In his expansive new book Erdem (Rizzoli), designer Erdem Moralioglu weaves captivating narratives reminiscent of his backstage explanations for new collections. His storytelling is characterized by intelligence, humor, and engagement. Throughout the years, I’ve heard him delve into the lives of figures like poet/novelist Radclyffe Hall and sculptor Una Vincenzo, Lady Troubridge, Maria Callas, the heroines of the Bloomsbury Group, and Dame Margot Fonteyn. More recently, he explored the work of artist Kaye Donachie, who painted Moralioglu’s mother, which served as a profound source of aesthetic and emotional inspiration for him. This exploration stands at the heart of his book, which reflects on the two-decade journey of his label, illustrating the evolving creative processes behind each collection and the influences—both inspirational and collaborative—that contribute along the way.
Guinevere Van Seenus presents Erdem Moralioglu’s creations over the years, captured by Dutch artist Paul Kooiker. Image: Courtesy of Erdem/Rizzoli
Photo: Courtesy of Erdem
“I sought to craft the book as a personal narrative rather than a strict chronology, almost like a manifesto detailing my journey in creating this body of work over the past twenty years,” Moralioglu shares on a sunny autumn morning at his bustling Paris showroom. (Amid our conversation, he frequently receives applause for his spring 2026 collection.) “While there is a timeline showcasing every single collection I’ve created, the book transcends that.”
And indeed, it does. Just before last Christmas, I spent time with Moralioglu at his London studio, observing numerous boards brimming with layouts and concepts—a perfect blend of organized thought and spontaneous creativity. Erdem is, thankfully, much more than just a collection of lookbook images and advertising campaigns, which so often plague designer monographs today. I fondly remember one colleague disparaging such uninspired publications as “the new scented candle”—i.e., ubiquitous and unavoidable, virtually everything has been done before.
Moralioglu has also taken on the role of photographer for some of his garments, which feature in Erdem. Image: Courtesy of Erdem/Rizzoli.
Photo: Courtesy of Erdem
This book does not fall into that trap. Instead, Moralioglu provides a personal glimpse into the influences that shape his creativity, including a detailed examination of significant books in his personal library, from Irving Penn’s Flowers to James Baldwin’s Giovanni’s Room. There’s an enlightening conversation with the remarkable Glenn Close; novelist and editor Hanya Yanagihara contributes a new short story centered around a dress; London’s renowned River Café chef Ruth Rogers created a recipe inspired by his designs; playwright Polly Stenham shares an excerpt from her play, along with additional contributions from writer Charlie Porter, British Museum director Nicholas Cullinan, and Andrew Bolton of the Costume Institute at the Metropolitan Museum of Art in New York.
One of the book’s appeals lies in its in-depth exploration of the designer’s creative methodologies. Image: Courtesy of Erdem/Rizzoli.
Photo: Courtesy of Erdem
His garments, which celebrate artistry and innovation—someone recently remarked on Instagram that Erdem Moralioglu represents the last of the fashion romantics—and feature prominently, shine through most strikingly in a series of photographs of model Guinevere Van Seenus, each depicting a look from his various collections, captured by Paul Kooiker. The imagery evokes the spirit of the Dutch Golden Age of artistry while maintaining a contemporary flair, truly encapsulating Moralioglu’s vision. (Moralioglu expressed that Van Seenus, whom he encountered early in his career through filmmaker Liz Goldwyn and stylist Yana Kamps, was essential for inclusion in the book, stating, “Guinevere transcends the role of a model; she embodies an actress’s essence by breathing life into the designs with her breathtaking beauty. Among all the narratives within the book, her images provide a sense of purity.”)
Model Rianne Von Rompey makes a statement in a fringed Erdem dress, highlighting the enchanting artistry that combines fantasy with reality. Image: Courtesy of Erdem/Rizzoli.
Photo: Courtesy of Erdem
Moralioglu, who dedicated years to curating Erdem, describes the book assembly as a meditative exploration and revelation of his own history—including the time he took a hiatus from designing to engage with photography, capturing images for Polish Vogue, Acne Paper, and British Harper’s Bazaar. “It’s a different part of your brain in use,” he notes about that phase. “Suddenly, your garments are placed in an entirely new setting.” Readers who may discover Erdem might be unfamiliar with these visuals or the myriad influences that shape his fashion and this book. Moralioglu appreciates this potential. “I enjoy the idea that a reader without prior knowledge of me can open the book and gain a clear sense of who I am both as a designer and as an individual,” he explains.
Van Seenus—equally an actress as a model, according to Moralioglu—graces the cover of Erdem, with photography by Paul Kooiker. Image: Courtesy of Erdem/Rizzoli.
Photo: Courtesy of Erdem
