“instinctual-visual-intertextuality”
Edward Kanarecki’s multifaceted practice of digital curation,
collage and art direction
In a world oversaturated with fleeting images —runway clips on endless loops, AI-generated content, and vintage references recycled into micro-trends—fashion’s visual landscape risks becoming an overwhelming one. Algorithms prioritise repetition over originality, turning digital fashion culture into an endless, flattened mood board where meaning dissolves in sheer volume. Today, audiences don’t crave more content, they crave clarity and quality.
Europol's projection that by 2026, up to 90% of online content could be AI-generated, paints a stark picture of an ever-growing digital clutter. As a result, the role of digital and cultural curators, who cut through the noise to offer meaningful perspectives, will only become more vital. Unlike influencers pushing products, digital curators provide depth, context, and critical analysis, acting as an essential counterbalance to the algorithmic tide.
Edward Kanarecki’s practice taps into this need. His work spans academic research, trend analysis, and in-depth fashion commentary across his blog and Substack, alongside multimedia collages that serve as visual dialogues with fashion posted on his Instagram. More recently, he has expanded into creative consulting, working with brands on research and art coordination.
Edward Kanarecki
When we jump on a video call, Edward is in his Poznan home, freshly back from men’s & haute couture Paris Fashion Week. To start, I ask him to reflect on the ever-present question of originality in fashion. Based on what he saw in Paris, does it still exist, or has everything become a reinterpretation of sorts?
“I ask myself this every season, and I tend to believe reinterpretation usually prevails over true originality,” he admits. Genuine innovation is rare, but when it does emerge, he sees it in fabric development and garment construction. He points to Rei Kawakubo as one of the few designers still pushing new ideas. “Her conceptual designs allow for radical exploration. Every time I'm in Paris, I visit the Comme des Garçons showroom the day after the show, and she’s always there, sitting in her glass-walled office, overseeing everything. It’s incredible how hands-on she remains.”
Yet, while Kawakubo continues to challenge conventions, the rest of the fashion landscape feels increasingly cautious. “Last year, Galliano’s show reminded us why we care about fashion in the first place—it was a real fashion moment.” Edward recalls. “But this season? Nothing memorable like that. Instead, there’s been a noticeable shift toward conservatism. Everything looks polished, like a trophy piece, which isn’t what excites me about haute couture. It should be about experimentation—if not there, then where?”
Art was always present in his life. From a young age, his parents took him to exhibitions, galleries, and museums. “We would stand in long lines for exhibitions—like the auction of Yves Saint Laurent’s private collection in 2009, if I remember correctly. We waited for four hours. (...) Art was never just decoration in our home; it was something meaningful.” His fascination with fashion, however, came from his mother. “For her, personal style was always important - standing out, expressing herself. She always had different editions of Vogue on the coffee table in the living room.” Fashion magazines became his portal into a world of aesthetics and creative storytelling. While other kids watched cartoons, he immersed himself in fashion pages. “I’d open Vogue Italia under Franca Sozzani’s editorship, and for a child’s mind, that was incredibly stimulating and inspiring,” he recalls.
It was only a matter of time before Edward sought a creative outlet for his research and passion. Writing was his first medium of choice. At just 13, he launched his first blog, inspired by early fashion bloggers like Susie Bubble, Bryanboy, and Tavi Gevinson. “I spent hours looking at runway collections but didn’t want to just repost images like everyone else. Almost instinctively, I started making simple collages. Over time, it became an artistic outlet—something I genuinely enjoyed. Eventually, it grew into a recognisable part of my work and led to some great collaborations today.”
Edward creates all of his collages digitally, sometimes simply on his phone. “When I work on my phone, the process is fast and instinctive. I never plan my collages in detail beforehand. I have a collection of images and materials I use, including my own photography, but I never spend hours on a single piece. I don’t want to say it takes just a few minutes, but it’s always a fast process.”
In his collages, runway looks take center stage, surrounded by an immersive bricolage of seemingly disparate yet unexpectedly harmonious elements. But his work isn’t about tracing a collection’s references or brand’s original inspirations—it reflects what happens to the image in Edward’s creative mind. It’s completely subjective - a chain reaction of ideas, impressions, and his abstract connections. It enables these fashion visuals to transform into something new—independent and rich with fresh meaning and narrative depth.
Edward acknowledges that such instinctive visual response expressed through collage-work, often serves as a starting point for his later writings, helping formulate his thoughts for Substack posts. It’s an interconnected process he describes as “instinctual-visual-intertextuality.”
Looking at his collages, you’re pulled into layered compositions—film references, cultural codes, and an intriguing fusion of niche and viral imagery. As we speak over a video call, sunlight filters onto the typical Zoom backdrop of a bookshelf packed with books and albums. I’m curious about his go-to reads, he admits “I’ve always been more drawn to albums than fiction. The same goes for films—I prefer those that capture contemporary reality.”
That raw, unfiltered quality applies to his artistic influences, too. Jürgen Teller is a big one. “His photography is imperfect yet complete—raw in the best way. His campaigns have shaped both luxury and high street fashion. Even though he’s mainstream now, his work still feels strong and relevant” Edward explains. “I collect his publications, and I even met him once in Berlin. He is an incredibly kind person, open, always wearing his sporty shorts” he adds with a smile.
Music is just as integral to his process as imagery. “It’s always there—when I work, when I collage, when I walk. I can’t imagine life without it.” His go-to artists? Lana Del Rey, in every phase of her career and Madonna. “I always come back to her, even now, despite all the criticism. She’s still a hugely important figure.” His ever-expanding playlist runs for 48 hours. “I just keep adding everything that speaks to me. I usually shuffle it and let it play.” You can see it on his Instagram, where carefully chosen tracks add another layer of storytelling to his content and collages.
When asked about the most satisfying moment in his collage practice, he says “For me, it’s when everything visually clicks—when I find the connection between a collection and the reference I want to bring in. The other day, for example, I was thinking about Haute Couture Week, and when I looked at Schiaparelli’s latest collection, I immediately linked it with The Substance. The models looked so flawless, so impossibly perfect, that it instantly reminded me of the film’s theme—that perfection can be deeply unhealthy. (...) It all came together naturally.” In this way, for Edward, collage isn’t just about aesthetics but it’s a form of critique, a visual commentary. „I think this aspect of my work is quite strong.”
Edward’s posts often catch the attention of the brands featured. Stylists like Lotta Volkova and Jamie-Maree Shipton have reposted his work, and designers frequently engage with his visual commentary. For over a year, he has been collaborating with Magda Butrym. "Seeing Magda’s approach to design and craftsmanship firsthand has been truly insightful and inspiring," Edward shares. He acknowledges Butrym’s role in shaping Polish fashion on the global stage, as the first Polish designer to achieve true international recognition.
Speaking of Poland, he finds it exciting that the local identity is being reinterpreted with confidence and fresh perspective. “Finally, there’s pride in Eastern influences. It’s palpable. Even symbols like the Palace of Culture, once viewed negatively, are now embraced in fashion editorials and lookbooks. We’re beginning to appreciate these local, cultural codes rather than fear or reject them.” he notices.
Looking ahead, Edward hopes for his career to grow into brand strategy, curation and visual research, with primary focus on art direction. “I’m particularly drawn to editorial work, especially within magazines, as the curatorial and storytelling aspects of fashion truly engage me. That’s the direction I’m working toward” he says. Meanwhile, writing for his blog and Substack remains a personal passion, something he values most when it’s not tied to work or financial necessity.
Currently, Edward is immersed in his PhD in Art History, building on previous BA and MA research where he explored Yves Saint Laurent and the interplay between fashion, sacred garments, and haute couture as evidenced through the work of Cristóbal Balenciaga and Arkadius – a crucial figure in Polish fashion’s history, who he had an occasion to meet and interview for his academic research. Now, his focus has shifted to fashion’s presence in museums and exhibitions, a growing yet still underexplored field. “While there are individual catalogs and texts, there’s still no major publication that thoroughly discusses contemporary fashion exhibitions,” he says. “It’s a challenging and demanding research area—something I’m already feeling the weight of, but I’m curious to see where it leads me.”
For those looking for quality fashion analysis, or just for visually satisfying collages to enjoy, do follow Edward’s Instagram and subscribe to his insightful Substack.
words by Paulina Czajor
Edward Kanarecki