NYFW *Spring/Summer 2025 Shao New York

.new collection
Shao New York: For the Rebel in a Suit
*NYFW Spring/Summer 2025

written Malcolm Thomas

Shao New York's sophomore collection is a cut above.

Shao New York designer, Shao Yang is loosening up the seams of tradition. In fact, nothing about her calculated ascension in fashion is traditional at all, except for her clothing, sort of. (More on that later).

Having wrapped her second show (her first made headlines on the roof of Anna Delvey’s apartment), it’s clear that the emerging label is more than just hype. She proved that Wednesday evening, as she closed out the Spring/Summer 2025 season of New York Fashion Week with a show that her publicist, Kelly Cutrone, proudly coined over a microphone before it began, “from rooftop to runway.”    

The actual title is Class of 98: Rebellion Remastered. The program was printed on thick stock paper, and it felt and read like a cleverly written manifesto rather than show notes. However, Yang’s point of view is clearly laser focused. Yang described the collection as an antidote to the Instagram nostalgia social media is currently trapped in and more as a tribute to old-school teen angst before we spent more time curating our brand image on our phones than spending it at the park or driving around town with our friends. A simpler time, one could argue.

What’s not up for debate—Shao New York’s mastery of tailoring. She also owns another business, The Tailory, which designs bespoke suiting aimed at the LGBTQIA+ community, probably one if not the first of its kind. The thirty-five look collection—rooted in leather, denim, and cashmere, also has some really impressive trompe l’oeil shirting because as Yao states in the program, “let’s face it, the ’90s were all about illusion”. Of course, there was a lot of statement suiting, too. Call it a redux of the boss bitch energy archetype Donna Karan created in the 80s but bejeweled.

While inspired by the youth culture of the '90s, these were the kind of clothes that make you want to grow up fast. The kind of clothes a young Carrie Bradshaw might wear on a night out with Big, perhaps, as he rolls down the window of his town car, takes one last look at her and says, “Abso-fucking-lutely.”

also read Private Policy at Work *NYFW Spring/Summer 2025

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(c) SHAO New York seen by Randy Brooke, NYFW 2025 - Spring/Summer 2025

NYFW *Spring/Summer 2025 Private Policy

.new collection
Private Policy at Work
*NYFW Spring/Summer 2025

written Malcolm Thomas

This season Private Policy tries to tackle AI and corporate oppression with a pop culture twist.

Everyone knows Theodore Shapiro’s now infamous compositions from the fashion classic, The Devil Wears Prada and can’t help but feel a certain wide-eyed excitement when they hear it. That’s probably precisely why it was playing over the speakers at The Altman Building before the Private Policy show on Wednesday, and certainly one of the reasons for the collection’s title, The Devil Is Here.

It was also one of many inspirations for the brand’s most recent collection. Iconic easter eggs like the famous Miranda Priestly line, “Everybody wants to be us,” was printed across a polo, and another line, “Florals, for spring?” inspired the brand’s signature checker prints to be updated with, you guessed it, florals.

However, the Private Policy designers, Haoran Li and Siying Qu’s sole intention was not to take us on a trip down memory lane, but to try to tackle a daunting conversation, one that has caused widespread fear in the heart of many creatives, AI. Where is it going? How will it impact us? Whether that question was answered was debatable, but it segued into another fear, going to the office.

The show opened with two employees clocking in, the daily rhythm most of us are slaves to and have dreaded even more post-pandemic, complete with disembodied ringing phones, computer clacking, Mac desktops, and even cubicles where the two performers pretended to type away as models burst through the seemingly corporate drudgery, key fobs dangled from pockets with empty plastic ID sleeves, work shirts were styled with combo jersey shorts and mini-skirts and even glittering hot pants made an appearance at the office. For context, this was a fashion office.

According to the program, the takeaway is this, “Perhaps what today’s generation truly seeks is not a return to the rigid hierarchies of Y2K corporate life, but the unapologetic ambition and dream-big energy of the Y2K era, reimagined for a future that prioritizes creativity and self-expression over outdated notions of obedience and submission.”

Then suddenly the performers promptly strutted down and off the runway. I guess it’s time to clock out.

also read Shao New York: For the Rebel in Suit *NYFW Spring/Summer 2025

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(c) Private Policy New York seen by Adriana Kaegi / NYFW 2025 - Spring/Summer 2025

NYFW *Spring/Summer 2025 Aknvas

.new collection
Aknvas With a View
*NYFW Spring/Summer 2025

written Malcolm Thomas

Office chic, camp, and fluidity were the themes at Aknvas.

From the 37th floor of Tapestry at 10 Hudson Yards, Danish designer Christian Juul Nielsen, the designer behind Aknvas (a Danish play on “canvas”) proved that he knows all about strong points of view with an impressive resume that spans stints at John Galliano for Dior to Oscar de la Renta, Nielsen’s work under the tutelage of fashion’s modern masters gives him major bragging rights. However, Aknvas doesn’t promise the same kind of pointed perfection of his predecessors but something much more inviting—freedom.

The freedom lies not just in the designers’ clothes but the people wearing them. The type of genderless and youthful fluidity that acts as an honest reflection of the mirepoix of talent working in the industry and those inspired by it. These clothes are pretty but not delicate, tough but not mean, these clothes are for everyone.

The official title of the collection was Nordic Midsummer Camp, and Aknvas inventive takes on denim and his liberal use of floral appliques, his vegan leather peplum jackets, and shimmering sequin ensembles seemed loud enough to make this a camp of dreams and speaking of the office, Nielsen’s pinstripe shirt dress and pinstripe padded shoulder cropped shirt with matching skirt will definitely fight off any Sunday scaries, indeed. Gen Z eat your heart out.

There is also great skill in choosing the right venue for your show, as is the right fabric for a collection, and no one would argue an office building might not be the most summery choice, especially when competing against a panoramic backdrop of the Manhattan skyline. Think about it: there is something inherently imposing. The sharp cornered edges, the machine-cut glass, the sound the ground makes when you tiptoe down the lacquered lobby, yet Nielsen’s collection shone through like I imagine it always does.

also read Bad Binch Tong Tong Goes to Church (and Space) *NYFW Spring/Summer 2025

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(c) Aknvas, NYFW 2025 - Spring/Summer 2025

NYFW *Spring/Summer 2025 Bad Binch Tong Tong

.new collection
Bad Binch Tong Tong Goes to Church (and Space)
*NYFW Spring/Summer 2025

written Malcolm Thomas

Aliens, divinity, and love were at the heart of Bad Binch Tong Tong’s latest collection.

Like a great roll of spandex, the crowd stretched outside St. Bartholomew’s Church and around the corner of 325 Park Avenue on a balmy Saturday afternoon. At first glance, a passerby might be more curious as to how a church had managed to attract such an unlikely crowd and such blatant attention from the public in a city that has quite literally seen it all, that was until Bad Binch Tong Tong took over one of Manhattan’s most exclusive zip codes for a fashion show, of course. Let me set the scene: the front steps of the church were filled with news cameras and paparazzi; the guests: the famous and the infamous, including America’s favorite bad girl, Anna Delvey (who was working the door) and the ringleader responsible for gathering up such a double-take-worthy group of fashion counter culturists no other than the Queen of New York PR, Kelly Cutrone. In short, a time would not only be had but ordained.

Now let’s talk about the show because the Forbes 30 under 30 designer, Terrence Zhou, whose label’s moniker is a combination of a childhood nickname and his birth name, did not only give us a collection, he gave us a show! Much like the designer’s fashion persona that lives somewhere between satire and mad genius, his Spring/Summer 2025 collection, Whisper Across Dimensions was unequivocally out of this world.

Inspired by aliens, think The Day The Earth Stood Still meets The Fifth Element, Zhou imagined a reality where aliens finally make contact with the earth, culminating into a cautious trek, the alien’s shimmering air membranes protecting them from the harshness of our world communicated through what can only be described as pumpkin-shaped pods turned into sculptural improbabilities in the many shapes and sizes of sci-fi dresses and even wearable flowers.

Told through music composed by Katie Jenkins that belonged in a blockbuster epic and led by dancers choreographed by Stefanie Nelson, the Parsons and Central Saint Martins alum ended his Iliad with a dance of his own, unsurprisingly with fabric, before inviting the cast onto the stage which erupted the audience into applause and then to their feet as they rushed for a second chance to marvel at the collection up close.

I went into Bad Binch Tong Tong with no expectations but was thrilled to be allowed to escape the worries and fears of these times, if even just for a moment; to sum it up best, there was one particular line from the program that I found quite poignant. It reads, “The show is not just a display of fashion but a sacred communion, a place where we can feel the presence of higher beings, where the dimensions overlap, and where love is the only truth that matters.”

also read Aknvas With a View *NYFW Spring/Summer 2025

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(c) Bad Binch Tong Tong, NYFW 2025 - Spring/Summer 2025

FLANDERS DC 2024 *Quaint and the Quotidian

FLANDERS DC 2024
Antwerp's Fashion Legacy at Royal Academy

written Dennis Cappabianca

While the fashion world struggles with the constant search for new creative directors to boost sales and create increasingly commercial and sellable collections, the opposite happens in Antwerp.

Here, the Royal Academy of Fine Arts’ students amuse crowds by playing with shapes and volumes, transforming garments into true works of art. The commitment, artistry, and creativity of the students, together with the fashion show's scenography and choreography, made it once again an unforgettable experience for every guest.

GUILLAUME GOSSEN

RODRIQUEZ RODRIQUEZ

TIM WIRTH

Each year, Antwerp hosts its customary show of the Royal Academy of Fine Arts, undoubtedly one of the most prestigious on the global stage. Expectations run very high as many creatives have studied and walked through the institute’s halls before reaching the pinnacle of success, like Martin Margiela, Dries Van Noten, Demna Gvasalia, Kris Van Assche, and Glen Martens—just a few of the alumni who started their careers here, confirming and reinforcing the institution's high reputation for excellence and innovation that it has maintained since 1663. All eyes are on the final year students, who have the chance to shine and showcase an entire collection to hundreds of attendees, including international press and a revered jury (also composed of former students like Jezabelle Cormio and Dilara Findikoglu this year). Avant-gardism and a knack for provocation have always characterized Belgian fashion, with many references to the '70s and '90s—decades known for social protests, gender equality, and extreme clothing.

MERT SERBEST

ROHAN KALE STEINMEYERI

YUJEI UEDA

credits for all images
©Catwalkpictures

header look credit
POMMIE DIERICK

The collections presented during the show were a triumph of creativity and sartorial mastery, where each designer brought a distinctive vision to the runway, showcasing a wide range of styles and techniques.

Old Threads, New Wonders *Fashion in Helsinki 2024

Fashion in Helsinki 2024
*Old Threads, New Wonders

written Chidozie Obasi

Something the contemporary luxury market said about the unnecessary pace of change in the industry got Finnish designers thinking about how to shape-shift from their customary minimal take into a more subversive appeal.

“There’s beauty in creating something timeless and seasonless, that you can wear on a wealth of occasions—cashmere, merino wool and cotton are all part of the Scandi equation—but the trick comes with making a dress a favourite piece with an elevated seam,” pondered ALMADA LABEL’s Alexa Dagmar and Linda Juhola. Just like many of their peers, that's where they started for their brand, which looks to elevate timeless classics (cue: knits) into a refreshing slew of smart essentials.

So why, one wonders, is their collection so insistent about a silhouette that was essentially a wear-anywhere knit? There were multi versions with a delicate belt, a satin style with romantic sleeves, and one with an elegant waistline. Granted, we're talking Scandi fashion, so there's a possibility that a knit suit might indeed be a favourite piece. But some of these pieces will have to work at becoming wardrobe staples. The most disconcerting feature was the neutrality of the palette used that was present across the toppers and had little-to-no newness in tonal range.

©Atlas Woo

©Atlas Woo

Fashion In Helsinki 2024
©Atlas Woo

But despite all manner of heaviness, the label has a solid, show-worthy ground that will most definitely work in their favour with retailers. Speaking of solid identities—and all the creative sensibilities this term harmonises—Fashion in Helsinki is one such example: as the chief platform for emerging talents in Finnish fashion, this season it showcased the country’s creativity teamed with the designers’ artistic practice through presentations and talks to local and global consumers.

Organised by Juni Communication, the event featured a collective runway show that comprised revered Scandi designers Sofia Ilmonen, ROLF EKROTH, HEDVIG, Jenny Hytönen and VAIN, together with a runway that championed students from Aalto University for the rise and rise of their remarkable talent. Both runways have had a fresh impact on the Finnish fashion scene, because change is very much at the core of their idea. And that's usually a good thing.

Fashion In Helsinki 2024
NAÌYTOÌS RUNWAY
©Kristian Presnal

©Kristian Presnal

©Kristian Presnal

This season, the runways relied heavily on two distinct visual resources: emotion and abstraction, detaching from the common threads of minimalism and focusing on an avant-garde aestheticism that imbued novelty and took it to the extreme. Unlike the brands we came across in the showroom tour (which had a more commercially-appetible vein, in tandem with current market needs), there was a newever edge that took the Finnish fashion industry by storm. A somewhat relaxed chaos, peculiarly present across the collection of Aalto’s students which have shown a shrewd identity not only in garment construction, but also in their respective ethical function. The myriad of upcycling techniques that were used in these sophomore collections were indeed worthy of note, because of the clever marriage of material and experimentation, which usher a new creative equation that looks to sustainability and functionality.

What’s more, the impressive cultural tapestry of Finland spans across its huge array of references that continue to deliver meticulous ideas from the country’s designers—an impressive symbol of growth that will herald a positive development for their businesses. Their winning ticket? “Not having to shout!” exclaims Finnish designer Sofia Ilmonen. “Because at times, it’s the simple gestures that make for the most compelling craft.”

Federico Cina's *Colors of Nothing Fall 2024

*Runway
FEDERICO CINA
Colors of Nothing / Fall 2024

written Monica de Luna

Federico Cina's Fall/Winter 24-25 collection, Colors of Nothing, brilliantly captures the dynamic interplay of innovation and tradition in the fashion world.

This profound narrative of change, acceptance, and the essence of being, resonates deeply with the themes of brutalist architecture and the minimalist philosophy of ornamentation. Cina's latest offering is a masterful expression of transformative vision, seamlessly blending contemporary ideas with timeless allure.

The collection, a harmonious amalgamation of inspirations ranging from Adolf Loos's functional simplicity to Bill Viola's transformative artistry, and Salvatore Settis's classical touch, is a testament to Cina's ability to weave diverse influences into a cohesive sartorial statement. The runway, transformed into a minimalist landscape, set the stage for a journey through the physical and emotional layers of change.

The models seemed to emerge from an intangible fog, their forms becoming more defined with each step, mirroring life's journey from uncertainty to clarity. Federico Cina's designs, characterized by their stark lines and vivid cuts, spoke volumes of a renewed geometric precision. The show was a narrative woven in fabric, a story of shedding the old to embrace the essential self. The rigid construction of jackets and coats symbolized the structural integrity of self-discovery, akin to the iron framework of a building standing tall against the winds of change.

The fabric choices further emphasized this theme of transformation. With compact weaves that held folds as if set in concrete, the collection echoed the brutalist appreciation for raw, unadorned surfaces. The color palette, a blend of stone, fog, and the occasional burst of color, was not just a visual choice but an emotional exploration, representing the winter of life cut through with the colors of growth and evolution.

A key highlight of the collection was the Tortellino bag, a piece that brilliantly symbolized the merging of tradition and modernity. This accessory, with its soft yet sculptural structure, epitomized the collection's theme of transformation, marrying the classic with the contemporary.

Federico Cina
FALL 2024 COLLECTION Runway

Federico Cina has not only presented a collection of garments but has invited us into a narrative of self-realization and acceptance. The Colors of Nothing collection stands as a bold statement on the beauty of change, the strength found in vulnerability, and the inevitable journey of growing and evolving.

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(c) Federico Cina, Fall 2024 Show