Revenge, they say, is a dish best served cold, but what if it’s also outrageously campy? That’s the bold statement at the heart of ERL’s Fall 2026 collection, where designer Eli Russell Linnetz transforms the basement of Dover Street Market into a surreal boarding school nestled in the Swiss Alps. But here’s where it gets controversial: this isn’t just any school—it’s a playground for the children of oligarchs and autocrats, with one outsider plotting revenge. And this is the part most people miss: Linnetz’s cinematic roots (courtesy of his USC Film background) aren’t just a footnote—they’re the backbone of his storytelling, turning each collection into a living, breathing film.
The wardrobe? As fantastical as the narrative itself. Imagine dense tweeds, waffle plaids, and nylon-linen hybrids colliding with varsity jackets, flight suits, and ripstop shorts. Add in bodysuits and upcycled skunk-fur accents, and you’ve got a theatrical irony that’s impossible to ignore. Accessories like Tom Binns’ collage necklaces, repurposed as wallet chains, push the collection into a realm of playful excess. But don’t be fooled—this isn’t just about luxury; it’s a rebellious wink at the absurdity of it all. Take, for instance, a pullover knitted with the phrase, ‘This sweater is so impractical and expensive,’—a tongue-in-cheek jab at excessive pricing that’s both bold and unapologetic.
Linnetz’s process is as immersive as his storytelling. Forget Pinterest—he spends weekends scouring Los Angeles flea markets for vintage treasures, transforming them into the foundation of his looks. Each season is a film in his mind, with tension, plot, and character development woven into color, silhouette, and texture. It’s a living storyboard, meticulously crafted yet delightfully chaotic.
‘The Void,’ his latest collection, is a maximalist meditation on power, style, and late-stage capitalism. It’s a funhouse mirror held up to society, asking: What happens when excess becomes the norm? And this is where the controversy lies—is Linnetz glorifying opulence, or is he critiquing it? The answer, like the collection itself, is open to interpretation.
So, here’s the question for you: Is campy revenge a brilliant commentary on our times, or just another example of fashion’s love affair with excess? Let us know in the comments—we’re all ears.
