24, 2024 | Design & Culture by Ed

One of the most intriguing runway debuts of the season belonged to Vautrait, the Paris-based brand established in 2021 by Yonathan Carmel. Every label today tries to join the conversation around tailoring, but most of these efforts end up looking pretty much the same. Vautrait however is different. For a young brand, it’s astounding how mature its designs are – just take a look at Carmel’s autumn-winter 2024 show to get what I mean. Take the statuesque wool jacket with a nonchalantly notched label. Or the oversized trench coat with cognac leather, vest-like insert with big, utilitarian pockets. Or the black coat with broad shoulders and faux-fur-trimmed collar and cuffs (from afar it looks like crow feathers). These pieces say: we’re classics. Carmel champions traditional crafts as the key to sustainable creations that shape and accompany the body over the course of its life. According to the designer, the evolution of the body echoes the passage of time, developing and revealing new qualities and properties, just like vintage wine transcends the grapes its contains. Embracing the signs of age thus emboldens Vautrait’s designs that shun a system and its unattainable standards, so focused on establishing temporary and disposable stuff. Yonathan is one of this year’s LVMH Prize semi-finalists. The competition in this edition is especially tough, but I’m keeping my fingers crossed!

Collage by Edward Kanarecki.
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Men’s – A Lesson In Proportions. Hed Mayner AW24

January 21, 2024 | Design & Culture by Ed

I started watching the new “Cristóbal Balenciaga” series yesterday, and one thing stuck in my mind. When Balenciaga had a hard time finding his design language in Paris, he realized that a designer’s signature cut and style should be that accentuated and sharp, that it should be distinct for the viewer even through squinted eyes. I have an impression that Hed Mayner is one of the few contemporary designers who have reached that level of distinction in their work. To that extent that you see his XXL volumes copied all over the Parisian runways.

Mayner’s idea behind the autumn-winter 2024 collection was to make clothes that look like there had already been a body inside them, as if the wearer were donning someone else’s proportions. “I wanted to have it be like 3D without cutting too much,” he said, noting that he tries not to work around themes and mood boards. “There’s no reference or history or culture, there’s the thing itself, and you work inside,” he said. A gray four-way stretch fabric was printed with pinstripes to look like suiting, but actually takes on “a human form” when cut into an overcoat or trousers. “It lets me wear tailoring without feeling that I belong to a certain group or have a certain status in society,” the designer observed. True to form, trousers skewed ample and fluid. For shirting, Mayner found himself studying vintage Brooks Brothers styles. “I’m obsessed with diving into something, changing it completely, but keeping it as it is,” he said. One result was an almost crunchy striped shirt in a bonded cotton-aluminum fabric that holds its wrinkles artily. That one may resonate with loyalists, but in a seriously strong coat season Mayner showed that he can hold his own.

Collage by Edward Kanarecki.
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Handsome Femininity. Victoria Beckham Pre-Fall 2024

December 11, 2023 | Design & Culture by Ed

“I like to put a bit of myself into my collections,” says Victoria Beckham. For pre-fall 2024, the designer followed the threads of the semi-autobiographical mainline show she put on in Paris: ideas stemming from the weekend country-life she lives these days on the one hand, and from her ballet-mad girlhood on the other. The collection informed both, her knack for styling – as usual – and by her empathy for making clothes that are actually useful. The contemporary-dance influence flows through her series of long, fluid dresses. Some have cutout necklines with wired curliqued inserts. What’s newer, but also well-established by now, is Beckham’s reputation for tailoring. That’s the side she refers to as “handsome feminity” in this collection – meaning the look of British heritage tweeds and preppy peacoats, styled together with turtlenecks, shirts, and cropped flares, or casualized with cargo pants or various permutations of denim pieces. She has a well-judged way of making these templates interesting as well as simple to wear.