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Well, it's that time again. It's fashion month and we're boot things off in the city that never sleeps, the big apple, that's right… New York Metropolis. Terminal season'due south IRL runway shows, the kickoff in likewise many seasons to count, gave united states new life and from what nosotros've seen and so far New York Fashion Calendar week's AW22 schedule won't disappoint either

The city's mainstays like Proenza Schouler, Passenger vehicle and the newly-minted hometown hero Peter Exercise are joined by buzzy newcomers Elena Velez and Saint Sintra, who'due south debut collections last season put them on the proverbial fashion map. Elsewhere we'll see what are sure to be standout drove from all our favourites — Maisie Wilen, Maryam Nassir Zadeh and Puppets and Puppets, only to name a few. It's a lot, we know, but the adept news is you'll find everything you need to know about AW22's about exciting collections — including reviews and runway imagery — right here. Buckle upwards fashion fans, considering nosotros're only getting started!

Telfar

After putting runway shows on pause for the past two years, Telfar and brand co-leads Baback Radboy and Avena Gallagher presented an issue on Midweek entitled "WOW" at Southward Street Seaport's Pier 17. In part, this NYFW finale was the release of a trailer that documented the product of their "ongoing improvisational, non-extractive cinema practice" chosen Telfar Idiot box, which launched last autumn in collaboration with The Umma Chroma, "a Black movie house district" led past Terence Nance. The screening was punctuated by user-generated content sent in by viewers, voiceovers from Black scholars, poets, and artists, and live video-call footage of exuberant customers gagging for new colorways and real-time product "drips". Ane woman squealed in jubilation afterwards learning she'd just won a new shopping bag in chocolate brown during a game show interstitial simulatingWheel of Fortune. Some other superfan, surrounded by the treasured Telfar wares she'd worked to collect over fourth dimension, danced with abandon in a large Telfar dustbag stamped with his logo.

The clothes began with ideas initially adult for uniforms that the Liberian Olympic team wore to the 2020 Games, farther exploring jersey and fleece in the form of colorful hoodies, retro dolphin shorts transformed into that familiar thigh-baring pant silhouette, basketball game shorts reshaped every bit culottes, and "tall tees"—of early 2000s, Crime Mob-era ubiquity—worn as tunics. The show continued with archetype Telfar rib knits, throwbacks to his "Customer" t-shirts, and lots of denim: from i look featuring daisy dukes styled over a bodysuit with red boots, evoking the Pan-African flag, to spacious, exaggerated skater jeans with experimental pocket placements. The collection likewise introduced a new purse, the Circumvolve. At one indicate a model dressed in a fully masked blackness bodysuit ran effectually offering showgoers a QR lawmaking with a link to purchase straight off the runway. It has already sold out.

Photograph by Dan Lecca

Photo past Dan Lecca

Photograph past Dan Lecca

Photograph by Dan Lecca

Commission

The designers behind Commission, Dylan Cao, Jin Kay and Huy Luong, have always taken a very personal approach to their article of clothing: their very first collection was an ode to the 80s East Asian working woman, and inspired by Huy'southward mom. He and Dylan grew upward in Vietnam, and Jin in South Korea, and the collections that followed explored their commonage heritage and developed their core offering of denim, silk dresses and separates, impeccable outerwear and deconstructed tailoring.

Now, seven seasons in, Committee feel more confident shaking up some of these signature silhouettes and blurring the lines a bit. The AW22 collection 'Fast Riders, Slow Dancers' explores American "classics" and sees a shine crossover between mens and womenswear. Crisp, cutting-out Oxford shirts and heavy workwear trousers are seen on all bodies, as are two-in-one tailored herringbone vests and blazers. There'south no shortage of denim or leather, either, both used to elevate the everyday through shoppers, oversized buckled belts and what can only exist the perfect pair of flared jeans.

"We think it's a claiming, as non-American designers, to see these archetype pieces through our own lens," the squad says. "The collection is a truthful mash-up of elements that are accounted 'representative' of Americana similar sportswear, denim, the American Due west, cross-country motorcycling… Only as well tying in a bit of Ivy League dressing, goth elements and even a slight touch of Harajuku. This eclectic course of expression is very Commission."

Plainly, some other thing that's "very Commission" is creating i of the near-buzzed nigh collections at NYFW, without staging a proper evidence or presentation. The appointment-just hype is spread past word of mouth like wildfire — that's how you know it's really good. ND

Photography Huy Luong

Collina Strada

Collina Strada'southward Hillary Taymour is no stranger to the experimental. From partnering with the illustrator of Animorphs on transforming her models into four-legged creatures, to consistently exploring innovative means to produce environmentally sustainable collections, she's historically been interested in bridging the worlds of mode and nature. This season began on the aforementioned note: as the audience filed into the Angelika theater to meet her AW22 collection, footage of horses chomping grass, giraffes playing, ladybugs making honey and parrots grooming 1 another played in the identify of what might normally be a video of dancing popcorn.

The showcase and so went in a different direction — playing out equally an episode of The Collinas, a silly parody of The Hills starring Tommy Dorfman, Kimberly Drew, Aaron Phillip, Chloe Wise, Rowan Blanchard and many others from Hillary'southward social world. Tommy Dorfman was The Collinas respond to Lauren Conrad, fumbling through an internship at the brand, and learning the difficult way the subtle do'due south and don't's of New York's downtown style scene. Don't take sneaky pics of models on set, and whatever you do don't consume a pastrami sandwich at company lunch. Practice buy a sustainable Collina Strada h2o bottle!!

The self-deprecating jokes and cute antics of Tommy's journey were accentuated correct and left with looks from the collection, most of which were near visible during the reality-TV-esque interstitials introducing each new character. The thematic homage to the aughts was reflected in the clothes, from varsity graphic tees and depression-rise cargo pants to spiked grommet belts worn in multiples, and trousers or leggings worn under skirts. Tanks were layered on summit of dresses and mesh tops, and fingerless gloves accentuated about every wait. There was fifty-fifty more than vintage shape on display, shown in bustled dresses that first made their debut concluding flavour. Honestly, if you're reading this Netflix, you should consider picking up episode two of The Collinas. We're here for it. AT

Gogo Graham

On Tuesday night, Gogo Graham transformed the outdoor patio of Brooklyn nightclub Nowadays into a playground to nowadays her AW22 drove. Small-scale, yurt-similar tents were set up for hair and makeup, and the models — all of them trans and self-cast from Gogo'southward creative community — crammed inside fully-dressed before walking downward the runway.Euphoria actress and model Hunter Schafer, who not but airtight the show just sponsored information technology, captured the silly and joyful moment on her Instagram: "The dolls are dolling," she wrote.

Both trailblazers in their respective fields, Gogo and Hunter met a few years ago, on the set of aVogue video shoot, and have since become good friends. The California-built-in and Brooklyn-based designer is known for her fantastical runway shows — an off-schedule staple at New York Fashion Calendar week for over ten seasons at present — just besides her long-standing commitment to diversifying fashion: "representation of trans women by trans women," she told us in 2015. Hunter is certainly no stranger to the fashion world, merely it was Gogo's prescient vision and unique aesthetic that made her desire to back up the label.

"Honestly, who else is exclusively using trans models to present their work? She's been doing it from the jump," Hunter says, explaining that Gogo is an inspiration to many who feel excluded from the manufacture. "That is world-building that I crave, and I imagine most of my community craves every bit well. It'south nix short of magic to encounter that in fashion right now."

This magic is instilled in Gogo's habiliment, likewise. When the designer gear up out to create her latest collection, Abode, Sweet, Home, the isolation that we've all experienced over the past ii years was forepart of mind, as well equally the things we've found comfort in — cosy at-home clothing, cheesy rom coms, et al. — and the style our current reality often feels surreal. "I like to make some kind of fantasy, always, with my collections," Gogo says, a few hours before her show. "[This season] the fantasy is everyday and ordinary because things are and thennot ordinary correct now, but information technology's like we're supposed to be pretending it is." Read our full feature on the Gogo x Hunter hither! ND

Photography Hedi Stanton

Peter Do

Peter Exercise is done with the past. That may sound like a stern about-turn from the mood that coloured his namesake label's SS22 show, a rumination on its stratospheric rise to becoming one of New York Way Week's immature flagships, and nostalgic memories of family pho-making rituals and lost loved ones. For AW22, however, the designer's sights are gear up firmly ahead. "I wanted to cement last season as a moment of arrival," Peter said in a pre-show preview. "With this drove, though, I'm thinking nearly the future. I'm not looking astern."

Titled 'Foundation', the drove essentially serves equally a grounding manifesto – the "preparations for building a house from the footing up," he says – reiterating the signatures that have earned the make one of the most avid cult followings in fashion right now. Presented against a suite of ambient Rothko-hued giant screens at Genesis House – the New York flagship of the buzzy Korean electric car manufacturer – the evidence'southward set up was a notable departure from the cinematic romance of the soaring Manhattan skyline that ready last flavor's phase. "It almost feels veryBlade Runner," Peter muses.

That techy, neo-noir spirit permeated the clothes themselves. Supplanting last season's blush-hued embroideries, the paw-placed crystals, the swooning contours were hard graphic lines, crisp, collarless pleat-fronted shirts styled with armour-like leather boleros, boxy tailoring in diagonally-placed blackness and white blocking, and mesomorphic triple-belted waists. "This season was really about presenting who the Peter Do woman is for me," Peter said. There's a strong sense of self to her — a atypical point of view." Read the full review here! MS

a model walking the runway at peter do's aw22 show at new york fashion week

Photography Greg Kessler

Dion Lee

With his AW22 collection, Dion Lee explored the complication of the word "Facade." It'due south an architectural term—a consistent framing logic for the make, now in its 10th year—while a play of exposure and suppression also probes at the core tensions underlying sexuality, likewise i of the designer's foundational threads. What is shown, and what is curtained? This flavor, plush shearling served to hibernate and reveal, trimming several pieces from oversized leather coats, to little motorbike jackets paired with mini-skirts and mesh, gloves worn with matching corsets, and furry open-toe boots. Heavy, cut-out knits bared the shoulders, chests, elbows, and obliques, snaking around models wrists as they slipped their hands into trousers. There was a conversation betwixt leather and lace, each working to dominate the other, alongside hooded outerwear and balaclavas that sometimes obscured the face, and sometimes did not. Brilliant, almost iridescent fabrics gear up a metatverse-y mood, evoking questions of what information technology ways to be present without really existence in that location at all. AT

Connor McKnight

For AW22, Connor McKnight's thoughts turned to the Reconstruction era, a brief, pre-Jim Crow period when enslaved people were technically granted equal ceremonious rights under the Constitution. Information technology was a time where freed men and women sought out the dignity they deserved through paid labor — jobs that were permitted for Black folks, and thus considered 'Good Work,' the championship of this drove.

At present in his third season, Connor translated his simple signatures into commonsensical shapes with a workwear feel. Inspired by fisherman'southward uniforms, there were chunky knits and cropped vests in mesh and nylon, alongside sturdy corduroy and denim jeans in retro silhouettes. He offered jumpsuits rendered in fleece, referencing the Tuskegee Airmen, Black pilots who flew American fighter planes in WWII. At that place were also femme pieces, including a blackness fleece corset laced with a bungee cord, pocket-sized sleeveless column dresses, and a stunning black gown honoring quilts made by the enslaved women of Gee'due south Curve, Alabama. Much of the drove was executed in muted thematically-aligned tones, which fabricated it impossible to miss a tumeric-hued work jacket, decorated by mitt with florals that looked similar blackness tea stains; a quietly joyful moment punctuating a meaningful meditation. AT

a model wearing connor mcknight's aw22 collection

Maryam Nassir Zadeh

Maryam Nassir Zadeh showed her AW22 collection at The Clemente Theatre on the Lower Due east Side on Monday afternoon — just a block away from the designer's downtown shop on Norfolk Street, which she transformed into a snaking runway last flavour. This time around guests saturday in bleachers every bit models entered the theatre stage right, creating an elevated atmosphere for the Iranian-American designer's "refined and elegant" offering. "I want to try to achieve a soulful elegance — a spirit within the garments," Maryam explained backstage. "I dear vesture and I collect clothing, so I experience that there's an energy to garments."

Throughout the pandemic, and still, today, the designer finds herself gravitating towards basic shapes — "those are the things you desire to pull out of your cupboard" — and hopes to create a timeless library of designs that can be revisited once again and again. In working almost exclusively with a neutral color palette for AW22, aside from calculated pops of red, royal blueish and drupe, Maryam built upon clean silhouettes from previous seasons by instilling them with a "punk stone" edge. This can exist seen in the details: slashed up tops, abrupt pointed collars and chunky layering across men'due south and womenswear, which takes inspiration from German New Wave films, makeup shades — like the 80s bluish eyeshadow seen on Paloma Elsesser — and iconic fashion photography. As with each MNZ collection, it's a place in time, a mood, a feeling, but never a fleeting moment. ND

a model walking the runway at maryam nassir zadeh's aw22 show at new york fashion week

Photography Madison Voelkel

Coach

When you cull to bear witness on Valentine's Twenty-four hours, a hefty dollop of romance comes with the territory. Non ane to shy away from that duty was Stuart Vevers of Coach, who last dark presented his AW22 collection for the American leather appurtenances stalwart on Pier 36 of New York City's Lower East Side. Rather than broach the theme likewise literally — the line between sweet and cloying is, after all, a fine one — the British artistic director forewent rug the runway with rose petals in favour of a more subtle, tinted perspective. Where that fabricated itself most strongly felt, was in the bear witness's setting — a reproduction of "a town somewhere in America," read the prove notes, "where it'due south always the gold hr", conjuring images of a pristinelyStranger Things bourgeoisie to listen — every bit well as by the fact that long-distance attendees were delivered all-American apple tree pies earlier the bear witness.

Though the clothes that filed downward the runway didn't directly echo the cinematic romance that coloured the context in which they were shown, they were nonetheless imbued with an endearing yesteryear appeal — most like timeless hand-me-downs that look even more than chic generations now than the twenty-four hour period they were beginning bought. Pieces like the opening boxy shearling coats — worn with wide-cut mauve and lime cords — and an upcycled chocolate leather macintosh exuded stiff 70s nostalgia, while leather belong-and-trouser separates brought a racy, Mapplethorpe-y border to Stuart'due south study of the range of the textile's potential. Elsewhere, there were looks that reeked of 90s grunge: subtly oversize tees begetting graffiti-ish graphics won with chunky dog-collar chokers, Peter-Pan-neckband dresses, hefty wrap skirts, and leather coats printed with acid-hued houndstooth tartan motifs.

Rather than mawkish or regressive, however, they felt inflected with a gimmicky, absurd-girl spirit — an iconoclastic confidence that saw pieces often burdened past historical associations accept on new significance for a new generation. Read the full review here! MS

a model walking the runway at Coach's aw22 show at new york fashion week

Photos courtesy of Charabanc

Photos courtesy of Coach

Photos courtesy of Bus

Puppets and Puppets

For AW22 Puppets and Puppets designer Carly Mark wanted to create a collection that felt dark, moody and very New York. The theme was coven. "I knew I wanted witches walking down the runway," she said over e-mail. "I also focused on putting things downwardly the rails I would wear myself — much more so than past seasons."

Now in their sixth, the indie label that gained popularity through its experimental, avant-garde designs — which referenced decadent royal court costuming and featured absurdist culinary accessories — managed to strike a balance between inventiveness and wearability. Sure, AW22 offers some of the quirky Puppets signatures nosotros know and honey like structural skirts and dresses, this time eerily pointed out at the sides, blouses with long trailing sleeves and a particularly spooky, resin bat-adorned cutting-out dress that'due south worn by Sara Hiromi. But the collection, which was shown in the Ukrainian National Home while a tap dancer performed on stage, besides built upon terminal season's made-for-purchase garments, like Puppets logo knitwear, bespoke leather bags and impeccably tailored trousers and suits, done in a dark palette of plaids, wools and snakeskin prints.

The endmost look modelled past Richie Shazam is one that spoke to Carly's desire to interpret the disruptive Puppets ethos into something easier, slightly more than polished, for both her friends and retailers. "[Information technology] was one of my favourites this season," she says of the look. "A perfectly tailored wool coat with those painterly imperial blue breasts pigment printed on top. A mix of wearable classic and strange." ND

a model walking the runway at puppets and puppets' aw22 show at new york fashion week

Photography Dan & Corina Lecca

Khaite

Set up in a large industrial warehouse on Little Westward 12th Street, Khaite's AW22 prove opened with large robot-similar mechanical lights, their twisting arms and flashbulbs taking over the space, and an ominous thumping audio that led into Nirvana's "Where Did You lot Sleep Final Night". While this might seem uncharacteristic for the New York-based womenswear label, founded by Catherine Holstein in 2016, and known for its clean lines, classic silhouettes and overall softness, this season sees Khaite adding a healthy dose of grit to its quintessential glam. Mica Argañaraz kicked things off in a full leather look — a cinched and zippered-up brim and 80s-inspired jacket — the decade's influence seen in the oversized, shoulder-y blazers and tailored arrange that followed. "Defying dandy distinctions between past and future, reality and illusion, decadence and restraint, AW22 proposes a profoundly personal wardrobe of nuance and forcefulness, designed to be cherished and made for now," the show notes read. "Its tempo is one of welcome acceleration: the pace of a waking global city that continues to seek condolement in nostalgia."

Information technology'southward nostalgia that reigns in crocheted knitwear, sequinned gown slips, sculpted tunics and swagged miniskirts, flourished with ruffles and fringe. The more formal and flashy evening vesture looks are certain to channel Jerry Hall at Studio 54, while the more edgy separates are designed with the modern New York adult female in listen. What more could you lot ask for. ND

a model walking the runway at khaite's aw22 show at new york fashion week

Photography Hanna Tveite

Eckhaus Latta

On Saturday night, Eckhaus Latta presented its AW22 collection in the halls of the Lower East Side'south old Essex Marketplace. Models — familiar faces including Okay Kaya, Hari Nef and Paloma Elsesser — stalked its former aisles, amongst abased stalls and onetime, empty refrigerators. Editors, buyers and critics sat tucked betwixt wooden shelves, once replete with fresh produce (Sunkist oranges, two for $ane; butternut squash, 99¢/lb.). It was the Brooklyn-based label'due south first Manhattan-held show in 10 seasons and the evening's decampment, the choice of locale was annihilation merely haphazard. The old Essex Market place, an LES stalwart for over seven decades, closed its doors in early on 2019; soon, its manifestly brick dwelling will be torn downwards, replaced with a block of condominiums. "We've been trying for a long time to secure this location. It'southward very timely, veryNew York City," says Mike, hours before curtain telephone call. "It has that sense of history and time, something that's constantly evolving and changing. That sense that nothing is permanent here."

Like the venue of its AW22 outing, Eckhaus Latta is also an keepsake of the city it calls dwelling. Dissimilar the fate of the former Essex Market, withal, the bi-littoral label is symbolic of a more hopeful, autonomous form of progress. This flavor, Mike and Zoe celebrate ten years co-helming the characterization they created together. And for ten years, the duo have ushered American mode into the present moment, their high-sounding, avant-garde vision shifting the industry needle towards authenticity and inclusivity with pioneering genderless designs and non-model casting practices.

For AW22, ten years on from the label'southward 2012 debut, Mike and Zoe have fully refined their vision. "At that place's a familiarity to this collection," Mike says. This season, the duo continue to explore, expand and develop their hallmark themes — deconstruction and materiality; however, the offering is no retrospective. "Nosotros didn't desire to make a #TBT drove considering we're still genuinely excited about making clothing. Merely I will say, looking at the collection it does feel very cocky-referential," Zoe explains. Read on about how Eckhaus Latta made American fashion cool here! ZK

a model walking the runway at eckhaus latta's aw22 show at new york fashion week

Photography Madison Voelkel

Kim Shui

Nosotros tin can e'er rely on Kim Shui for her seasons-long practice of giving us power-femme via sexy cutouts and mesh, but tweed marked an intriguing point of material difference for her AW22 collection, shown on the runway at Bound Studios. There were skirts and jackets evoking Chanel-driven thoughts of Clueless, The Nanny and Hillary Banks of the Fresh Prince of Bel Air, paired perfectly with sunglasses in pastel neons, fur-trimmed floppy hats and Barbie-daughter bobs. New propositions came in the course of a tweed corset anchored to a cropped, collared bolero exposing flirtatious under-boob. Sensual sheer looks embroidered with sequined dragons were worn with blackness undies, thigh-loftier stockings, and crocodile trousers, ultimately cartoon the virtually attention from the audition. These were visual cues the designer attributes to mocking the fetishisation of Asian women and "co-opted Western fantasies" from her own point of view, focusing on sexuality as a channel for empowerment, and women taking control of their own stories.AT

Photography David Gannon

Shayne Oliver

Shayne Oliver'south Anonymous Gild — an expansive platform for collaboration with beau artists, musicians, designers, and idea leaders beyond his global community — launched a residency at The Shed's Griffin Theatre calledHeadless: The Demonstration, a serial of happenings spanning New York'south first 3 days of AW22. Thursday, amidst steel scaffolding, smoke, and video screens, there was a ceremony honouring Shayne'due south mentor Andre Walker, with a musical tribute to Virgil Abloh by recording creative person and former HBA Creative Director Ian Isiah. Friday was a preview of Shayne'south eponymous new label, featuring models draped in familiarly sexy, spiky, sometimes grotesque shapes (many glittering with Swarovski crystals), and cartoonish shoes with stretched, exaggerated toes.

Pat McGrath dreamt up enchanted-forest-demon-fairy makeup moments, and accessories nodding to Telfar Clemens and Ugg "previewed collaborations in the works for the brand," according to a printing release. Models walked through a continuing audience, soundtracked past songs from Shayne and Arca'southward musical projection Wench, crescendoing in a finale performance by industrial popular artist Eartheater.

Proceeding into the rest of way month, riding new post-pandemic wavelengths in a transformed metropolis as nosotros collectively finding our footing, it feels good to know he's back in transgressive action, surrounded by friends. Read more almost Shayne's new platform here! AT

two models posing backstage at shayne oliver's new york fashion week event

Photo courtesy of Shayne Oliver

a model posing backstage at shayne oliver's new york fashion week event

Photo courtesy of Shayne Oliver

Maisie Wilen

Maisie Wilen is known for her colourful, slinky political party dresses, ofttimes washed in hypnotic, optical illusion prints that bridge fashion and the aesthetics of the tech world. While last season marked the LA-based designer's official New York Mode Week debut, where she put a total range of 'going out' dresses, catsuits and activewear-inspired separates on brandish in The Blast Boom Room, AW22 saw the designer intermission ground in a new way. Maisie immersed critics, editors and fans of the brand in a first-of-its-kind holographic experience at a Chelsea gallery, where 7-pes-tall surreal projections of models came alive in the otherwise dark space. Inspired by the dolls of Mattel's Monster High, they performed disjointed dances, mocked viewers by laughing and flashed their fangs while maintaining eerie heart contact.

The clothes themselves denoted a Maisie Wilen daughter somewhat grown up, dressed in oversized outerwear and silken two-pieces. The looks might've been paired with fishnets and Maisie's signature cutout torso-con dresses were still a central feature, but this season they were shown in neutral knits also as playful prints, creating "a wardrobe that is made every bit much for one's virtual presence as information technology is for your existent-life cocky". Overall the digital presentation was chilling and unsettling in the best way, making Maisie'south universe a world every girl surely wants to be a role of. ND

Saint Sintra

Designer Sintra Martin contains multitudes. "I always had the feeling of living betwixt two worlds," she confides over Zoom, days before her AW22 testify. She's referring to her childhood — born to a Portuguese father and an American mother, she grew upward in Los Angeles, dreaming of Lisbon — however, the sentiment likewise serves to illuminate the New York designer's multifaceted inner world. "Growing up, I always felt I was exterior of the gender spectrum. I never really identified with either femininity or masculinity. I didn't similar that I felt like I needed to prescribe an identity," she explained. Sintra'south designs evoke the same expansiveness, exploring spectrums, breathing life into the space across the binary. With her characterization Saint Sintra, the designer explodes, amplifies, distorts and conflates the trappings of mens and womenswear: a joyous, "gender-bending" alchemy.

Sintra'south AW22 drove delves further into the notion of liminality, advancing a more nuanced expression of womanhood. "[With] the last drove, I was projecting what I think itshould mean to be a woman. This collection is a fleck more than honest and less feminine. It's what I think it means to be a woman," she explains. This season, Sintra spotlighted shirting, twisting, turning and transforming menswear staples into iterations that are not quite masculine, nor feminine. A striped Oxford button up is knotted with bows. A gorgeous periwinkle satin gown resembled a shrugged-off shirt: from the back, its neckline twisted into a pointed neckband, beneath the shoulder blade, a placket cascaded into a long, buttoned train. Read our feature on Saint Sintra and see backstage photos here! ZK

backstage photos at saint sintra's aw22 show

Photography Hedi Stanton

Elena Velez

Elena Velez's latest collection — titledYear 1: Maidenhood and Its Labors,and presented terminal night in her New York Fashion Week rail debut — builds on the notion of accurate femininity A grapheme study on her quintessential woman, information technology's a rigorous treatise on "the obligations of womanhood, industry, and aphrodisia exploring the conflicting and symbiotic tensions of womanhood," she says – tensions that take taken on a personal significance in recent years – she's a new mother, a burgeoning designer and entrepreneur, and a partner, all roles she performs at once.

The more you talk to Elena, the more pressingly autobiographical her work feels. She designs with an urgency to create, which she attributes to the anxiety and pressure level she felt to continue designing through what felt similar a "societal collapse" during the pandemic, captured in her NYFW on-calendar debut final season. "After that collection, it merely fabricated sense to go on this as the essence of the brand," this gritty, industrial, and distressed aesthetic she projects onto deftly cut tailoring, beautifully draped dresses, and sculptural body-con looks. Pieces caught in the remainder between a lite, pretty, and youthful femininity, and a durable, empowered conception of womanhood.

It's a tension that she refers to as "aggressively delicate," a perfect example of this aesthetic ethos being a breathtaking white apparel – that drew out audible gasps from the oversupply when it appeared from – cutting and pieced together and so meticulously that it pours over the contours of the body while actualization to be on the brink of falling apart. Or perhaps is the patchworked laminated armed forces canvas clothes, draped organically on the body and sewn inside out, resulting in aggressively protruding seams. Read our total characteristic on Elena here! JCU

a model posing in elena velez's aw22 collection at new york fashion week

Photos courtesy of Elena Velez

Proenza Schouler

Proenza Schouler presented their AW22 collection on Friday afternoon at The Brant Foundation, in the art centre's brightly-lit two-floor atrium to a alive musical composition by Eartheater. After a rollercoaster few years, this felt similar a tabula rasa moment — a chance to restate what lies at the core of Proenza Schouler: well-made clothes for the modern woman.

With this offering, designers Jack McCollough and Lazaro Hernandez sought to build upon their SS22 fix-to-wear drove, which captured the joy of the world opening support again – the pleasure of stepping out into the summer dominicus after months of lockdown – and most importantly, what one wears for the momentous occasion. Yet five months and one season later, our present moment and hereafter still feel uncertain. Then, AW22 saw the designers asking the hard questions: "What we are all stepping into — what will it look like, feel like, and what qualities will define information technology? How practice we discover beauty in the chaos and use information technology as a creative starting point to build the futurity?"

These sentiments were expressed in the testify notes — a special piece written by Ottessa Moshfegh, titled "Where Will Nosotros Go Next" — and throughout the collection as the designers experimented with shape, silhouette and the human being form; they played with the way garments accentuate, frame and in some cases, rebel against the torso. This can be seen in the first two looks — a pair of formal dresses in Proenza's trademark neutral colour palette that were at once class-fitting and bulbous, and the bias-cut knit circumvolve skirts that followed. They were made using new machines, Jack and Lazaro explained backstage, which knit up and downward equally opposed to sideways in order to create added book — jutting out from the waist and folding back in, billowing with each step.

"It's all about sensuality," Lazaro says. "We only dearest the thought of body, whether it's an exaggerated body or really twisted and wrapped. There'southward this whole obsession these days with social media, with everyone showing their torso…" Read the total review here! ND

a model walking the runway at proenza schouler's aw22 show at new york fashion week

Photography Jonas Gustavsson

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