Mercedes-benz Fashion Week Mexico 2016 Boos Fashion Show

Well, information technology'south that time again. It's fashion calendar month and we're boot things off in the city that never sleeps, the big apple, that's right… New York City. Final season's IRL rails shows, the first in also many seasons to count, gave us new life and from what we've seen so far New York Way Week's AW22 schedule won't disappoint either

The urban center's mainstays similar Proenza Schouler, Coach and the newly-minted hometown hero Peter Do are joined by buzzy newcomers Elena Velez and Saint Sintra, who's debut collections last flavour put them on the proverbial mode map. Elsewhere we'll meet what are sure to exist standout collection from all our favourites — Maisie Wilen, Maryam Nassir Zadeh and Puppets and Puppets, just to name a few. It's a lot, we know, but the good news is you'll observe everything you need to know about AW22's most exciting collections — including reviews and runway imagery — correct hither. Buckle up fashion fans, because we're only getting started!

Telfar

After putting runway shows on pause for the past two years, Telfar and make co-leads Baback Radboy and Avena Gallagher presented an event on Midweek entitled "WOW" at Due south Street Seaport's Pier 17. In function, this NYFW finale was the release of a trailer that documented the production of their "ongoing improvisational, not-extractive picture palace practice" called Telfar Idiot box, which launched final autumn in collaboration with The Umma Chroma, "a Black movie theater commune" led by Terence Nance. The screening was punctuated past user-generated content sent in past viewers, voiceovers from Black scholars, poets, and artists, and live video-call footage of exuberant customers gagging for new colorways and real-fourth dimension production "drips". Ane woman squealed in jubilation subsequently learning she'd simply won a new shopping purse in chocolate brown during a game show interstitial simulatingWheel of Fortune. Another superfan, surrounded by the treasured Telfar wares she'd worked to collect over time, danced with abandon in a large Telfar dustbag stamped with his logo.

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

Photograph by Dan Lecca

Photograph past Dan Lecca

Photograph by Dan Lecca

Photograph past Dan Lecca

Commission

The designers backside Commission, Dylan Cao, Jin Kay and Huy Luong, have always taken a very personal approach to their clothing: their very first collection was an ode to the 80s Due east Asian working adult female, and inspired past Huy'south mom. He and Dylan grew up in Vietnam, and Jin in South Korea, and the collections that followed explored their collective heritage and adult their core offering of denim, silk dresses and separates, impeccable outerwear and deconstructed tailoring.

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

"Nosotros think it's a claiming, equally 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 deemed 'representative' of Americana similar sportswear, denim, the American West, cross-country motorcycling… But also tying in a bit of Ivy League dressing, goth elements and even a slight touch of Harajuku. This eclectic form of expression is very Commission."

Apparently, another thing that's "very Commission" is creating one of the about-buzzed well-nigh collections at NYFW, without staging a proper show or presentation. The appointment-just hype is spread past word of mouth like wildfire — that's how you lot know it'southward actually good. ND

Photography Huy Luong

Collina Strada

Collina Strada's 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 flavor began on the same notation: as the audience filed into the Angelika theater to see her AW22 collection, footage of horses chomping grass, giraffes playing, ladybugs making love and parrots grooming one another played in the place of what might normally exist a video of dancing popcorn.

The showcase and so went in a different direction — playing out every bit an episode of The Collinas, a dizzy 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 answer to Lauren Conrad, fumbling through an internship at the make, and learning the hard way the subtle do'south and don't's of New York's downtown style scene. Don't take sneaky pics of models on set, and any you do don't consume a pastrami sandwich at visitor luncheon. Do buy a sustainable Collina Strada h2o bottle!!

The self-deprecating jokes and cute antics of Tommy's journey were accentuated right and left with looks from the collection, most of which were most visible during the reality-TV-esque interstitials introducing each new graphic symbol. The thematic homage to the aughts was reflected in the clothes, from varsity graphic tees and depression-ascension cargo pants to spiked grommet belts worn in multiples, and trousers or leggings worn nether skirts. Tanks were layered on top of dresses and mesh tops, and fingerless gloves accentuated virtually every look. There was even more vintage shape on display, shown in bustled dresses that first made their debut terminal flavor. Honestly, if you're reading this Netflix, you lot should consider picking upwards episode two of The Collinas. We're here for it. AT

Gogo Graham

On Tuesday dark, Gogo Graham transformed the outdoor patio of Brooklyn nightclub Present into a playground to nowadays her AW22 drove. Small, yurt-like tents were set up for hair and makeup, and the models — all of them trans and self-cast from Gogo's creative customs — crammed inside fully-dressed before walking down the runway.Euphoria extra and model Hunter Schafer, who non only closed the show merely sponsored it, 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 agone, on the set of aVogue video shoot, and have since become proficient friends. The California-born and Brooklyn-based designer is known for her fantastical rails shows — an off-schedule staple at New York Manner Calendar week for over ten seasons now — but also her long-standing delivery to diversifying style: "representation of trans women by trans women," she told us in 2015. Hunter is certainly no stranger to the way world, simply it was Gogo's prescient vision and unique aesthetic that fabricated her want to support the label.

"Honestly, who else is exclusively using trans models to nowadays 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 industry. "That is world-building that I crave, and I imagine nigh of my customs craves likewise. It'south nothing short of magic to come across that in fashion right now."

This magic is instilled in Gogo's clothing, too. When the designer set up out to create her latest collection, Home, Sweet, Dwelling house, the isolation that we've all experienced over the past two years was forepart of mind, as well as the things we've institute comfort in — cosy at-home clothing, cheesy rom coms, et al. — and the way our current reality often feels surreal. "I like to brand some kind of fantasy, always, with my collections," Gogo says, a few hours before her bear witness. "[This flavour] the fantasy is everyday and ordinary because things are sonon ordinary right now, but information technology's like we're supposed to exist pretending it is." Read our full feature on the Gogo x Hunter hither! ND

Photography Hedi Stanton

Peter Practise

Peter Do is washed with the by. That may sound similar a stern about-plough from the mood that coloured his namesake label's SS22 show, a rumination on its stratospheric rise to condign one of New York Style Week'due south young flagships, and cornball memories of family pho-making rituals and lost loved ones. For AW22, however, the designer's sights are gear up firmly alee. "I wanted to cement concluding flavor equally a moment of arrival," Peter said in a pre-show preview. "With this collection, though, I'm thinking about the time to come. I'one thousand not looking backward."

Titled 'Foundation', the collection essentially serves equally a grounding manifesto – the "preparations for building a firm from the ground up," he says – reiterating the signatures that have earned the brand i of the most avid cult followings in fashion correct at present. Presented confronting a suite of ambience Rothko-hued giant screens at Genesis Firm – the New York flagship of the buzzy Korean electric automobile manufacturer – the bear witness'south ready was a notable divergence from the cinematic romance of the soaring Manhattan skyline that set last season's stage. "Information technology nearly feels veryBract Runner," Peter muses.

That techy, neo-noir spirit permeated the clothes themselves. Supplanting last season'due south blush-hued embroideries, the paw-placed crystals, the swooning contours were hard graphic lines, crisp, collarless pleat-fronted shirts styled with armour-similar leather boleros, boxy tailoring in diagonally-placed blackness and white blocking, and chunky 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 cocky to her — a singular 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 drove, Dion Lee explored the complexity of the word "Facade." It's an architectural term—a consistent framing logic for the brand, now in its tenth twelvemonth—while a play of exposure and suppression likewise probes at the cadre tensions underlying sexuality, also one of the designer'southward foundational threads. What is shown, and what is concealed? This flavour, plush shearling served to hide and reveal, trimming several pieces from oversized leather coats, to little motorcycle 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 effectually models wrists as they slipped their hands into trousers. At that place was a chat between leather and lace, each working to dominate the other, alongside hooded outerwear and balaclavas that sometimes obscured the face, and sometimes did non. Brilliant, almost iridescent fabrics set a metatverse-y mood, evoking questions of what it means to be nowadays without really being there at all. AT

Connor McKnight

For AW22, Connor McKnight's thoughts turned to the Reconstruction era, a brief, pre-Jim Crow menses when enslaved people were technically granted equal civil rights under the Constitution. It was a fourth dimension 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 title of this collection.

Now in his third flavor, Connor translated his simple signatures into commonsensical shapes with a workwear experience. Inspired past fisherman's uniforms, at that place 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, Blackness pilots who flew American fighter planes in WWII. There were also femme pieces, including a black fleece corset laced with a bungee cord, small sleeveless cavalcade dresses, and a stunning black gown honoring quilts fabricated past the enslaved women of Gee's Bend, Alabama. Much of the collection was executed in muted thematically-aligned tones, which fabricated it impossible to miss a tumeric-hued work jacket, decorated by hand with florals that looked like 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 Eastward Side on Monday afternoon — just a cake away from the designer's downtown store on Norfolk Street, which she transformed into a snaking runway final season. This time effectually guests saturday in bleachers every bit models entered the theatre stage right, creating an elevated atmosphere for the Iranian-American designer'south "refined and elegant" offer. "I desire to try to achieve a soulful elegance — a spirit within the garments," Maryam explained backstage. "I dear habiliment and I collect wearable, and then I feel that there's an energy to garments."

Throughout the pandemic, and nevertheless, today, the designer finds herself gravitating towards bones shapes — "those are the things you lot want to pull out of your closet" — and hopes to create a timeless library of designs that can be revisited over again and again. In working almost exclusively with a neutral colour palette for AW22, aside from calculated pops of red, royal blue and drupe, Maryam built upon clean silhouettes from previous seasons by instilling them with a "punk rock" edge. This can exist seen in the details: slashed upwardly tops, sharp pointed collars and chunky layering across men's and womenswear, which takes inspiration from German New Moving ridge films, makeup shades — similar the 80s blue eyeshadow seen on Paloma Elsesser — and iconic fashion photography. Every bit with each MNZ collection, it's a place in fourth dimension, a mood, a feeling, just 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

Double-decker

When you lot choose to testify on Valentine's Twenty-four hour period, a hefty dollop of romance comes with the territory. Not one to shy abroad from that duty was Stuart Vevers of Motorcoach, who final night presented his AW22 collection for the American leather goods stalwart on Pier 36 of New York City's Lower E Side. Rather than broach the theme too literally — the line between sweet and cloying is, after all, a fine one — the British creative manager forewent rug the runway with rose petals in favour of a more subtle, tinted perspective. Where that made itself virtually strongly felt, was in the show'southward setting — a reproduction of "a boondocks somewhere in America," read the prove notes, "where it'due south e'er the aureate hour", conjuring images of a pristinelyStranger Things suburbia to mind — too as by the fact that long-altitude attendees were delivered all-American apple pies before the show.

Though the dress that filed down the track didn't directly echo the cinematic romance that coloured the context in which they were shown, they were nonetheless imbued with an endearing yesteryear entreatment — well-nigh like timeless hand-me-downs that look even more chic generations now than the 24-hour interval they were first bought. Pieces like the opening indigestible shearling coats — worn with wide-cut mauve and lime cords — and an upcycled chocolate leather macintosh exuded stiff 70s nostalgia, while leather vest-and-trouser separates brought a racy, Mapplethorpe-y edge to Stuart'south study of the range of the material's potential. Elsewhere, at that place were looks that reeked of 90s grunge: subtly oversize tees bearing graffiti-ish graphics won with chunky dog-collar chokers, Peter-Pan-collar dresses, hefty wrap skirts, and leather coats printed with acid-hued houndstooth tartan motifs.

Rather than mawkish or regressive, nevertheless, they felt inflected with a contemporary, cool-girl spirit — an iconoclastic conviction that saw pieces often encumbered by 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 Motorbus

Photos courtesy of Coach

Photos courtesy of Motorcoach

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 electronic mail. "I likewise focused on putting things down the rail I would article of clothing myself — much more so than past seasons."

Now in their 6th, the indie characterization that gained popularity through its experimental, avant-garde designs — which referenced decadent royal court costuming and featured absurdist culinary accessories — managed to strike a residuum between inventiveness and wearability. Certain, AW22 offers some of the quirky Puppets signatures we know and love similar structural skirts and dresses, this time eerily pointed out at the sides, blouses with long trailing sleeves and a particularly spooky, resin bat-adorned cut-out clothes that'due south worn by Sara Hiromi. Merely the collection, which was shown in the Ukrainian National Abode while a tap dancer performed on stage, also built upon last flavor'south made-for-purchase garments, like Puppets logo knitwear, bespoke leather numberless and impeccably tailored trousers and suits, done in a night palette of plaids, wools and snakeskin prints.

The endmost look modelled by Richie Shazam is one that spoke to Carly'south desire to translate the disruptive Puppets ethos into something easier, slightly more polished, for both her friends and retailers. "[It] was one of my favourites this flavour," she says of the look. "A perfectly tailored wool coat with those painterly royal blue breasts paint 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 Fiddling West 12th Street, Khaite's AW22 show opened with large robot-similar mechanical lights, their twisting arms and flashbulbs taking over the infinite, and an ominous thumping audio that led into Nirvana's "Where Did Yous Slumber Last 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 good for you dose of dust to its quintessential glam. Mica Argañaraz kicked things off in a full leather await — a cinched and zippered-up skirt and 80s-inspired jacket — the decade'southward influence seen in the oversized, shoulder-y blazers and tailored accommodate that followed. "Defying bang-up distinctions between past and future, reality and illusion, decadence and restraint, AW22 proposes a greatly personal wardrobe of nuance and strength, designed to be cherished and made for now," the show notes read. "Its tempo is one of welcome dispatch: the pace of a waking global city that continues to seek comfort in nostalgia."

Information technology's 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 wear looks are certain to channel Jerry Hall at Studio 54, while the more edgy separates are designed with the modern New York woman in mind. What more could you enquire 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'due south old Essex Market. Models — familiar faces including Okay Kaya, Hari Nef and Paloma Elsesser — stalked its onetime aisles, among abandoned stalls and quondam, empty refrigerators. Editors, buyers and critics sat tucked between wooden shelves, in one case replete with fresh produce (Sunkist oranges, 2 for $1; butternut squash, 99¢/lb.). It was the Brooklyn-based label's get-go Manhattan-held prove in ten seasons and the evening'due south decampment, the pick of locale was anything but haphazard. The old Essex Market, an LES stalwart for over vii decades, airtight its doors in early 2019; soon, its plain brick dwelling will be torn down, replaced with a block of condominiums. "We've been trying for a long time to secure this location. It'due south very timely, veryNew York City," says Mike, hours before curtain call. "Information technology has that sense of history and time, something that's constantly evolving and changing. That sense that zippo is permanent here."

Like the venue of its AW22 outing, Eckhaus Latta is also an emblem of the city it calls habitation. Dissimilar the fate of the one-time Essex Market, yet, the bi-coastal label is symbolic of a more than hopeful, democratic form of progress. This season, Mike and Zoe celebrate 10 years co-helming the label they created together. And for ten years, the duo have ushered American fashion into the present moment, their arty, advanced vision shifting the manufacture needle towards authenticity and inclusivity with pioneering genderless designs and non-model casting practices.

For AW22, ten years on from the label's 2012 debut, Mike and Zoe have fully refined their vision. "There's a familiarity to this collection," Mike says. This season, the duo proceed to explore, expand and develop their authentication themes — deconstruction and materiality; however, the offer is no retrospective. "Nosotros didn't desire to brand a #TBT collection because nosotros're withal genuinely excited about making wear. Only I will say, looking at the drove it does feel very cocky-referential," Zoe explains. Read on almost how Eckhaus Latta made American style cool here! ZK

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

Photography Madison Voelkel

Kim Shui

We tin ever rely on Kim Shui for her seasons-long practice of giving the states power-femme via sexy cutouts and mesh, but tweed marked an intriguing bespeak of material difference for her AW22 collection, shown on the track at Leap 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-girl bobs. New propositions came in the form of a tweed corset anchored to a cropped, collared bolero exposing flirtatious under-boob. Sensual sheer looks embroidered with sequined dragons were worn with black undies, thigh-loftier stockings, and crocodile trousers, ultimately cartoon the most 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 every bit a channel for empowerment, and women taking control of their own stories.AT

Photography David Gannon

Shayne Oliver

Shayne Oliver's Bearding Club — an expansive platform for collaboration with swain artists, musicians, designers, and thought leaders across his global community — launched a residency at The Shed's Griffin Theatre chosenHeadless: The Demonstration, a series of happenings spanning New York's start three days of AW22. Thursday, amidst steel scaffolding, smoke, and video screens, at that place was a ceremony honouring Shayne'due south mentor Andre Walker, with a musical tribute to Virgil Abloh by recording creative person and former HBA Artistic Director Ian Isiah. Friday was a preview of Shayne'due 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 press release. Models walked through a continuing audience, soundtracked past songs from Shayne and Arca's musical project Wench, crescendoing in a finale performance by industrial popular artist Eartheater.

Proceeding into the balance of way calendar month, riding new post-pandemic wavelengths in a transformed city as we collectively finding our footing, it feels good to know he's dorsum in transgressive activeness, surrounded by friends. Read more about 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 party dresses, oftentimes washed in hypnotic, optical illusion prints that bridge fashion and the aesthetics of the tech world. While terminal flavor marked the LA-based designer'southward official New York Fashion Week debut, where she put a full range of 'going out' dresses, catsuits and activewear-inspired separates on display in The Boom Boom Room, AW22 saw the designer break ground in a new way. Maisie immersed critics, editors and fans of the make in a get-go-of-its-kind holographic experience at a Chelsea gallery, where 7-foot-tall surreal projections of models came alive in the otherwise dark space. Inspired by the dolls of Mattel'south Monster High, they performed disjointed dances, mocked viewers by laughing and flashed their fangs while maintaining eerie center contact.

The apparel themselves denoted a Maisie Wilen girl 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 however a central feature, but this flavor they were shown in neutral knits as well as playful prints, creating "a wardrobe that is made as much for one's virtual presence every bit it is for your real-life self". Overall the digital presentation was spooky and unsettling in the best way, making Maisie'southward universe a earth every girl surely wants to exist a part of. ND

Saint Sintra

Designer Sintra Martin contains multitudes. "I always had the feeling of living between two worlds," she confides over Zoom, days before her AW22 bear witness. She's referring to her childhood — built-in to a Portuguese father and an American female parent, she grew up in Los Angeles, dreaming of Lisbon — withal, the sentiment besides serves to illuminate the New York designer'southward multifaceted inner globe. "Growing upwards, I always felt I was outside of the gender spectrum. I never really identified with either femininity or masculinity. I didn't like 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 infinite 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's AW22 collection delves further into the notion of liminality, advancing a more than nuanced expression of womanhood. "[With] the last collection, I was projecting what I think information technologyshould mean to be a woman. This drove is a bit more honest and less feminine. It's what I recall it ways to exist 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 upwards 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 bract, a placket cascaded into a long, buttoned train. Read our characteristic on Saint Sintra and see backstage photos hither! ZK

backstage photos at saint sintra's aw22 show

Photography Hedi Stanton

Elena Velez

Elena Velez'southward latest collection — titledYr 1: Maidenhood and Its Labors,and presented last night in her New York Fashion Week runway debut — builds on the notion of authentic femininity A character study on her quintessential woman, information technology's a rigorous treatise on "the obligations of womanhood, manufacture, and aphrodisia exploring the alien and symbiotic tensions of womanhood," she says – tensions that have taken on a personal significance in contempo years – she'southward a new mother, a burgeoning designer and entrepreneur, and a partner, all roles she performs at once.

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

Information technology's a tension that she refers to equally "aggressively delicate," a perfect example of this aesthetic ethos being a breathtaking white dress – that drew out aural gasps from the crowd when it appeared from – cut and pieced together and so meticulously that information technology pours over the contours of the body while appearing to be on the brink of falling apart. Or perhaps is the patchworked laminated armed services canvas apparel, draped organically on the torso 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 live musical composition by Eartheater. Afterward a rollercoaster few years, this felt like a tabula rasa moment — a adventure 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 ready-to-wear drove, which captured the joy of the world opening back up again – the pleasure of stepping out into the summer sun after months of lockdown – and most importantly, what one wears for the momentous occasion. Yet v months and 1 season later on, our nowadays moment and future still feel uncertain. So, 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 it? How do we observe beauty in the chaos and use it as a creative starting point to build the futurity?"

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

"It'due south all about sensuality," Lazaro says. "We just love the idea of body, whether information technology'due south an exaggerated body or really twisted and wrapped. There'southward this whole obsession these days with social media, with everyone showing their body…" Read the full review hither! ND