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For SS25, LaQuan Smith tackles the power of animalistic glamour. Flamboyant. Edgy yet sleek. And pure sex appeal. These are the words I would describe LaQuan Smith — the Queens-born designer who is never afraid to translate his personality directly into his designs. Set fittingly in a graffitied warehouse in Bushwick, Smith presented his Spring 2025 collection this past week with a purr. Inspired by “ animalist glamour ” this season, the collection features a well-balanced safari-inspired color palette. Khaki isn’t just khaki; it’s paired with chocolate browns and lots of lace, made into an absolutely tantalizing transparent trench coat worn by Winnie Harlow (Smith credits this technique to his Italian mills).  Smith certainly knows how to play with textures to keep his audience on their toes. Highlights of this 50-look collection include rich indigo denim dresses and suits; bridal latex; and glamorous sleepwear in collaboration with Samsung’s Galaxy ring to which he gifted all of his seated attendees.  Smith’s designs don’t steer far away from having a particular type of high-powered, mature woman in mind. As such, his label is a huge hit with celebrities like Kim Kardashian, Lady Gaga, Rihanna, and Beyoncé (need I say more?). While the themes are fresh, Smith seems to rely on the same silhouettes, cutouts, and styling season after season. I suppose some can say if it ain’t broke, don’t fix it, but I think Smith could dare to take his signature sex-appeal to the next level with thoughtful, elegant, yet erotic curves and details.🌀 7.2 Niya Doyle is a forever East Coast-based writer, beauty buff, and cat lover.

Gorgeous pieces, but the collection missed the shock factor we have come to love. Diotima Spring/Summer 2025 Ready-To-Wear blends urban needs with Caribbean fantasies. A collection throughlined by crochet leaf-shaped cutouts, earthy tones, and thoughtful bedazzling, it thinks of what a New York customer might crave to create a fun yet practical outfit. Thick fishnet textures call forth the sea: Jamaican Rachel Scott does not make the connection to the Caribbean too literal but rather reminds us that the devil is in the details.  Silver and gold sequins along the hem of a gray dress and around a generous side cutout appear like scales of magical fish, perhaps mermaid tails. And, in fact, the looks evoke a certain mythical quality of the mermaid. The collection seems to explore: what would a mermaid wear if she found herself strutting on the New York City streets?  With angular button-up vests broken up by crochet cutouts and reinterpretations of classic office wear, like a white collared shirt or a gray blazer, the collection seems to do the impossible — taking the boring out of corporate. A sober color palette keeps the focus on the golden beading detailing and the way the fabric drapes on the model’s body. The mermaid-esque effect is completed by a pirate blouse paired with a silver fishnet crochet skirt and a maxi dress that looks like the model has draped herself in an abandoned boat sail — yet magically looks fabulous and fitted, complete with lace detailing that looks like sea foam from crashing waves.  Diotima collections regularly tend toward the poetic, prioritizing the season’s chosen concepts and the art of fashion over whatever is trending on TikTok. This collection seems biased towards the wearable, which makes sense for a brand that has finally found its voice. The dark wide-legged jeans with crochet leafy cutouts down the sides are the kind of piece we can expect to see everywhere on a walk down Soho. But past collections have had more of a shock factor, which made this one come across as more quiet — and almost subdued.  🌀 7.0 Laura Rocha-Rueda  is a Colombian fashion and fiction writer based in Brooklyn who holds a Creative Writing MFA from The New School. She is your local Swiftie and will gladly chat about anything glittery and soft, and about why dismissing pop culture as frivolous is misguided and sad.

The Gorey Girl’s mum told her to bring a coat and she did not listen. You would be forgiven if you’ve grown tired of the “indie sleaze” whispers circulating in fashion spaces for a while now. Luckily, there is nothing tired about Sinead Gorey’s Spring/Summer 2025 collection. Drawing heavily from the days of yesteryear, Gorey’s collection is nostalgia done right.   Set in The City of London School’s gymnasium, decked out for a classic British prom, the setting for the runway is so brilliantly executed you can almost smell the smuggled vodka. The pre-show room is drenched in hot-pink lighting and the floor is scattered with crushed paper cups and trampled confetti. A thumping bass line, courtesy of Scarlet Gorey, acts as the score for bratty attitudinal walks, wearing the newly re-released Converse XXHi.   On the show notes “the Gorey girl” is described as a prom “Anti-Heroine," who skips the prom, electing to head straight for the after-party. Gorey says she picked the prom setting as “Prom is that time in your life when you’re finally finding your style, so I wanted to recreate that using luxury shapes and constructions.” The South London designer draws on all aspects of this occasion, from school uniform blouses in butter yellow and blue pinstripe to draped jersey dresses resembling hoodies wrapped around waists on the walk home, after sleeping on the floor of your best friend’s bedroom. The Gorey Girl’s mum told her to bring a coat and she did not  listen.   The SS25 collection features less of the classic Brit-Punk details previously seen in Gorey’s work –— Union Jacks, pins, and tartan — leaning instead on a pattern described as “Hacienda-esque stripes” in faded neon shades paired with heather grey or black. The colour palette has softened from previous collections and is both elevated and garish — sherbet pastels, royal blue, and warning-sign red.   There are some more classic takes on “the prom dress," but the more subversive Gorey’s anti-heroine looks, the better. A black pyramid-studded bikini reads true to inspiration. The outerwear and heavier knits are particularly well done. A graphic jacket pairs pigeon grey and crisp white UV-reactive leather. A tailored horizontally striped blue and grey co-ord set reads as surprisingly demure from the front, next to Gorey’s signature sheer cut-out rave wear, but turns to reveal a high-cut cheek. Powdery and creamy coloured knits are studded with curved barbell piercings, which I personally hope becomes a new signature of Gorey's. Some lingering coquette details, trailing satin ribbons in hair, and printed corsetting ties the collection into a larger story.   The accessories are waggish and divine, thanks to styling by Gorey and Rhiannon Lagden. A lacy white bra juts over a striped and pierced tube dress, a baby-pink phone tucked into the strap. Glow in the dark stars are stickered up calves. Tattoo appliqués are un-tastefully revealed. Crimped, curled, and coiled up-dos. A diamanté garter. The makeup, by Aoife Cullen, veers between youthfully bare-faced and black, or muted electric blue, kohl-rimmed eyes. The sprinkle lips brought a nostalgic tear to my eye and I particularly enjoyed the faux XXHi’s consisting of low-top Converse and printed knee-high socks. And, of course, an array of candy-coloured wired headphones adorn various pouting models.   Some garments unfortunately fall flatter. A bustled take on Gorey’s corset dress could’ve been a highlight but ends up feeling more like an afterthought, especially in comparison to a similar dress from FW24. Yet it shows promise, and I’m hoping to see further Gorey takes on this silhouette. And although I’m never opposed to a super-micro miniskirt, I would’ve appreciated any exposed underwear to match the collection.   Between well-tailored mini shorts and buttoned denim, cowl necks, lace corset work and ombré prints, Gorey proves her technical ability as well as creative vision. More stand-out pieces include a candy-striped tailored tube dress ending with a puffy skirt. A backless baggy-sleeved minidress in red and black stripes. And a blue and grey striped hooded minidress with a trailing skirt.   Small and large details make it clear that the SS25 collection is truly inspired by the fashion of Gorey’s own youth. (I must also commend the casting, by Marie Claire, which brings this collection to life.) More than anything, the collection feels like a fresh and fully-realised take on a previously vague discourse-laden concept that has been on everyone’s lips. Most evidenced by the fact that I left the show, not mainly thinking, “Wow, those were the times," but more impressed by Gorey’s innovative garments, and excited to see what Gorey brings to the drinks table next. 🌀 8.0 Olivia Linnea Rogers  is a Norwegian-British writer, fringe enthusiast, film watcher, and poet, if you're lucky. Based in London. She can obviously be found online on   Instagram  (@olivialinnearogers) and   Twitter  (@olivialinrogers).

What a healthy dose of buyer’s remorse reveals about current consumer habits. I recently read Jessica Bruder’s Nomadland: Surviving America in the Twenty-First Century. It is an impressive piece of journalism that interweaves the narratives of retirement-age individuals who, failed by the American economy during the Great Recession, discover the freedom of the vagrant RV lifestyle. As I devoured Bruder’s affecting words, I asked myself two questions. Could I live like this, always on the move, my only worldly possessions a vehicle and anything that could fit inside of it? And would I be happier if I owned less? I pondered how many RVs I would need to comfortably fit all of my clothes, shoes, skincare items, knickknacks, electronic devices, et cetera. One would be impossible. Two would be a tight squeeze. I continued to reflect — is physically having enough space for abundance a good enough reason to own an abundance of things? Ever since I can remember, I have suffered from buyer’s remorse; a dull depression that washes away the excitement of any purchase. Whether I am buying for myself or for others, more often than not, I leave the store, or close the virtual checkout tab, feeling like I did something wrong. Ridding myself of what I don’t need almost always feels better than gaining something superfluous. And buyer’s remorse isn’t a unique experience. I’ve spoken to countless friends who undergo the same dreary dilemma: if I love clothes — or shoes, or jewelry, or home decor, or fancy condiments, whatever your vice might be — then why does shopping make me feel like shit? Finding an exact definition of “buyer’s remorse” is complicated. A quick Google search spawns a compilation of sketchy-looking links: mostly banks and marketing companies offering advice on how to “get over it” and “break the cycle.” According to the Cambridge Dictionary , buyer’s remorse is simply “a feeling of regret after making a choice or decision.” Using this definition, the phenomenon is not exclusive to shopping. It also encompasses, for instance, the experience of leaving a polling place and feeling like you voted for the wrong candidate.  The throughline is cognitive dissonance: a state of discomfort that occurs when a person’s behavior and beliefs conflict with each other. For example, I am passionate about sustainable fashion. I buy most of my clothes secondhand and prioritize brands known for ethical manufacturing processes. But sometimes, Free People releases a barrel jean that feels irresistible, or an Edikted sale feels too good to pass up. By purchasing from these brands, I’m going against my values. The result is contrition. Even when I am staying true to my belief in sustainable consumption by shopping secondhand, I am still vulnerable to the compunction of spontaneous purchases. Re-donating something you bought from Goodwill is not a good feeling.  There are endless hypothetical situations in which shopping can reveal a piece of yourself that you don’t identify with. A spontaneous purchase combats thoughtful decision-making, a microtrend contests with a timeless wardrobe, an ugly sweater wrestles good style. For a litany of specific and personal reasons, remorse sets in when we feel a lack of control. For some people, this feeling can be inhibiting. On Reddit, one anonymous user posted that, without any financial constraints, they spend full days beating themselves up over any purchase greater than $50. Multiple people responded to the thread warning the user that this behavior is unhealthy. I’m no psychologist, but they’re probably right.   Others responded with empathy. Someone under the username “workana” commented, “You work to live and enjoy life, not to sit on a hoard of money that does not have any inherent value of its own.” Is workana right? If you’re lucky enough to not only survive off of your earnings but to enjoy excess, shouldn’t you be able to do that sans guilt? Buyer’s remorse isn’t a new phenomenon. According to the Oxford English Dictionary (the free version), the earliest recorded use of the term is from The Post-Standard  in 1951. Without getting too historical, or reneging on my loyalty to Merriam-Webster, it makes sense that regretful shopping began around that time. After the second World War and the Great Depression, America experienced a stark rise in spending power. Citizens were encouraged to spend in an effort to support the country’s then-booming economy. The first suburb was created in 1946, and as people moved out of cities and into suburban homes, they purchased cars, televisions, refrigerators, Tupperware. In a 2021 Vox article , Juliet Schor, a sociologist at Boston College, explained that as machines began pumping out all kinds of objects, social hierarchies became characterized by how much one could consume. “Increases in inequality trigger what I’ve called ‘competitive consumption,’” Schor says. “The idea that we spend because we’re comparing ourselves with our peers and what they’re spending.” In the 20th century, “competitors” were friends, neighbors and perhaps famous people on television. Today, a competitor can be literally anyone, anywhere. Social media is flooded with images and videos of lavish vacations, shopping sprees, exclusive events, and unrealistic lifestyles. Influencers get paid to flaunt their consumption in a campaign to encourage laypeople to buy more things. And shopping is easier than ever. All you need is access to wi-fi and credit card information to order anything from a vibrator to a Tesla Model X. If Schor’s theory of “competitive consumption” is intrinsic, it is unquestionable that today’s levels of comparison and competition are heightened by social media and online shopping. While the experience of shopping has become less intimate — no need for human interaction or tangible money — it isn’t less personal. Sure, today one could survive and thrive without ever entering a brick-and-mortar store, but brands still rely on connection, just in a modern form. Through digital marketing and complex algorithms, we are specifically targeted with relevant products. It is not uncommon that, when someone purchases something from an Instagram ad, it is a product they’ve interacted with many times, either through the brand directly, through influencer marketing, or simply through interacting with mutuals on social media.  While there is a calculated operation to get the right products in front of the right people via the right screens, companies are also content when you’re trigger-happy. To ensure a seamless user experience, the boundaries to online shopping are near nonexistent. There is no virtual retail assistant asking if you’d like to wait for those shoes to go on sale next month, or if you’re sure that’s the best color for your skin tone.  According to a study on the repercussions of in-app shopping  by a student at the University of Tennessee, the influence of peer pressure is more detrimental than the method of shopping. It creates the feeling of not being in control of your decisions which leads to negative emotions. So, is buyer's remorse something we should try to resolve? Barring extenuating cases, like the Reddit user who can’t buy anything without extreme guilt or someone on the opposite end of the spectrum who recklessly spends themselves into debt and feels nothing, is a healthy dose of buyer’s remorse something we can benefit from? The discomfort of cognitive dissonance motivates us to make decisions that will reduce feelings of dissonance in the future. And it’s easier to change inconsistent behaviors than it is to change your core beliefs.  Though buyer’s remorse is objectively a modern problem, perhaps its origins are primitive. Could that twinge of guilt be a calling from our ancestors, warning us that all of this stuff is holding us back, that we have a better chance of survival if we carry light? Maybe it’s our innate connection to nature reminding us that overconsumption is the root of global warming and human injustice.  That doesn’t insinuate that people who don’t experience buyer’s remorse are incompassionate toward exploitative labor and environmental destruction. For some people, shopping is just more emotional than for others. That also doesn’t mean that the solution to buyer’s remorse is to stop shopping altogether. Being human today is about so much more than survival. It is about experience, indulgence, self-expression, individuality. Maybe buyer’s remorse is just something we have to learn to be comfortable with, allowing it to keep us grounded while not letting it completely inhibit our modern lives.  Many of the people Bruder wrote about didn’t choose to live like nomads. They were forced to sell their homes and their excess possessions. But, over time, many became happy with their lifestyle, content with minimalism and the freedom that accompanied it. Excess can mean a mansion, a flashy car, a pantry stocked with every snack imaginable and a designer closet. But it also means having a choice. Having the freedom to live however you want to live. The fact that we experience buyer’s remorse demonstrates that just because we can doesn’t mean we should. And it tells me that, though I don’t have to, if I were to downsize and live in Nomadland, I would be okay. 🌀 Julia Gordon is a budding journalist based in Chicago, and sometimes South Florida. She is obsessed with finding the perfect pair of baggy jeans and geeks out over curating hyper-specific Spotify playlists. She covers all things fashion and personal style on her own Substack   Wear it Well .

For WHO DECIDES WAR SS25, Ev Bravado and Tela D’Amore embrace the Victorian. On Saturday afternoon, I was amidst a crowd of beautiful and stylish Black creatives to view the WHO DECIDES WAR livestream party hosted by Complex. Attendees sported their best looks — holding monogram bags from Dooney & Bourke and Coach, wearing Comme des Garçons trench coats — and lounged with small designers, who toted their own streetwear labels. This conglomeration of brands emphasized the impact WHO DECIDES WAR’s co-founders, Ev Bravado and Tela D’Amore, bring to the culture of New York City. It highlighted the grassroots, entrepreneurial spirit of these creatives who work hard, day in and day out, to carve a place for themselves in a city that can move at incredible speed — where the next trend can be as easily forgotten as just as quickly it rose. A staple in the hip-hop community worn by the likes of Ice Spice  and Boogie Wit Da Hoodie , WDW aims to redefine Americana through the lens of people of color. You can’t get more American than with denim, which is precisely the brand's couture of choice in previous collections. But the Spring 2025 collection took quite a turn from that. The theme of this season’s show was to explore  “ various elements of fundamental 19th-century fabrications and utilizing humble textiles that have now become heritage Americana fabrics,”  revealed the designers in their show notes . Aptly set in Hall des Lumières, supermodel Alton Mason opened the runway in a creamy ruffled Victorian-esque knit sweater with bits of lace embedded through each layer.  The iconic recurring cathedral motif made an appearance but in a new, ingenious way. Look 2 features a single-buttoned, vanilla cardigan fashioned in such a way as to make the arches fall naturally above the midriff. Similarly in Look 12, an opulent, gradient, and subtly bedazzled men’s suit, cathedral windows are tastefully tailored on either side of the jacket. But the real stars of the men’s collection were the bomber leather jackets in collaboration with Pelle Pelle. The back of the jackets displayed portraits of historical Black American figures such as Barack Obama, Malcolm X., and Frederick Douglass.  The women’s collection didn’t disappoint, either. The designers took a dynamic approach to denim this season by ripping, destroying, and bleaching the fabric to create an elegant maxi skirt with a matching one-shoulder draped top. Leather black belts were bandaged together to create a beautiful strapless gown. It pleases me to see the highbrow textiles of Victorian-era elites conveyed through a Black lens. The style itself is revered and continuously replicated in fashion and pop culture, but usually errs on the side of Eurocentricity. To have Black designers create a show tacking such an era is a fusion of two histories that have left an everlasting mark on American culture. 🌀 7.7 Niya Doyle is a forever East Coast-based writer, beauty buff, and cat lover.

The Winter House captivates by centering personality and craftsmanship in their LFW exhibit. At The Winter House SS25 exhibit, a projected low-res video of two jittery flies welcomes you. Entering through an ajar door you become privy to the gothic-inspired cave that is creative director Liam Winter’s fine jewellery vision.   Ambient music envelopes the room with the occasional sound of buzzing flies filtering in. Joining the soundscape is the whir of a jewellery drill bit, as Winter himself is sat in the middle of the room, at a worktable, polishing and refining pieces in the collection, in real-time, for onlookers. The pieces from the SS25 collection are suspended around the dark room on models of (I assume) Winter’s own hands, in a deep charcoal colour and texture. The pieces truly shine in this setting, some even gently glowing.   The Winter House, which is presented by the British Fashion Council’s New-Gen Initiative, describes itself as “based on the fringes of the city,” taking creative cues from “what is often overlooked – a cracked pavement, an overgrown alley, the hazy glow of streetlamps reflected in the rain.” The SS25 collection carries that same message, acting as a dispatch from the corners of urban life. This ethos of transformation and repurposing is not only present in concept but material, as the pieces are crafted from recycled silver, sourced within London. If I were to guess what overlooked corner of the city inspired this particular collection, I would guess the hidden alleyways where pub workers take their late-night cigarette breaks — featuring buzzing flies, cracked concrete, and traditional symbols, like crosses and fair maidens, on dilapidated or glowing street signs.   Winter seeks to explore ”themes of mortality through metal” and has previously taken on anatomical and natural designs (notably the Love Me Not Ring and Sorrow Signet). But this newest collection conveys wounds and decay more acutely. A classic cross necklace consists of silver flies gathered over cascading blood-red rubies. More silver flies are huddled in the hollow of a signet ring, reminding one of a wound.   Although the collection is highly conceptual it's far from gimmick. The designs are powerful yet streamlined — rarely oversized for oversized’s sake — allowing intricate details, like Winter’s signature “splinters,” to take centre stage. Everything feels considered.   Other stand out pieces include a “living” ornate ring featuring the tranquil face of a young sleeping woman, hair tendrils wrapping around the ring — reminiscent of a mermaid on a pirate ship — which opens with a latch to reveal her skull. And a simple chain carrying a bejewelled engagement-esque ring, also featuring Winters signature splinters crested on the inside, telling a short but familiar story, and bringing to mind the beads of blood that would be drawn were you to attempt wearing it.   Most considered is Winter’s presence throughout the whole exhibit, from his actual physical presence to the hand models. It all sends a clear message of the man at the centre of the operation and what takes up his time — a clear artistic vision, dedicated values and excellent craftsmanship. The Winter House endeavours to emphasise the living quality of its jewellery and does so successfully by highlighting the real human hands behind these dreamlike, yet metropolitan, creations.🌀 7.7 Olivia Linnea Rogers  is a Norwegian-British writer, fringe enthusiast, film watcher, and poet, if you're lucky. Based in London. She can obviously be found online on   Instagram  (@olivialinnearogers) and   Twitter  (@olivialinrogers).

For Coach SS25, relatability isn't enough. The brand transformation of Coach from being one of many purses found at the back of your mom’s closet to being home to one of many it-girl bags worn by influencers and A-Listers, all within a decade, is something that should be studied in fashion history — and it's all thanks to Steven Vevers’ 10-year tenure as the house’s creative director. Vevers’ vision for this collection was a study of American classics interpreted by a newer generation. Set in Manhattan's High Line Park, models walked the runway to upbeat, high school Garageband music. Classic “I Heart NYC” tees were styled with baseball caps and blazers, as seen on Ella Emhoff. Crewneck sweaters were personalized with graffiti-like notes. The neutral color palette of this collection and the relaxed, baggy fit of the clothes signal that perhaps the clothes themselves aren’t the focus, but instead a brazen love letter to Gen Z. Indeed, Vevers’ gambit to cater to a new, bright generation with little care for fashion’s old norms has paid off, according to last quarter’s results, perhaps a little too well. Bag charms and stickers made an appearance, showing that customization isn’t going anywhere. The most exciting part of this collection was the giant coin purses (does Gen Z even use those anymore?). There are a lot of tender memories I have with Coach. My parents were Coach fanatics back in the ‘90s. My father’s shoe rack was full of vintage Coach low-top sneakers, and my mother bought each iteration of Coach bag, from the Regina to the classic monogram flap bag every season. I remember going to a department store for back-to-school shopping in the late aughts, all just to buy a rather uncomfortable pair of ballet flats. We came out of the mall with pride — my mother delighted to pass down her Coach legacy to me. I was just happy that I got a pair of designer shoes. I can’t help but wonder if this brand loyalty from faithful Gen X’rs, like my parents, is the same type of loyalty Vevers is trying to instill in Gen Z.  While Coach is reveling in the fruits of its financial success, playing it safe can only work for so long. Can Vevers continue to innovate and adapt to Ge -Z's ever-changing whims? Or will the brand be left in the dust once more? 🌀 6.5 Niya Doyle is a forever East Coast-based writer, beauty buff, and cat lover.

And left us with a thoughtful approach to fashion, friendship, and familiarity. One of my fondest memories of childhood was sitting around the table at dinner parties watching the adults talk. After they finished a few glasses of wine, my two sisters and I could convince them all to watch our charmingly juvenile fashion show produced and modeled by us, naturally. This is essentially what Eckhaus Latta SS25 was — except, even with the grownups in the spotlight, they were just as willing to succumb to the evening’s surprise theatrics. A few days before the show, Mike Eckhaus and Zoe Latta asked their friends, guests, and show invitees to select their favorite Eckhaus Latta pieces to wear to their fashion week event. When guests arrived at the Tribeca gallery space turned cocktail-and-dinner party, they expected a show. Instead, there were two long rectangular tables with a thin walkway running between them. Soon after the first dinner course began, actress and comedian Kate Berlant grabbed a microphone and announced that the show had started. “If it’s not clear, I hope it’s clear now. Many of you are going to walk… it is not a dinner, it’s a fashion show. It is a dinner, but it is also a fashion show.” As music pounded, attendees began to summon their courage to strut, some more reluctantly than others. Julia Hobbs of  British Vogue  took to the runway, along with Liana Satenstein of Neverworns, Steff Yotka of SSENSE, Samuel Hine of GQ , Dara of Interview  Magazine, our new political princess Ella Emhoff, and even actress Jemima Kirke. While some of these figures may be used to the spotlight, many were not, especially the journalists and writers, some of which were lovingly dragged out of their seats. It was an intimate setting, with around 75 guests, who all cheered and applauded for each other as they pushed out of their comfort zones to show off not only their Eckaus Latta pieces but also themselves. Beka Gvishiani of Style Not Com sat next to Lynn Yaeger but both stayed stuck to their seats along with critic Cathy Horyn (she’s been there, done that for Balenciaga). The new Eckhaus Latta SS25 collection was more or less on display that night, but it wasn’t the focus of the event. This New York Fashion Week has felt different from the last. Much more lively and focused, with plenty of star power and interesting debuts mixed in. The surprise runway distracted from the collection itself, but not many people seemed to mind, myself included, because this Fashion Week has had a newfound energy of fun that, frankly, I’m excited to feel again. That being said, the SS25 garments were predictable for the brand, but nothing that customers won’t eagerly eat up. There is a range of knits, from chunky crewnecks to ribbed cropped cardigans in stunning neutrals. Others are loosely woven to be almost translucent in whites and creams as oversized tops and slinky skirts. My favorite knitwear is, of course, the classic asymmetrical vertical striped tops in dark blues and greens, but a few in tasteful tangerine and taupe, too. Baggy carpenter jeans come in browns, blacks, and greens. Beautiful parachute denim trousers with a matching puff-sleeve jacket and ruched sleeves are stunning for any customer who wants a dramatic but understated set. There are pops of butter yellow in the form of a knit maxi dress and scarlet drawstring pants, also knitted, and styled with a red shoulder bag (no top needed). A few pairs of shoes look like socks that have been stretched over heels, while classic leather mules and square-toe leather work boots are casual and match almost everything in the collection. The line finishes off with pure whites as cutout button-up shirts, billowing skirts, and pleated tops. I would sum it up as soft, techy workwear in silhouettes that vary from slim to strong. The collection may not have pushed the brand out of its comfort zone, but the Fashion Week dinner-turned-runway-turned-dinner certainly did. Mike Eckhaus and Zoe Latta “closed” the show by doing separate struts, leaving the guests with something to giggle about for the rest of the evening. I don’t think the spectacle was meant to distract from the clothes. I think it was a successful attempt to reconnect with the people who make the brand great — its founders, models, writers, creatives, and consumers. It felt personal and silly, and, in the end, I think that if you make your guests laugh — even if it’s a bit uncomfortable at first — you’ve accomplished something great. 🌀 7.2 Jane Lewis is HALOSCOPE's Runway Editor based in New York City. She grew up on farms in Southern California but now she always  matches her shoes to her bag.

SS25's lack of expected eccentricity, on a tactile level, was difficult. Before the show got underway in the opulent lobby of 50 Hudson Yards, a question was fielded to SS25 attendees: “In one word, how would you describe Kim Shui?” Answers ranged from “flirty” and “cutesy” to “diva” and “cunt.” Spot on indicators for the Ghost of Kim Shui past, these adjectives weren’t all that present on Saturday night. What descended down some 40 steps of a glowing Norman Foster staircase was a range of looks that straddled the world of Kim Shui and something new. Inspired by the age-old Japanese pottery gold-mending tradition of Kintsugi, Shui set out to render resiliency and reformation, the process of rebirth. “I like the idea of it being this unity,” Shui told Vogue. “That something comes out more beautiful than before.” In some ways, she achieved just this.  When compared to past collections of hot pink satin qipaos and tufted organza corset dresses, SS25 felt like a caprice to a muted era of the brand. The first seven looks were mostly, if not all, black, a color unusual in Shui-world. And unlike the customary flounce and flow found in her garments, Shui introduced plastic-like floral molds reminiscent of Wedgewood reliefs which dotted the collection as bustiers and neckwear. Well-fitted brown crinkled leather and trusty embroidered satin shouldered the best looks as Shui nodded to her usual suspects: lace-up closures, corsets, and uber-mini dresses. On the other hand, what appeared to be printed chiffon and another sequined, tie-dyed fabric made for less palatable pieces that teetered on feeling dated. Of the 34 looks, only about half felt on-brand, most identifiably Kim being 8, 22, and 26 — least, look 29.  In addition to the garments, exactly half of the looks were paired with chunky retro Nike trainers. It’s not the first time Shui has collaborated with the sportswear big-leaguer, but the hefty swish presence certainly tipped the scales toward casual rule on attire. SS25 isn’t reserved for carpets or clubs, or even the girls. The brand made a soft-launch into the menswear sphere this season with its first-ever men's pieces, which were worn by Jake Fleming in his runway debut. Nothing, however, was casual about the vision of 4’11” Olympic gymnast Jordan Chiles closing out the show in a blue and white capped-sleeve leotard with a train. Her presence jogged the memory of Olympic vigor and athletic excellence, which was another inspiration for Shui this season. While Chiles was busy going gold in Paris this summer, Shui was there too, taking notes of Matthew Barney’s “Secondary,” an exhibition that explores the brutality of sport and the fragility of the body, which she noted as another influence for this collection.  Fittingly enough, one of the front-row attendees was UConn basketball point guard Paige Bueckers. Though the NCAA poster child might have seemed unseemly beside the likes of Tia Corine, the Clermont twins, or Honey Balenciaga, her presence fit with the themes of the night, as well as Shui’s previous work with athletes.  Yet despite such muses ingested into the design process, SS25's lack of expected eccentricity on a tactile level was difficult. While her lean into the casual will surely help her cast her consumer net much wider, this season felt like a hazy limbo that has yet to muscle out from between what Shui has been and where she’s going. Hopefully, this is just her training period. 🌀 5.2 Sophia Scorziello  is a freelance writer from Connecticut who misses living in Los Angeles. Follow her on Twitter  for unsolicited takes and Spotify links.

A good collection — but it's time for Hilfiger to decide what the brand is supposed to be. In a palette of varying shades of blue, cream, and red — and onboard the MV John F. Kennedy, formerly the operating Staten Island Ferry — the Tommy Hilfiger Spring/Summer 2025 Ready-to-Wear collection leaned into the preppy, though perhaps too comfortably. Opening with three plaid looks in a row — two sets of pants and button-up shirts, one maxi dress — Hilfiger set the tone for the brand’s newest collection: Americana, but baggy.  While preppy clothing has historically been influenced by nautical themes and aesthetics — think the buttery leather brown boat shoes in that dad’s closet — often, preppy brands take the theme too literally. This collection falls into this, greatly in thanks to a knit cream sweater with an embroidered navy anchored on the back and small canvas handbags tied with nautical knots, although these brought some whimsy.  The exaggerated silhouettes, between the loose maxi knit dress, V-necked and sleeveless, and the tiny cropped cardigans, fitted to the chest, the collection attempted to modernize preppy. A performance by the Wu-Tang Clan seemed to be an effort to tie the collection to streetwear and the performative nature of fashion in a city like New York.  Unlike past collections from Hilfiger, the womenswear avoids the hyperfeminine. Even looks that could be construed as more traditionally feminine, such as the pinstripe light blue and white mini dress, are broken up by rougher, more androgynous items; in this case, a loose white trench coat. I see this as an attempt to, once again, appeal to a more streetwear-leaning audience, with success.  But the real hit of the show, and perhaps what Hilfiger does best, was the outerwear. From understated suede jackets to plaid maxi coats to a classic puffer in the white, red, and navy blue block-shaped logo, the outerwear stood out as the most appealing pieces of the collection. They are the pieces that tread closest to Hilfiger’s traditional brand identity, and they polish and complete the looks they are used for in a way that makes me yearn for more outerwear. Is it a bad thing that I wanted every single one of these looks to be covered by a chic, retro-looking jacket? Or is it a sign that we have learned to expect certain things from the Hilfiger brand? 🌀 6.8 Laura Rocha-Rueda  is a Colombian fashion and fiction writer based in Brooklyn who holds a Creative Writing MFA from The New School. She is your local Swiftie and will gladly chat about anything glittery and soft, and about why dismissing pop culture as frivolous is misguided and sad.

" These are women who know what they want — and what they want is Sandy Liang." The Sandy Liang It-Girls have been princesses, mermaids, and then mermaids turned into princesses. For SS25, the Sandy girl transforms into a secret agent whose lasers and gadgets are disguised as lipstick and iridescent accessories. “Fantasy can be practical,” read the show notes, and this presentation surely cemented the Liang brand as a staple in the bicoastal cool girl wardrobe with looks that are charmingly corporate yet vibrantly nostalgic.  Liang’s collection drew heavily on the vivid 2001 TV show Totally Spies  where three animated Beverly Hills teenage girls fight international espionage in bright candy-colored jumpsuits. My first instinct upon seeing the collection was that it felt closer to D.E.B.S crossed with 13 Going on 30  and then a bit of The Devil Wears Prada and Austin Powers  sprinkled in. Safe to say I’m enamored with this new Sandy girl. Aside from just the garments, the models’ blown out bobs, lighter-than-skin pink lipstick, and Polly Pocket-type handbags contribute to this dollhouse-like fantasy world that Liang continues to build as seasons progress. The first four models wore collared short sleeve mini dresses in gray, lacey cream, black, and pastel blue that feel like chic lab coats cut short. Underneath are layered collared shirts adding a dimension to the simple garments, and on each girl’s feet are a pair of thonged metallic pink o-ring kitten heels. These are the girls who grew up trying on their mother’s shiny high heels, except now they actually fit and can afford their own. Tiny star-shaped bag charms dangle from each handbag. Then we see two-piece gingham sets with ruffle hems and a Peter Pan collar. The handbags are the same metallic pink as the shoes (because every girl knows to match their shoes and their bag). A few models look like they dressed themselves in a way that a young girl does, with little sense but a large imagination. Bandanas are tied into their hair, paired with a baggy yet girly beige jacket and tiny lime colored mini shorts. White heels and a matching bag finish the look. And then the girl grows up again. Skirt suits in white lace and khaki satin retain their playfulness when paired with colorful accessories and footwear. One brown satin set borders on frumpy, and a sheeny seafoam puff-shoulder drop-waist mini dress looks like a too-big princess dress for a preteen. However, the styling by Dean DiCriscio just builds on itself to craft the super-spy-girl-world that every member of the audience suddenly becomes a part of. Sisters Sydney and Devon Lee Carlson wore matching outfits in the front row, poet Orion Carloto swooned over the bandanas tied atop trusses, and political/knitter/fashion girl Ella Emhoff was also in attendance along with writer Nicolaia Rips who cutely crafted the show notes.  Perhaps the romanticization of girlhood feels so three months ago, overdone, even exploited. Women and girls are too often the butt of a joke, talked down to, or expected to tailor their femininity for the pleasure of others. Sandy Liang encourages her fantasy world of mermaids, princesses, and now secret agents, to enter our real world. There is truly no harm in pink kitten heels, ruffley gingham cabbage bags, or bedazzled jeans.  The most-eye catching looks of the show were a green apple cardigan, mini short set, and a layered ruffle shoulder bag and a royal blue ensemble of a matching coat, pleated skirt, and banana. The colors were breathtaking, rich, and consuming. Girly but sophisticated. These are women who know what they want — and what they want is Sandy Liang. The garments are “something to create your own world in,” the show notes read. There were plenty of black and gray blazers with mother of pearl buttons for those who aren’t drawn to flamboyance, along with more masculine black and gray sets: jackets with bow details on the décolletage and baggy shorts that don’t bare all. However, a rhinestone mini dress with a slit and satin bow detail is for the ultra flashy Sandy girl. And a sequin and lace mini dress with a pink sash across the bust was made for the girl who knows she’s already won the pageant. To close the show, a delicate barely-there high neck sleeveless mini dress with flouncy transparent florals and tiny sparkling rhinestones sprinkled in the center of each appliqué. This Sandy Liang world is not for everyone. The show notes teased that “each piece is password protected: only you can unlock it.” These pieces are for the girls who want to define their own lives, whether it’s rooted in girlishness or not. You and I and the audience have the freedom to build our own worlds, whether factual or fantastical, corporate or creative. There is a tinge of delusion that is welcomed in these Sandy fantasies, and everyone is happy to buy into it when metallic pink kitten heels are involved. 🌀 8.3 Jane Lewis is HALOSCOPE's Runway Editor based in New York City. She grew up on farms in Southern California but now she always matches her shoes to her bag.

In the virtual reality of Off-White, perhaps clothes don’t need to make sense at all. The Spring 2025 collection at Off-White, shown for the first time at New York Fashion Week, is made up of 42 complex looks that seem to answer: If I wanted to dress like a sexy video game character, what would I wear? Looks that appear to be the outfit of a cartoon motorcycle rider — with stylized lines printed on red spandex-looking fabric to indicate muscles and movement — helped to create this illusion. Exposed chests branded with a small “OFF” in black letters also made the models look more like action figures, strutting down Brooklyn Bridge Park turned runway.  The brand’s streetwear DNA shone through in the color palette, which maintained a very motor-urban feel with red, black, military green, and white, and details like black gloves for the fingers only, or thong-sandals sported primarily by male models. The high-fashion side, too, shone through, in plunging necklines that run all the way down below the belly button and skirts with a bedazzled diagonal layer.  A sheer, tight, light brown hoodie encrusted with silver beads hugged the torso and head of a male model irreverently. Belts with buckles that spelled SEX in big silver letters completed otherwise tame looks of jeans and a tight tank top. A camo pattern of browns and bright red that would completely defeat the purpose of camouflaging anything tied in the absurdity of video game costumes: completely flashy and impractical, worn to do impossible things.  This collection played mostly with shape: adding layers to pants along the waist or making tightly-fitted mock-necked long sleeves a bit unexpected with cut-outs over the hips. A hoodie with a painted geometric pattern is turned into a high-fashion piece with cutouts on the chest beside the shoulders and a V-shaped bottom hem. Paired with a skirt that has equally geometric cutouts near the hips and is adorned with feathers near the bottom, the look is doing everything at once.  And perhaps that is the common thread of this collection: it does everything at once. It is filled with tension, which, from a streetwear perspective, is necessary to succeed. In the virtual reality of Off-White, perhaps clothes don’t need to make sense at all. 🌀 7.4 Laura Rocha-Rueda  is a Colombian fashion and fiction writer based in Brooklyn who holds a Creative Writing MFA from The New School. She is your local Swiftie and will gladly chat about anything glittery and soft, and about why dismissing pop culture as frivolous is misguided and sad.