This is the season that I stay on top of fashion month reviews and don’t leave everything until last minute<3 (edit: she did in fact stay on top of it, be proud of her)
Who decided that we wanted to kick off NYFW with Christian Siriano. Why does this keep happening? Is this really the precedent we want to set for the rest of the week? The collection was inspired by Audrey Hepburn as Holly Golightly in Breakfast At Tiffany’s… allegedly. Christian said, “We’re calling it Audrey Hepburn’s rose garden, but at midnight or 2AM so it’s a little darker and a little sexier.” Sure! A variety of looks in a scary pattern opened the show, and the pattern was so loud, I can’t imagine why any of the other shit was necessary. You know, it truly wouldn’t be a Christian Siriano collection if he wasn’t finding “inspiration” in other designers. A black mini outlined in a purple ruffle, and a drop waist strapless number felt very Schiaparelli. Of course, Charles James did the drop waist first, but I think there’s a difference between the way someone like Daniel Roseberry finds inspiration from other designers, and someone like Christian does. The color blocking also read very Valentino, and I swear on my life, Zendaya is always on the moodboard. Christian also seemed to enjoy the Saint Laurent shows—same. I’m all here for a no pants moment a la Bottega Veneta, but seen with a fitted blazer here, it feels like an incomplete look. A dress with white flowers running down the center is a style we saw before with buttons, and it’s not any better the second time— it’s also off-center. There was a lot of floral embellishments. He really took that rose garden theme and fucking ran with it… straight to Michael’s craft store! A checkerboard print was horrid, but a long coat did fit really nicely, and a yellow bubble hem dress was fun. A dress that was half sheer, half ruching was confusing and I don’t know why we brought the sheer tulle dresses back. In conclusion, I think that finale dress just became my new sleep paralysis demon.
Dion Lee makes the kind of clothing that will never catch you slippin’ at the club or at a rave. It’s like you to club wear and made it lux and delicious. The way he cuts clothing really highlights the body in all the right ways. It’s never showing too much, and while skin bearing and tight fitted clothing is very in, Lee never lets it get stale. It always feels refreshing, and although there was a lot of sexy styles, this collection had a lot more wearable, everyday pieces. There was a very reptilian feel throughout the collection, which for Lee represented the idea of shedding skin. He said, “there is a parallel with identity and always changing and evolving as a person and a designer. I think I’m focused on how plants and reptiles shed their skin, and that as a visual in itself.” I liked that this wasn’t only done in the obvious snake and crocodile prints, but also in chainmail dresses and the shape of coats, specifically the corset like puffers. Shearlings were absolutely delicious, but my favorites had to be the Japanese shibori dyed clothes. Horizontal boning with drapery were interesting concepts that I would love to see explored and refined more, and the concept behind denim pieces was there but not quite. I didn’t understand a nude material underneath a barely there black mini; what was up with that sleeve. Collarbone cutouts gave infinity sign a little bit too much, but other times they felt more Dion Lee and felt like they were following the skeletal system. A blue jersey dress with a rope detail in the center was quite nice as well. Overall, I enjoyed this more refined, “adult” Dion Lee collection.
Collina Strada Fall 2023 was entitled, ‘Pleas Don’t Eat My Friends’ and feature a lot of animal motifs… and prosthetics. While the show was definitely quite the spectacle, Hillary Taymour talked about how this season she wanted to tone down the brand. She was thinking about the looming recession and wanted to create pieces that her customer could wear over and over again; something to get their money’s worth. So while the collection was more wearable, this is Collina Strada, so it was still very fun. Animal print was made more literal with dog fur and gecko skin prints. A strapless, inverted top with matching cargo pants was really nice, and I always appreciate a Collina Strada striped green— it felt very reptilian in this context. I always love the styling at Collina Strada, because although it’s chaotic, it always makes sense and feels organized. Taymour mentioned how she’s trying to incorperate evening gowns into her collections, and while she isn’t sure how crazy she wants to go with them, I think this was a great start. A brown, silk satin, bias cut gown was really beautiful. With horns on the shoulder and a draped open back, it had to be one of my favorite pieces. Speaking of horns, the collection was quite horny in general, like literally, and I thought it was a fun touch. We saw some signatures like the belt skirt and crushed velvets, while some styles felt evolved. A chartreuse mini felt like it was playing with a bit of bustling, but a bit more deflated an elongated, and I loved a blue baby doll layers over a long sleeve top and pants. A lot of the pieces had a floral embellishment on the hem that was so sweet, while other shirts had collars in the shape of dog ears. A burnt velvet, high-low tank was beautiful, and two white pieces, one in a mini and one in a shirt, felt like exoskeletons. While some of the prosthetics were terrifying, I felt more joy than anything watching this show.
At Rodarte, Kate Mulleavy said she wanted to do something inspired by fairies this season. While Rodarte does have a penchant for being very romantic and dreamy with lots of lace, ruffles, and floral motifs, they don’t exclude darkness from that romance. I think Moriticia and Wednesday Addams are about to have the Rodarte girlies on speed dial after this collection. Their more gothic collections aren’t that regular, but they’re some of my favorites. Opening looks in a jersey material with long bell sleeves were quite simple, but also impactful; something the designers touched on. Following the jersey looks, similar styles came down in various fabrics, like embroidered velvets with dyed cheesecloths attached to the sleeves. A coat with a large lapel reminded me of batt wings and a dress with a white lace caplet felt a little papal, which I think is natural with a gothic collection. There was a lot of leg of mutton sleeves that I was obsessed with, especially in a colorful dropped waist dress. Some dresses had strips of velvet across the skirts, and I found those confusing, especially when done on the bias. Velvet bordering beaded fringe dresses however, was incredible and acted as a perfect border. Shaggy metallic pieces were so much fun and sheer lace styles were delicious. Two flowy sequin sets in purple and green were incredibly sweet. The collection had a whisper of 1930s glamour as well as a Victorian flair. The sisters brought back their spiderweb knits in jumpsuits and I could just die. There was a section that featured sketches of fairies, which were done by the designers’ mother and I really enjoyed them repeated, but as a single graphic they were neither here nor there. Sure, there were some misses, but overall I thought the collection was beautiful and left me wondering what Rodarte couture would look like.
This season the duo behind Proenza Schouler wanted to look back and think about what they’ve made throughout the years. Chloë Sevigny opened the show, and has been a Proenza cool girl since the brand first started about 20 years ago. The designer has talked about how their woman has outgrown what they used to make, so they wanted to adapt what they’re making to who their customer is now. They also mentioned wanting to make art of the everyday, using subdued basic pieces to add small interesting touches. The opening jackets might not have been the most groundbreaking looks, but I thought they were really beautifully cut, and while I might not be a belt girly, I’m into the rope around the waist. There wasn’t all that much print of embellishment, but we did see some beading in between the folds of skirts which is a style we’ve seen before. Two beautiful, sleek jackets, one in a royal blue and one in a copper were dyed by having an ice cube dipped in paint drip down; the copper one reminded me of a cat eye, and this tie dye is also a reference to a 2018 collection. Two crinkled styles had a lovely shine, and a bit of print was seen in a bow defining the waist of a dress as well as in its hem. You can definitely see that the focus is on the clothing itself and not anything extra, but I don’t think that makes it boring. Some moments were a little bit questionable, like dresses with horizontal stripes of different materials. Two looks, one in whit and one in black, had an asymmetrical draped, sheer tap and matching skirt were stunning, and baked in sequins seen in dresses and matching sets were a slo a fun revisited style.
I love Sandy Liang, and when I think about wanting more feminine clothing in my wardrobe, this is a designer that is always on my moodboard. It’s really easy to see these school girl, coquette, etc. styles that Sandy puts down the runway and think that she’s adhering to the latest trends, but these are styles that she’s been doing since the beginning. If there’s any trends she’s trying to touch on, it’s the sexier and slinkier looks. Dresses like a black mini, a brown midi, and a red maxi felt like a TikTok girlies cup of tea. This season she wanted to make the dresses more utilitarian, so she took the idea of accessorizing, but instead built the accessories into the dress to make them more of a uniform and more functional. But, I mean, it is Sandy, so they’re pretty sweet regardless, with details like bows, rosettes, and sashes. I loved the eyelet detail we saw throughout, although one sheer tulle top ruined the shorts it was paired with; it just didn’t translate. I love a sailor touch, and the collars on a lot of the pieces were right up my alley. Lace was romantic, and even the sexier styles had a bit of sweetness. I always enjoy a bit of a drop waist that we get in Sandy’s skirts and dresses, and one dress couldn’t help but make me think of sailor moon. Also, I’ve said this before when talking about Sandy, but Miuccia stays on the girls’ moodboard, as she should, honestly; I also felt touches of Phoebe Philo. I enjoyed the addition of shearling on a puffer and a pink knit set was yummy. More puffers had bows in varying styles. I enjoyed them embellished, but as a trompe l’oeil they were just fine. A corset with a bouquet of roses tucked underneath was a fun idea and a good progression of a signature trend and the finale dress felt like a vintage prom dress. Overall, she’s cute.
Jason Wu used Marlene Dietrich as his muse for this collection. He also talked about how everyone knows that he loves a gown, but he also really loves tailoring and actually majored in menswear, which is something he wanted to showcase in this collection. Marlene Dietrich did play with gender bending fashion during a time when it wasn’t common, so I think this was fitting. Jason mentioned that this was one of his moodier collections and enjoyed this idea of putting on something feminine with a structured coat on top, as if you’d borrowed it from a lover— to him this represented an updated idea of evening wear. Listen, Jason Wu might not be my go-to designer, but there was a lot of pretty pieces. Silk styles were stunning, and I especially loved the cuts of an oversized shirt and matching skirt. A mustard, draped jersey dress was almost perfect but did something funky around the armpit. I think the focus on tailoring was smart and hopes he dips into that more, because jackets were cut deliciously; I really enjoyed a mustard suit with frayed hem. There was fringe made from bra straps, and it didn’t translate to me, but I did appreciated seeing a red moire silk. The main topic of conversation regarding this collection, however, was actually not the clothing, but instead the models. Vanessa Friedman, the fashion direction and chief fashion critic at The New York Times, made a comment about how she could barely focus on the clothing because of how distractingly thin the models were. Vanessa wasn’t the only one to make these comments, but was met with the most backlash, from people saying she was skinny saying, and from Jason Wu basically being like, if you think my clothing is ugly, just say that. Definitely an unfortunate way to deal with the situation on his part and a missed opportunity. It’s very clear that body diversity was not present in this show, and Vanessa clarified that her comments were not meant to put down the models, but to bring a topic to light that should be discussed. She talked about how she’s been around thin people and people with eating disorders and those two things do not look the same. As someone who is thin and used to have an eating disorder, I agree. People feeling the need to call this skinny shaming just prove how deep rooted fat phobia is in out society and how normalized things like eating disorders are. We treat people’s bodies, especially those of women, like trends. But regardless of what the current trend is, thin has always been in, and it’s unfortunate that we’re going backwards. I know some designers are great with diversity, but it’s very few and far between. Models like Precious Lee and Paloma Elsesser are lucky, and as talented and wonderful as they are, I feel like we might start to see them less.
When talking about Area this season, Piotrek Panszczyk said, “This season is all about fruits. The beauty of them, but also the symbolic meaning of them. The way you can think of fruit as something fresh, a new start, but when it starts decaying, it becomes about mortality. Following that train of thought, the collection started with bright and fun fruit motifs, before going into a section where it felt like mold was growing and flies were swarming, and finishing with black rot. I thought the bananas in bunches were really fun, and the more draped style bananas were inspired by Madame Grès. Piotrek said he always turns to her, but interprets her more fluid styles into the rigid crystals of Area. Feathers are no stranger to an Area collection, but in this context felt like little fuzzy fly legs, and seen as monocles they were quite fun. The designer said that this season he also wanted to go back and focus more on the fabrics, which is something I feel a lot of designers are doing. They’re working with what they already have and how that can evolve, instead of bringing in something new. I really enjoyed the softness in this collection with more draping than usual, but the simpler pieces like blazer jackets and plain dresses could have been more refined. The sculptural watermelons opposing each other created an intriguing hour glass shape, and red and pink feathery pieces were lovely, especially in a large ballgown style. There were a few catsuits, some with a logo meant to represent flies; not my thing, but I get it, it’s commercial. A few tie-dye styles in the middle didn’t quite hit for me, but the colors were nice and reminded me of iridescent flies. There was a black and white grape print on some pieces, and a dress with a beautifully draped opening back was a standout. A little undie moment was fun, and gold bananas were a fun take on a breast plate. A hip cutout, velvet skirt with train with the addition of beads applied to the torso was seductively stunning, and a stack of black bananas were ready for a banana bread.
This season, Sergio Hudson was reflecting on his career and how a few years a go, he wasn’t doing so hot. He was sitting in his old Los Angeles, lookin out the window at an artist painting a mural of a kaleidoscope. It ended up saying, ‘Believe You Got This’ and was a message that really stuck to him. Later on, he learned that this was done by the artist Jason Naylor, and since it never left his mind, he decided to direct message the artist and ask him to collaborate on this collection. This lead to the addition of graphic tees, a Sergio Hudson first, and not only inspired the graffiti styles, but the punchy, neon colors as well. Sergio is known for dressing women like Michelle Obama and is a very classic, American designer— think Donna Karan and Michael Kors. At the same time, he wanted to appeal to a younger audience, since he’s found so much inspiration in younger girls and wanted to give them the same joy that he get seeing them wear vintage clothing and painting their nails in fun designs. When I first saw this collection, it felt like a collaboration between Fran Fine and 90s Barbie. Funnily enough, Sergio said that Fran and Hillary Banks were on the moodboard. He also found inspiration in Karl Lagerfeld’s Chanel collections of the 90s, which is apparent in the cropped jackets with enforced shoulders, and tweed styles. A lot of the vintage styles were a fun callback, but sometimes they felt more dated than vintage, and gave me PTSD to my high school dance days. He didn’t forget about his current clientele either, and gave them what they wanted— suiting they could wear more casually. If there’s one thing Sergio Hudson is going to do, it’s make a well fitted, simple suit. There were color blocked, layered, chiffon minis and I was the style was explored more. The show ended with draped and ruched styles that were nice for what they are, and will definitely be scooped up when his customer has a beach vacay. As for the graphic styles, Sergio isn’t even sure if he’ll sell them, because he doesn’t want to do anything considered a log. I appreciate that mindset, but do think the graffiti tees are a fun thing to do an exclusive drop of, and will appeal to a younger audience!
Tia Adeola’s last collection took place in hometown of Lagos, Nigeria, and now she’s back in New York for fall 2023. The designer talked about how when she first moved to New York in 2016, she wasn’t as she is now, and if she had stayed in Nigeria, she wouldn’t have dared to make the same clothing. Last season, in Lagos, they had enforced ‘no nudity’ rules and so her collection focused on her frustrations with that. This collection acted as a commentary on that consvervatism, but instead of taking it in the obvious direction, she stuck with her signature sexy style. While her clothing is very hot and spicy, there remains a beautiful delicatness to it that is romantic. However, she doesn’t want to be known for making sexy clothing, instead she hopes that people associate her clothing with its design and cut. Tia also said, “Since I started making clothing, there’s been a lot of discussion on the topic of nudity in general, and I just wonder why we have so much to say on how women choose to display their sexuality and power.” Tea. A white, off the shoulder dress was opaque from the front, but completely lace in the back, which was very smart. The way she places sheerness is done very well and in a tasteful way. Also, those mesh panels, perfect. Some pieces weren’t that memorable, but jersey dresses, while simple, allowed the women’s body to be the focus beautifully. There were a few men’s styles that were simple, but effective and overall, I look forward to seeing more from Tia Adeola in the future, as I’ve loved watching her progression.
Palomo Spain Fall 2023 was entitled, ‘The Closet’ which can make you think that it’s about coming out of the closet, but instead, Alejandro Gomez Palomo was talking about his community and everybody around him and the idea of growing up. He talked about how we all had this relationship with clothing growing up, where we weren’t really aware that gender existed or that there were any “rules” to follow. He said, “It wasn’t really about fashion, it was more about a feeling, something that’s just intuitive.” From a young age, he was taught to be whoever he wanted to be, which is something he’s grateful for, and can now translate that through his clothing. On the moodboard, there was pictures of his team’s childhood, which can be seen in the childlike quality of the collection. There’s a softness, but not without transgression. The opening look was sweet and was made of thousands strips of tulle, layered on top of each other. Polkadot tulle was also seen manipulated in fun ways. A lot of the hats had a pillowy quality, as if you were in your childhood bedroom, and terry cloth materials reminded me of being wrapped in a towel after a bath. I loved the play with oversized pieces, as they made me think of the times I’d put on my dad’s clothes that, obviously, didn’t fit. The pastel color stories were lovely and made me think of the excitement in back to school season, and sequin denim was a fun idea. Puffer styles were seen in a variety of styles, and I especially enjoyed them in a 60s babydoll style. Button ups, both short and long, were worn backwards, and having the placket running down the back was a smart detail. A fluffy, minty look was my favorite, and I wanted to swim in it; the softness overall was really sweet. Pressed florals and cocoon styles felt very Cristóbal Balenciaga, and a comforter style coat felt very Balenciaga meets “mom I threw up.”
For Carolina Herrera this season, Wes Gordon was inspired by Empress Elisabeth of Austria, also known as Sisi. He talked about seeing a parallel between her and Mrs. Herrera, and what made the house. Sisi had a penchant for the outdoors, and Wes seems to love finding inspo in women who love a flower! Speaking of floral prints, the one seen frequently throughout the collection was inspired by an old porcelain print. Carolina Herrera is the kind of brand that makes clothing for woman who just want to feel beautiful and pretty, and while it might not always be up my alley, I also think that Wes Gordon is doing a great job with the brand. Although Sisi served as the main source of inspiration, I also got a bit of Audrey Hepburn in movies like Sabrina, especially with a belted black midi dress. Wes Gordon also talked about blending the line between daywear and evening wear, which lead to pieces like a matching mini set embellished with beautiful crystals. A lifted style of draping was seen quite a bit, and worked sometimes, especially as a reimagining of a slit, but other times was strange. A yellow girl boss chevron and stripe was rough in a dress, but a little more put together with a black cigarette pant. The tulle moments felt out of place, but the sleeker moments were very strong. A body hugging matching set had that same floral print from earlier, but done in an embroidery instead, and it was stunning. A purple and green print was taken from a 19th century woodblock, and although not groundbreaking, was done in some interesting styles, like a gown with a windbreaker top— the bow could have been smaller though. Color blocking was lovely and bell shaped skirts were lovely. A lavender dress with tulle across the bust reminded me of a Schiaparelli look from a couple of seasons ago, but was lovely, and I enjoyed how we saw a ballgown style and a suited style with the same gold embroidery to finish off the show.
With the way that Catherine Holstein described Khaite this season, I would sat that this was her version of power dressing. She said that her team kept referring to it as “sharp power” and that she didn’t want to refer to it as grown up, but that it was a departure from the usual. It’s been very obvious that a lot of designers have really stripped down all the extra things this season and are focusing on simplicity and tailoring as opposed to standout statement pieces. I feel like a broken record, but the want for good quality clothing and attention to detail are only growing, especially with the looming recession. Catherine mentioned that the Diana Vreeland quote about taking one thing off before you leave the house, so with this collection they played with the idea of taking things away and being comfortable with that, because there is also a sense of empowerment in that. With all the talk about simplicity and stripping things away, one might think the collection would be dull, but I’d say it was quite the opposite. Outerwear was strong, and shearling was a major story in the collection. I will be thinking about wanting a pair of shearling pants for a very long time. Leather pieces were strong, and a wool dress was nice, but it’s top counterpart paired with a skirt was strange styling. A bomber jacket had an elevated shoulder, which felt like taking 80s power dressing and putting it to a more modern piece. A corvette motif was seen on some pieces, which wasn’t that great, but made sense with American, the 80s, etc., and a knit jumpsuit was yummy. Overall, Khaite is a cool girl brand— would we say it’s Gen Z’s Proenza?
Puppets and Puppets was inspire by Dead Ringer this season, and Carly Mark sure loves sci-fi and horror. We’ve definitely seen her pull inspiration from cinema in the past, especially something that creates a darker vive. Adding that bit of eeriness with Dead Ringer and the idea of an unanswered phone call was fun. She said that when designing she puts her own body into consideration and things like roses and eggs covering nipples are very suggestive, and it’s a conversation she’s having with herself, especially being in an alpha position in a business primarily dominated by men. There were also pieces that featured a 1738 painting titled ‘The Operation’ by Gaspar Tarussi which seems to depict a men getting surgery without any anesthetic. This comments on the idea of women and body autonomy. Suiting moments with sheer corset inserts were wonderful and I loved the sequin dress styles both in a sheath and in a mini pannier. Logos on lace bodysuits seem to be on everyone’s mind, and high cut snake print pieces were great. Headpieces were inspired by Alexander McQueen and coats secured by tape were inspired by Martin Margiela. I didn’t love everything, but Puppets and Puppets is a brand I look forward to every season regardless.
I love Coach, and I love Coach more and more every single season. I think what Stuart Vevers is doing with the brand is really amazing, and when I was scoffing at the Coach sneakers I bought in middle school as a teenager, I would have never seen myself here! A stan! The collection was quite simple, and there were a lot of similarity in pieces that really required you to pay attention. Knits, shearlings, and leathers made up a majority of the collection, but the all had a bit of distinction between them. One leather set might be just that, while another might have more texture, or be done in a patchwork. Speaking of patchwork, a patchwork coat with a very 70s flair was one of my favorite pieces, and the patchwork styles were made from scraps, making each piece unique. Stuart said that although Coach has a long history, it doesn’t have one in ready-to-wear since it used to be just an accessories brand, so it’s nice to imagine what clothing looked like back then. Back to the leathers, they were great. Coach isn’t on the top of everyone’s mind when it comes to a leather house, but it should be. It’s America’s leather house, and Stuart Vevers agrees, so I’m right. Body hugging knits were described by the designer as modest, but still with that body hugging quality that gives them a duality. He also mentioned how he felt knits go great with leather; facts. I thought the various prints on the knit dresses were fun, and I need the t-rex one immediately. Although the collection was on the simpler side, a lot of fun was had in purses of varying shape and accessories molded from things like Barbie shoes and candies. While the collection might have been structured and heavier, there were also a few gauzy dresses that added some softness— they were dyed with natural dyes, and came down the runway in lovely colors. Shearlings, especially those that looked like aviator jackets were delicious and I also loved them in metallics. Two shearlings looks closing out the show had little crystals embroidered throughout, and I’m dyeing to see sunlight hit them; it’s giving “I’m a vampire, Bella.” Overall, we love Coach!
I loved Thom Browne. This information shocked no one. The show was inspired by The Little Prince, and as if that didn’t have me in tears already, Thom coming out at the end to give Andrew a heart shaped box of chocolates sure did it. When talking about the inspiration, Tom said, “The story tells us that children actually see more than adults do.” This was reflected on the runway with the “adults” wearing more traditional tailoring and the “children” wearing more conceptual tailoring. The show started with a Thom Browne aircraft pilot wearing a voluminous space suit with a textured top underneath that looked like the earth; stunning. Following that, there was a collection of long silk dresses with prints that represented the six planets visited by the Little Prince, which showcase different problems within society. They were beautifully done and had a storybook quality to them. The “adults” wore pieces that were beautifully tailored, but also very large and in charge. Texture added to signature tweeds was scrumptious and I know those Thom Browne stripes had Adidas fuming. I can imagine them wearing the wide shouldered jackets to hide their ego. The creativity in the looks that followed was wonderful. Starting with sleeker moments that seemed to have silk panels throughout were cut and fitted to perfection, and moving into an array of deconstructed suiting. It can be easy to make something like this messy and as if it makes no sense, but Thom’s understanding of suiting and tailoring, combined with his imagination, is the perfect formula for success in execution. My favorite look had to be a suit jacket that was worn backwards on top of a model’s torso. Turned into a strapless top, it was cut down the center of the back and created the most beautiful shape with the shoulders of the jacket. An alien like piece that was embroidered intricately was followed by Precious Lee dressed as an angel, leading the Little Prince back to safety and giving the story a happy ending. Thom mentioned that the more he creates, the less he sees men and women, and just see’s one beautiful world, and is the perfect anecdote to go along with the story of The Little Prince.
Joan Collins and Diahann Carroll acted as LaQuan Smith’s muses this season, and if you’re not aware, the duo stared together on Dynasty. There’s a scene in the show where Alexis Carrington throws furs off of a balcony, which was also done by a model, and the reason behind the luscious furs on the runway. LaQuan said that this collection was a bit more sophisticated and that his woman is growing and trying to incorporate sexiness in all aspects of her life. He said that we’ve seen such fantastic and serious suiting from all the greats, so instead he wanted to have fun with it. I appreciate him understanding his brand, but the tailoring was quite strong regardless. Plays on traditional suiting in LBDs and cutout jackets were also just as great. A sheer polkadot material was seen in shirts and dress and was really wonderful. While suede was manipulated beautifully, leathers were a little but rough. Scoop neck styles for men were fun and suit jacket minis worn backwards were fitted very well. Menswear kept up with the womenswear quite nicely and was inspired by Lenny Kravitz’s CFDA’s look. A bathing suit style came down the runway, and although we don’t see bathing suits on the runway like we used to, I think LaQuan Smith is the perfect designer to bring that trend back. Overall, this was a collection that showed evident growth, and I look forward to future seasons.
Elena Velez talked about how fashion can’t just be a pretty thing anymore— it has to be engaging and meaningful as well. Elena always focuses on femininity and the matriarchy, but takes it through this twisted, darker, romantic lens. For this collection she said she was looking at prairie wives, lot lizards, trucker culture, and things that aren’t really seen as glamorous amongst cosmopolitan society. Trying to make those things seem fresh, she described the clothing as “new heroin chic form the Midwest.” There were those usual romantic touches and a bit of that BDSM we saw last season, but the focus primarily focused on the history of American fashion and blue collar work. A lot of the pieces looked as if they had been beat up and mangled in a way that might make one uncomfortable, but not in a way that would put you off. A knit skirt was delicious, as was a large sleeved coat, and sportswear styles done with an Elena Velez touch were fun to see. Latex and paint were used to create both slimy and crackled effects, to create very interesting plastered pieces. One looked especially gross and suggestive, but not in a bad way at all. Elena is a story teller, and some pieces go past the need for everything to be perfect and wearable. She leaves room for looks to tell the message she wants to tell.
You guys, Tory Burch has really been hitting for me these past few season, I have to say. She said that she wanted with the traditional idea of femininity and twist it, so there were a lot of pieces that were slightly askew; skirts held together by safety pins dresses worn backwards, slouchy sweaters, heels that appeared broken. She’s been channeling Claire McCardell with her collections recently, and embodying this idea of freedom of dress and wearing things that feel comfortable and versatile. The suiting was tailored beautifully and the outerwear was strong. Silk styles were nice on their own or together, but paired with a wool blazer, felt strange. Velvety denim was fun and a quilted style jacket was stunning and fitted at the waist very well. Even the simpler pieces were quite nice, especially a sheer red dress that had a white crocheted one underneath, creating lovely dimension. A green silk dress in that backwards style was pleated at the waist nicely, but the stars of the show had to be the finale pieces. Bringing the focus on evening wear, she brought what typically hidden and made it the outerwear. Shape wear pieces in a midcentury style were brilliant and the padded hips were well done. Whatever’s happening over at Tory Burch needs to keep happening, because I am all here for this rebrand.
Willy Chavarria does it again with another beautiful collection. He talked about how he feels this is his most refined collection yet, and I’d have to agree. I truly can’t think of a critique. Not that the brand’s clothing hasn’t been wearable in the past, but I would say that this collection was even more so. It was stripped back and minimal in a way that showed true craft and skill. Willy mentioned that with the past few season, he’s been really thinking about how he can grow and learn, as opposed to just delivering a new collection with a new idea and color palette every season. He’s also putting into consideration what the current climate of the world is at that given moment— for this collection, that lead to him thinking about protection and the song ‘Kangaroo’ by This Mortal Coil. This idea of growing and evolving seems to be something a lot of designers are tapping into. They’re looking back and working with what they have, instead of creating something new. The opening look was a signature style of wide leg pants that we’re used to seeing, but in more of a ballgown style, and paired with a pussybow blouse. That look was followed by a beautifully fitted jacket with an upturned collar and covered rosette. Shirts this season were cut in a stiffer texture, which became beneficial in helping the bows keep shape. While this collection was very romantic and seemed to have a focus on evening wear, there was still those ready-to-wear pieces that we know and love, that felt romantic in their own way. Outerwear was phenomenal, whether in a classic style or not, and the shoulders of jackets felt a lot softer this season than their usual sharp counterparts. Ruffled blouses with a deep v had leg of mutton sleeves that were fun to see, and suiting separates complimented each other perfectly. Mourning style coats had a regality to them, and proportions were scrumptious. Overall, Willy continues to only gets better.
LUAR!!! Marc Jacobs used to be known for closing out New York fashion week, but Raul Lopez seems to be holding the spot down just fine. The scene to get inside the venue looked like a mosh pit, and I’ve never been happier for someone I’ve never met; a well deserved turnout and reaction. I love seeing the progression of Luar, beacuse Raul Lopez is a fantastic designer, and I feel like this uptick in intrigue is so exciting. This season was a continuation of the last, and Raul was playing with the idea of leaving his family reunion and stepping onto the street to see women carrying themselves with the utmost confidence. He mentioned that his mother always told him that a man might be the head of a household, but a woman is the neck, and she controls how the head moves. The opening looks were wool gowns that played on suiting. They were double breasted with large shoulders, and the coat style with a nipped waist and added dart at the elbow was delicious. Last season, Raul used looming shoulders to showcase this idea of wanting to hide, but this season they tell a different story, one of confidence and sureness. Although furs might be a little taboo right now, the designer collaborated with Saga Furs on a few pieces, having the idea of forever in mind. He talked about how in the hood, getting an heirloom was getting a fur coat, or maybe some shoes and a bag. A lot of brans are going faux, which is incredibly understandable, but there’s something to be said about putting culture first sometimes. It’s very easy to fail to understand culture or nuance when it doesn’t fit into our own individual world. Quite frankly, the fur styles were stunning— especially the cocoon style zip up, and signature Luar tech jacket. That same cocoon style was seen in a variety of fabrics and worked every single time. I thought the leathers were nice and adding that same elevated shoulder to them was fun. The addition of loungewear styles was nice to see and was very refined. A pair of jeans looked like they were slicked with oil and a sequin skirt was layered on top of pinstripe pants; both are begging to be worn. Overall, what a way to finish out the week.
Titled ‘Urban Bohemia’, this Michael Kors collection took us back to the 70s, with people like Gloria Steinem acting as muses. He played with American sportswear from that time beautifully, and I might sound like a broken record, but often times people look at Michael’s collections and are disappointed at the simplicity, when in reality, he’s just never trying to be something he’s not. That doesn’t mean everything’s always a hit, but that also doesn’t mean it’s all bad and boring. This collection was simple, but it was refined, and it was a great continuation from last season. I’ve said multiple times that I’m not a belt’s biggest fan, but the low slung leather belts in this collection were gorgeous. They were a callback to a 2004 collection, which is interesting since the belts in the previous collection (also great), were pulled from an early aughts collection as well. Suiting was very strong and clean. A monochrome taupe look with cape and mini skirt, was incredible, and the addition of fringe and bell shapes kept the 70s fun going. While the era carries a coolness along with it, we can’t forget about the glamour that was represented through beautiful furs in varying styles and colors. The knits and jersey styles with bell shaped sleeves and pants were chic, and had a lot of day-to-night potential. Leopard print was okay, but an emerald green was eye catching. A blouse with winged sleeved was wrapped perfectly into a maxi skirt, and that same v style was seen in the cutout of a perforated dress. The show finished off with a signature Michael Kors sequin in a variety of styles— perfect for a Studio 54 moment.
Altuzarra was once again style by Gabriella Karefa-Johnson, so you already know you’re in for a treat. This was such a standout show to me amongst all the ones we’ve seen this season, because it was just so fun and full of color. A lot of designers have been going more minimal and neutral, which like, live your truth, I’m not mad at it, but this was refreshing. Joseph Altuzarra talked about how he wanted the collection to feel very express and imaginative since so much of the world feels dark and scary— he wanted the collection to feel like something out of this world. Taking that and running with it literally, the tie-dye prints inspired by Rorschach inkblots and this idea of seers and oracles, felt very extraterrestrial and out of this world. I loved the way parka styles were worn draped off the shoulder and the symmetry done in the dyes was incredible. Knits were scrumptious and pleated looks were very sweets. The twisting around the bust of some dresses was very clean and although leather is a difficult fabric to manipulate, I couldn’t find a fault in the way it was done here. There was a section of jersey styles done a la Madame Grès, my favorite being an asymmetrical blue style. Knit hats were very voluminous and I need one immediately. Floral prints came close to the ends and were placed very strategically, placed in a way that made them look like they were reclaiming the body. The finale looks made me wonder why we haven’t seen parkas incorporated into evening wear more often. I might despise the cold, but if it means getting to wear one of these looks, ship me off to Alaska immediately.
Wiederhoeft Fall 2023 was described as an “operatic post-gender retelling of Orpheus and Eurydice, in which Eurydice chooses the underworld.” Is Greek mythology a trend this season??? Anyway, the show began with a very Balenciaga-esque dress with a voluminous skirt made out of a painters tarp. The reel star of the look, and the whole collection, was the absolutely snatched corset veiled underneath a sheer tulle. The girlies at Wiederhoeft sure know how to cut, and I truly can’t get enough of these corsets. A crystal embelished look reminded me of Kim Kardashian’s camp Met Gala look, but make it bridal. Speaking of bridal, the brand is known for their bridal wear, which is why there is so many of those moments seen throughout. Three shift dresses looked seemingly simple and demure, but upon further expection you can see a sheer, lace up panel running down the sides. When I first saw these looks, I was like, okay three blind mice!!! But when I read the inspiration behind the collection, I was like ah, the Fates. This collection felt more wearable, but not without that consistent Weiderhoeft touch. A sequin coat had a stain glass feel and sheer tattoo printed dresses were inspired by the idea of permanence; words that can not be taken back. The designer mentioned a time when he was walking down 8th avenue when someone shouted, “I saw you fucking looking at me” at him, before proceeding to follow him for a few blocks. Naturally, this inspired the “don’t look” graphics. He said that there is so much power to destroy someone by looking or not looking at them. A red set with feather had was made out of a moire silk, which you know I always love to see. While the corseting was the obvious standout of the show, I’d say the whole collection itself was quite good.
Theory was a lesson in minimalism and it was beautiful. I love a subtle 60s undertone and I love how everything is meant to show a woman’s wardrobe and how you can build it in multiple ways. The pop of red was striking, but it was the opening looks in white that held my attention
Simkhai went through a rebrand, not only in name, but also in style. When I think of Simkhai, I usually think of flowing fabrics and a bohemian touch— this collection was anything but. The fabrics were heavier, and the Simkhai women seemed to want to conduct power in a world where there is so much chaos and confusion. I fear she might have been a but confused herself. There were some nice moments and ones that could benefit some more exploration, but overall, it wasn’t too memorable
Prabal Gurung was another designer that found inspiration in fauna, with the wing patterns of butterflies being seen throughout his Fall 2023 collection. The collection moved through eastern and western modes of dress and explore opposing ideas. Prabal Gurung was rough this season, and this season is a bit better, but I’m still a little confused. I liked the juxtaposition of jagged against soft, heavy against like, but some moments just felt like they were trying too hard. I also really enjoyed two very compact jackets that seemed to be made out of tulle. Their shapes were fun and their colors were lovely.
PH5 is mainly known for their wavy knits, and while those styles are stronger than ever, they’ve also started to dip their toes into incorporating other woven materials. The brand has also incorporated materials from their last collection into this one, following through with their ethos as a brand. The addition of puffer styles with knit sleeves are fantastic and the styling throughout is so fun. The trompe l’oeil denim sets and crushed fabrics are done beautifully and I’m always a huge fan of their color stories. Overall, PH5 continues to be an incredibly unique ready-to-wear brand who’s evolution has felt so natural.
Eckhaus Latta’s darker, moodier collection this season was quite the opposite from last season’s airy and bright experience. Zoe Latta talked about how last season FedEx had lost their main collection, so they were thinking what about what they would have done differently by not having any of it. This lead to a feeling of uneasiness that the designers wanted to play with, which can explain the inside out seems, the frayed hems, the slashed fabrics. As the show when on, more color and lightness was introduced. A pink bomber that was hand knit in Bolivia was especially wonderful, and I really enjoyed vinyl that develops a marbled effect with wear over time. Certain pieces had a zippers and buttons that allowed their style to change, and I thought the play with texture was interesting overall.
Ulla Johnson was very Ulla Johnson, so if you love Ulla Johnson you’ll love this collection. Honestly, for what it was, the collection was nice. Some ruffles and sheer fabrics were concerning, but other than that, I am just not the customer for this.
Kim Shui gave us Baby Phat realness in a super hot collection this season. This season, the designer played with this idea of how she’s a shy person by nature, but how her clothing is quite the opposite. The clear PVC snake skin embossed pieces were really interesting and made me wonder how we can incorporate bubble wrap into fashion. However, they were actually meant to symbolize the shedding of skin. Lace up mini skirts were actually meant to be belts, and various other pieces were also done in a lace up style, giving them a bit of a bondage feel. Little negliges were sweet and lace bodysuits kept up with the current trend. I really enjoyed patchwork pants that were made of lace and silk, and fur coats were a nice addition to the barely there collection, since a hoe does sometimes get cold. I often find myself loving Kim Shui’s work, but also often wish that more editing had gone into making the clothing a bit more refined and finished.
Judy Turner Fall 2023 was a yummy little collection. The knits. That is all.
Priscavera is known for their party wear and evening looks, so this season they wanted to take the clothing into the daytime. Still, the collection was hot, and one I think the TikTok fashion girlies will be eating up.
You guys already know my deep love for R13 and how I always refer to it as your best friend’s older sister who you think is the coolest person ever and want to be when you grow up. I still stand by that. This season, Chris Leba asked himself what the R13 girl would wear if she had to go to a black tie party. The designer had Ralph Lauren on the mind and how he pairs a tuxedo jacket with a pair of jeans and cowboy boots; Chris used to also work at Ralph Lauren, so this felt like a nice moment. He was also thinking about the Sex Pistols and a performance of “My Way” where Sid Vicious wears a white tuxedo jacket. I love how R13 always takes very basic pieces and ideas and then adds a little bit of spice. The addition of fishnets over white button ups was to give texture and reimagining tuxedo pants as cargos gave them that R13 edge. Velvets and boiled wools were scrumptious, and the addition of signature plaids made perfect sense for this collection. Chris and his team often photograph street art and use it to make prints for the clothing, and these season they were especially wonderful.
Gabriela Hearst’s clothing has a timelessness to it that is so lovely. Her work with textiles is always really great, and this season she was inspired by the architect and furniture designer Eileen Gray— this can be seen mainly in the colorblocked reds and yellows. The subtle side cutouts with metallic molds on the hips were wonderful and I loved leathers that looked like they had some wear to them. Knits were really scrumptious, and while her clothing is more conservative, it still manages to have a sexiness engulfing it all.
Brandon Maxwell was another designer that went back in time and drew inspiration from the beginning of his work. This season was quite a contrast for the show, and yet the designer said the grayscale color story came from a place of joy. Honestly, it wasn’t bad. Brandon Maxwell has grown on me over the last few seasons, and while I’m not going to particularly remember this collection, I don’t have awful things to say about it.
Last season Maisie Wilen looked to the digital landscape and things like green screens as a source of inspiration. This season, while the study of digital imagery was still there, it was placed alongside “craft and industrial materials.” The collection was quite literal a lot of the time, but that doesn’t mean it wasn’t intersting. Digital face prints, a dress made out of basketballs, paper bags, all these things seemed out of place, yet somehow worked and were very compelling.
Christian Cowan was a lot less scary this season. Judy Garland acted as the muse for this collection and Christian decided to pay homage to her through a variety of glitzy and glamorous looks. He talked about how Hollywood legends like Judy Garland were symbols of hope for the gay community “at a time when nobody else was showing public adoration for the queer community, these women were going to queer bars or using queer people in their teams; they were so devoted to their community.” However, this collection wasn’t about recreating the stars iconic outfits, it was about evoking her essence. While he had quite a bit of… fun last season channeling his days as a young designer still in school, he came to the realization that that just isn’t the person he is today, and therefore this collection had a maturity to it as well. So yes, there were lovely silks and cottons, as well as that peplum trend we can’t seem to shake, but the glamour and over the top feathers, sequins, and head pieces were not lacking. Honestly one of the most refined Christian Cowan collections to date.
The mother-daughter duo behind House of Aama put out a collection that centered around the folk tale of Anansi the Spider. “This collection is about the Caribbean and migration into the United States.” said Akua Shabak, “It was essentially and homage to our family legacy of migration.” The idea of family and passing things down from generation to generation is something the designers incorporate into every collection. The collection had something for everyone, both young and old, and the incorporated menswear seamlessly. Jute dresses, spider prints, color blocking, and suiting were just a few of the lovely elements seen throughout this tasteful collection.
Who Decides War incorporated New York City architecture into the most stunning quilted looks. The suiting, the proportions, the utilitarian elements; scrumptious.
Saint Sintra was quite minimal and unfinished this season, but I’m not mad at it?
So that was NYFW!!! Swiftly getting into London, because I can’t imagine ever letting these pile up ever again. As usual, testing your reading and comprehension skills by not proofreading this long ass newsletter.
TTYL!!!
xx