Rewrite
New York’s creative energy is on tap. Free flowing yet pointed in its messaging, like the “ICE Out” buttons every designer had pinned to their chests or Private Policy’s “Sweat”, tanks designed as a reminder that craft cannot exist without inclusion. In a time when America has never been more divided and the landscape more uncertain, vampires, heroines, and serial killers were all part of the stories that New York Fashion Week designers were driven to tell this season. A defiant dance in the eye of the storm.
Past freight elevators and the rhythmic scream of creaky floorboards, guests were seated, unbeknownst to them, keeping their eyes peeled for vampires. Then, against a rolling thunder sound machine and an operatic rendition of Donna Summer’s I Feel Love, a Lestat dress (of the Anne Rice Vampire Chronicles lore), complete with flamboyant organza ruffle collar, walked by. The bare-chested model sported a devilish grin underneath the sheerness of her dress as she glided past. Then another in a courtly afro style doo that Marie Antoinette might fancy.
According to creative director, Hillary Taymour, “The World is a Vampire”, a collection theme that, upon closer inspection, is eerily timely. “The world is sipping slowly on our warmth and wonder, leaving us pale with longing for a better place,” read the show notes. Taymour continued, it’s “trying to turn us, but we’re hanging on to humanity, even as our fangs sharpen with disillusionment.” In layman’s terms, “it’s draining out there,” she concluded.
In combatting this fatigue and in opposition to the national sentiment, the good news is the Collina Strada catwalk was bit with inclusivity, as evident in its line-up of models of various ages, races, sexes, and abilities. The bad news is we may not be turning into vampires anytime soon.
Charlie Engman
Charlie Engman
Charlie Engman
Charlie Engman
Charlie Engman
This season, the girl boss designer took the conversation out of the office and into the great outdoors with “The Summit”. A survivalist collection of Wade core (think one hundred and one ways to transform an oppressive button-up into an act of corporate liberation) mixed with adventurous outerwear. Opened with a short campaign film sponsored by Sorel, with whom they collaborated on footwear, the cat and mouse campaign felt like a symbiotic mix of survivalist horror and blockbuster thriller. Its wide-eyed heroine outfitted in terrain-ready gear from the collection as she raced off-screen on a motorcycle.
Set against a pine tree and foliage-lined catwalk, models wore a variety of dresses, from pinstripe shirting to re-interpreted anoraks, peplum-shaped motorcycle jackets with thermal leggings, and canister pockets conveniently sized to fit Red Bulls (another sponsor). Lanterns and water bottles acted as accessories, and then there were the more editorial looks—cord sculpted dresses, some complete with headpieces and a tongue-in-cheek tent dress. The most dramatic—a parajumper ensemble ripe for virality. Consider this collection a declaration. Jane Wade is reaching new heights.
Alexis Bittar’s presentation came with a trigger warning. “The show contains violence & simulation of murder,” the invite stated boldly. Not shocking from one of New York’s most playfully provocative jewelry designers. “I’m more interested in building a world [that] people can escape into. World’s filled with complex characters, diversity, and uncomfortable truths—where jewelry isn’t the point but the punctuation,” said Bittar. The world’s so complex and masterfully digestible that Bittar has won Webby Awards for them and has gotten everyone from celebrity stylists to A-list actresses to participate in his unorthodox marketing campaigns.
His world this season was “The Sexecutions of Amanda Gates,” a mix between true crime and experimental theatre. Set in 90’s New York, Sexecutions is a fictional tale starring “New York’s first female serial killer”, a vigilante sex worker whose answer to the continued abuse of power at the hands of powerful men is the final solution. Think an upmarket Aileen Wuornos.
The jewelry was displayed in the “evidence room,” an exhibition and showcase in glass cases that featured surrealist zip collars, leather clutches adorned with 14k gold-plated serpents, sculptural earrings, stacked bangles and the use of Alexis Bittar’s signature liquid Lucite alongside cheeky accessories like a cheap blonde wig, a man’s necktie, lip gloss, cigarettes and other fictionalized memorabilia. A true crime Amanda Gates mockumentary was looped on a cluster of vintage TVs by the wall. A presentation allowing us to confront our guilty pleasures: sex, crime, and jewelry, of course.
With just a few New York Fashion Week collections under his belt, Mexico City-based designer Patricio Campillo delved into the seams of our sartorial relationship with ourselves. “Ultimately, the collection suggests that clothing holds a transformative power not only in how it makes us look, but in how it makes us feel,” said the designer. A dialogue between who we are and how we want to be seen.
These are the type of conversations that Campillo has been engaging with since 2017. Self-taught, Campillo is a merging of Mexican craftsmanship with a mindfulness for fair labor manufacturing practices and sustainable design—a masterclass in what happens when editorial taste and hanger appeal meet. Within this framework, a rich tapestry of characters exists. The charro: self-possessed in horsehair-trimmed bolero jackets, corsets, and leather pants, the gentle(wo)man: poised in silk high collar shirts, blazers, and power shoulder pinstripe suiting, and the cosmopolitan: unflappable in rusted suede jackets, pleated denim, and shearling aviators with horsehair-trimmed weekender bags.
Entitled “Possibility and Restraint,” the restraint wasn’t evident, but Patricio Campillo’s possibilities are seemingly endless.
In a time of lean budgets and divisive ideals, a big-budget fashion show is a bold statement, but to know Private Policy is to know that beyond the flashy headline of a “One Night Only” Webster Hall marquee and the warm lo-mein served to guests in classic white cardboard takeout boxes, there is always a deeper message.
Set over the clanging soundtrack of railroad workers, Private Policy paid homage to the impact of Asian labour on American infrastructure. Haoran Li’s imagining of a dialogue between the first generation of Chinese labourers who helped build America’s transcontinental railroads in the 1800’s and the flood of Asian Americans into the commercial workforce in the 1980’s was as much an untold lesson in history as it was a posthumous romanticization of American grit.
Honouring the humble beginnings of utilitarian workwear in structure and elevating their end use in silk finishes and high-sheen fabrics is a way to honour “those who built the world without recognition, and the generations reshaping spaces that were never designed for them,” said Li. From “Sweat” tanks styled with leather jeans and skirts, Rosie The Riveter plaids and hardware-studded ensembles to cocktail shirtdresses with elbow-length gloves, “The tracks continue forward,” said the designer. “And now, we are finally seen.”
Advisry is soulful fun. Always anchored in the joyful expression of music, the show opened with a tap dance routine as an entrée into the fanciful universe of “The Return of the Space Cowboy.” A collection inspired by the juxtaposition of nostalgia, the futurism of acid jazz band, Jamiroquai, and nineties Japanese anime, Cowboy Bebop. “Framed as a character study of a space cowboy in return. The title itself carries a narrative before anything is explained—”return” suggests memory and history, “space” implies distance and futurity, and “cowboy” evokes rebellion and individuality,” said designer, Keith Herron.
The Fashion Trust U.S. 2026 Finalist’s enchantment lies in the harmony of his design prowess and referential panache inspired more by iconography than ruled by trends. “Something familiar rather than chasing what is new,” he said. While the influence of French fashion is evident, Herron’s roomy boucle suiting, for example, is remixed somewhere between zoot and Dr. Suess. His silhouettes are forgiving and sometimes voluptuous (see his bubble peplum dress), and even his horn hats poke fun at fabrication and design language that has historically been closed to outsiders. Advisry is a world where the clothes do the work, so you don’t have to. An antidote to the chore of dressing.
words. Malcolm Thomas
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New York’s creative energy is on tap. Free flowing yet pointed in its messaging, like the “ICE Out” buttons every designer had pinned to their chests or Private Policy’s “Sweat”, tanks designed as a reminder that craft cannot exist without inclusion. In a time when America has never been more divided and the landscape more uncertain, vampires, heroines, and serial killers were all part of the stories that New York Fashion Week designers were driven to tell this season. A defiant dance in the eye of the storm.
Past freight elevators and the rhythmic scream of creaky floorboards, guests were seated, unbeknownst to them, keeping their eyes peeled for vampires. Then, against a rolling thunder sound machine and an operatic rendition of Donna Summer’s I Feel Love, a Lestat dress (of the Anne Rice Vampire Chronicles lore), complete with flamboyant organza ruffle collar, walked by. The bare-chested model sported a devilish grin underneath the sheerness of her dress as she glided past. Then another in a courtly afro style doo that Marie Antoinette might fancy.
According to creative director, Hillary Taymour, “The World is a Vampire”, a collection theme that, upon closer inspection, is eerily timely. “The world is sipping slowly on our warmth and wonder, leaving us pale with longing for a better place,” read the show notes. Taymour continued, it’s “trying to turn us, but we’re hanging on to humanity, even as our fangs sharpen with disillusionment.” In layman’s terms, “it’s draining out there,” she concluded.
In combatting this fatigue and in opposition to the national sentiment, the good news is the Collina Strada catwalk was bit with inclusivity, as evident in its line-up of models of various ages, races, sexes, and abilities. The bad news is we may not be turning into vampires anytime soon.
Charlie Engman
Charlie Engman
Charlie Engman
Charlie Engman
Charlie Engman
This season, the girl boss designer took the conversation out of the office and into the great outdoors with “The Summit”. A survivalist collection of Wade core (think one hundred and one ways to transform an oppressive button-up into an act of corporate liberation) mixed with adventurous outerwear. Opened with a short campaign film sponsored by Sorel, with whom they collaborated on footwear, the cat and mouse campaign felt like a symbiotic mix of survivalist horror and blockbuster thriller. Its wide-eyed heroine outfitted in terrain-ready gear from the collection as she raced off-screen on a motorcycle.
Set against a pine tree and foliage-lined catwalk, models wore a variety of dresses, from pinstripe shirting to re-interpreted anoraks, peplum-shaped motorcycle jackets with thermal leggings, and canister pockets conveniently sized to fit Red Bulls (another sponsor). Lanterns and water bottles acted as accessories, and then there were the more editorial looks—cord sculpted dresses, some complete with headpieces and a tongue-in-cheek tent dress. The most dramatic—a parajumper ensemble ripe for virality. Consider this collection a declaration. Jane Wade is reaching new heights.
Alexis Bittar’s presentation came with a trigger warning. “The show contains violence & simulation of murder,” the invite stated boldly. Not shocking from one of New York’s most playfully provocative jewelry designers. “I’m more interested in building a world [that] people can escape into. World’s filled with complex characters, diversity, and uncomfortable truths—where jewelry isn’t the point but the punctuation,” said Bittar. The world’s so complex and masterfully digestible that Bittar has won Webby Awards for them and has gotten everyone from celebrity stylists to A-list actresses to participate in his unorthodox marketing campaigns.
His world this season was “The Sexecutions of Amanda Gates,” a mix between true crime and experimental theatre. Set in 90’s New York, Sexecutions is a fictional tale starring “New York’s first female serial killer”, a vigilante sex worker whose answer to the continued abuse of power at the hands of powerful men is the final solution. Think an upmarket Aileen Wuornos.
The jewelry was displayed in the “evidence room,” an exhibition and showcase in glass cases that featured surrealist zip collars, leather clutches adorned with 14k gold-plated serpents, sculptural earrings, stacked bangles and the use of Alexis Bittar’s signature liquid Lucite alongside cheeky accessories like a cheap blonde wig, a man’s necktie, lip gloss, cigarettes and other fictionalized memorabilia. A true crime Amanda Gates mockumentary was looped on a cluster of vintage TVs by the wall. A presentation allowing us to confront our guilty pleasures: sex, crime, and jewelry, of course.
With just a few New York Fashion Week collections under his belt, Mexico City-based designer Patricio Campillo delved into the seams of our sartorial relationship with ourselves. “Ultimately, the collection suggests that clothing holds a transformative power not only in how it makes us look, but in how it makes us feel,” said the designer. A dialogue between who we are and how we want to be seen.
These are the type of conversations that Campillo has been engaging with since 2017. Self-taught, Campillo is a merging of Mexican craftsmanship with a mindfulness for fair labor manufacturing practices and sustainable design—a masterclass in what happens when editorial taste and hanger appeal meet. Within this framework, a rich tapestry of characters exists. The charro: self-possessed in horsehair-trimmed bolero jackets, corsets, and leather pants, the gentle(wo)man: poised in silk high collar shirts, blazers, and power shoulder pinstripe suiting, and the cosmopolitan: unflappable in rusted suede jackets, pleated denim, and shearling aviators with horsehair-trimmed weekender bags.
Entitled “Possibility and Restraint,” the restraint wasn’t evident, but Patricio Campillo’s possibilities are seemingly endless.
In a time of lean budgets and divisive ideals, a big-budget fashion show is a bold statement, but to know Private Policy is to know that beyond the flashy headline of a “One Night Only” Webster Hall marquee and the warm lo-mein served to guests in classic white cardboard takeout boxes, there is always a deeper message.
Set over the clanging soundtrack of railroad workers, Private Policy paid homage to the impact of Asian labour on American infrastructure. Haoran Li’s imagining of a dialogue between the first generation of Chinese labourers who helped build America’s transcontinental railroads in the 1800’s and the flood of Asian Americans into the commercial workforce in the 1980’s was as much an untold lesson in history as it was a posthumous romanticization of American grit.
Honouring the humble beginnings of utilitarian workwear in structure and elevating their end use in silk finishes and high-sheen fabrics is a way to honour “those who built the world without recognition, and the generations reshaping spaces that were never designed for them,” said Li. From “Sweat” tanks styled with leather jeans and skirts, Rosie The Riveter plaids and hardware-studded ensembles to cocktail shirtdresses with elbow-length gloves, “The tracks continue forward,” said the designer. “And now, we are finally seen.”
Advisry is soulful fun. Always anchored in the joyful expression of music, the show opened with a tap dance routine as an entrée into the fanciful universe of “The Return of the Space Cowboy.” A collection inspired by the juxtaposition of nostalgia, the futurism of acid jazz band, Jamiroquai, and nineties Japanese anime, Cowboy Bebop. “Framed as a character study of a space cowboy in return. The title itself carries a narrative before anything is explained—”return” suggests memory and history, “space” implies distance and futurity, and “cowboy” evokes rebellion and individuality,” said designer, Keith Herron.
The Fashion Trust U.S. 2026 Finalist’s enchantment lies in the harmony of his design prowess and referential panache inspired more by iconography than ruled by trends. “Something familiar rather than chasing what is new,” he said. While the influence of French fashion is evident, Herron’s roomy boucle suiting, for example, is remixed somewhere between zoot and Dr. Suess. His silhouettes are forgiving and sometimes voluptuous (see his bubble peplum dress), and even his horn hats poke fun at fabrication and design language that has historically been closed to outsiders. Advisry is a world where the clothes do the work, so you don’t have to. An antidote to the chore of dressing.
words. Malcolm Thomas
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