Is it Fall Yet? Our Favorite NYFW Collections We Can’t Wait to Wear

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Alexander Wang F/W ’18


Is it just us or is fall fashion just so much better than spring? That was definitely the case at the NYFW FW18 shows the past two weeks. And so while most New Yorkers might be pining for spring sunshine throughout this temperamental (but mostly cold) Northeast winter, we find ourselves counting down the days until September finally returns, and we can look cute again.

From Matrix-inspired office wear at Alexander Wang to ’80s power suits at Marc Jacobs and ’00s-era Paris Hilton puppy vibes at Gauntlett Cheng, we’ve compiled here our favorite Fashion Week moments – plus two honorable mentions because, well, we just couldn’t bear to narrow it down.


Alexander Wang



We’ve loved Alexander Wang since he first debuted his part minimalist, part rock ‘n’ roll It-girl uniforms; but we have to say, the last few seasons have left us with a never-ending #WANGOVER. This season, though, the San Fransisco born designer channeled The Matrix-meets-The Office, delivering a range of post-apocalyptic professional wear that we want every piece of – especially, the fur-lined ’90s CK-inspired undies.


Marc Jacobs



Marc Jacobs is basically the Alexander Wang of the late ’90s. So, needless to say, we’re giant fans. But much like last season’s awful #WANGOVER, Marc has fallen off a bit the last few years. I mean, remember the dreadlocks fiasco? Still, it seams Jacobs got the memo (or finally found it again), and this season felt like a return to form. Part ’80s power suit, part goth noir, the Marc Jacobs FW18 collection felt like Bianca Jagger in her white suit days, if she had Grace Jones’ attitude and Siouxsie’s sense of color. What more could you possibly as for?


Eckhaus Latta



One of fashion’s favorite new brands, Eckhaus Latta has mastered minimalism in its purest form. For their FW18 collection, designers Mike Eckhaus and Zoe Latta built upon the easy going feel of their last few seasons, but experimented more with shape and color than they ever have before. While the knits and sheer dresses fit right into the Eckhaus Latta playbook, bright yellow flowy fabrics were a new look for the brand. Overall, the collection was bold but understated, yet what Eckhaus Latta does best isn’t actually their clothes. Season after season, and despite its growing popularity, the brand remains dedicated to its outsider ethos. And did we mention their casting always rules? This season saw a diverse runway filled with New York City favorites, including model Paloma Elsesser and indie rock royalty Coco Gordon-Moore.


Tom Ford



Nobody does sleek and sexy like Tom Ford. This season, the designer went all in with leopard print, mixing loud colors with the even louder print in all different sizes from head-to-toe. Not only did each look feel totally timeless, you’ve got to give it to someone who can make lime green or bright red leopard print look not only classy, but cool.





Another one of the fashion industry’s favorite young designers, Becca McCharen-Tran built Chromat to empower women of all shapes, sizes and colors. While most brands have embraced a long overdue push for diversity on the runway (not looking at you, Stefano Gabbana), Chromat also delivers it IRL. With a focus on emerging technology and body positivity, the label pushes boundaries and challenges the fashion status quo. For her latest collection, McCharen stuck with oranges and neons, accessorizing each look with Flaming Hot Cheeto bags tied to models’ pants and in their hands. Rapper Slay Rizz finished out the show with a killer performance in an orange two-piece by Chromat, and even though we didn’t get any cheese puffs to go, we were sold.


Dion Lee



Since launching his eponymous label in 2009, Australian designer Dion Lee has consistently delivered classic yet forward-thinking clothing, with his FW18 collection serving as further proof of his talent. Outfitting traditional sportswear looks with architectural bra-tops, it seems Lee also watched The Matrix and The Office before designing his collection. But unlike Wang’s, the Dion Lee range felt modern, not futuristic – the Neo influence was subtle. Lee also brought in more feminine elements, juxtaposing the structured suits and tops with flowy skirts.


Gypsy Sport



Ever since winning the CFDA/Vogue Fashion Fund in 2015, Rio Uribe has been making waves with his brand Gypsy Sport. Inspired by New York City, Uribe turned heads last year when he decided to present his Spring collection in Paris. But for FW18, Uribe returned to the city, thank god. Other than that, though, this was an all new Gypsy Sport. Over the last few years, the brand has become recognizable for their upcycled jerseys and I <3 NY logo tees, with the Gypsy Sport name in place of the heart. This season, Uribe ditched the streetwear element, presenting a romantic collection filled with suits and gothic ruffles, as well as a few sustainable aluminum looks. Of course, the designer stuck to his habit of using friends and members of the LGBTQ community as models, including 10-year-old activist and drag star Desmond is Amazing, who stole the show (and probably all of Fashion Week). Known for his willingness to experiment, it’s hard to tell whether this collection was a one-off, or the evolution of the brand. Either way, it doesn’t really matter, because whatever Gypsy Sport does is really, really good.


Adam Selman



Another CFDA/Vogue Fashion Fund alum, Adam Selman won Fashion Week in our book. The FW18 collection was kinky, it was campy, it was part John Waters, part new wave, it was punk as fuck. Featuring a collaboration with artist Cheyco Leidmann, who created the surrealist prints Selman used on dresses and shirts, the range was bold and colorful, mixing prints, patterns and styles in an ode to photographer Ypsitylla Von Nazareth. In addition to the outfits, Selman also debuted his latest collection for sunglasses brand Le Specs. If you haven’t already been spotting his metallic cat-eyes for the last few years, get ready – this season’s heart-adorned versions are about to be everywhere. We want ours now.





Most people had never heard of New York City brand Vaquera before last NYFW, when they debuted a dress made only of blue and gold credit cards. For some reason, the look ended up on every news outlet, even though it was one of the weakest of the show. (We’re not saying we didn’t like it – we did.) What Vaquera does best is their more subtle work. This season, the designers seemed to realize that as well, presenting a range of deconstructed pieces that were delicate and cool. The highlights: an oversized blazer dress, cropped suit and crazy snakeskin skirt that all looked like they were slightly unfinished, but in reality, took forever to make. And isn’t that the best stuff anyway? The kind that costs, like, $10,000, but looks like you got it in the back of Duane Reade.


Calvin Klein



Oh, Raf. There’s literally nothing he could do at this point that would make us angry, because every collection he sends down the runway is as close to perfect as it gets. After presenting a men’s collection for his namesake label earlier in the week that revolved around Christiane F. and Cookie Mueller’s Drugs, Simons presented a classic Calvin Klein collection that took all of his quirky eccentricities and somehow made them look, well, classic as fuck. I mean, who else could send swimming caps and sweatshirt-less hoodies down the runway, without looking like he’s trying to be avant-garde? No one. And that’s part of his charm. Unlike a lot of of designers who, when they take over a storied brand, start to lose their individual voice, Raf’s seems to get only louder with each season, and we can’t wait to see what happens next.


Jeremy Scott



We have to be honest when we say that we love Moschino, but have never really caught the Jeremy Scott bug. That is, until this season, where Scott went full-on Fifth Element, with futuristic space-inspired looks. For those of you that don’t know, Jean Paul Gaultier did the costumes for The Fifth Element, and it’s basically a 2-hour fashion orgasm. So, when Scott sent Gigi Hadid down the runway in a silver overall dress, pink crop-top and matching pink LeeLoo-inspired wig – well, we almost stood up to give him immediate applause. The rest of the collection was equally amazing, with all of it feeling retro-futuristic without trying too hard. The key was nothing felt too much like a costume, just the uniform for a school in 2064.


Honorable Mentions




This was Telfar Clemons’ second collection since winning the CFDA/Vogue Fashion Fund, and though it was impeccable, it was the presentation that really kicked ass. Following the runway show that saw Clemons’ solidify his gender neutral ’70s aesthetic, singer/performer Dev Hynes, rapper Ian Isiah, Kelela, Oyinda, 070 Shake and Kelsey Lu took the stage for an intimate performance. The result was emotional yet understated, just like the collection itself.


Gauntlett Cheng



We’re big fans of Esther Gauntlett and Jenny Cheng’s self-aware brand that makes clothes for cool girls all over the world. This season, the duo went Westminster – or maybe Paris Hilton circa 2002. Either way, we were obsessed with the high fashion pieces they presented on models and a group of pups.


All photos courtesy of Vogue Runway

New York Lawmakers Working On New Legal Protections for Models in Wake of Weinstein

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@michelgaubert on Instagram


In the wake of the scores of accusations of sexual harassment and assault regarding Harvey Weinstein, the fashion industry is taking a look at its own rape culture, and finding that some changes need to be made.

New York State Assemblywoman Nily Rozic (Democrat) has told the New York Times that she’s hard at work on a new amendment to the state’s current anti-discrimination laws, seeking to extend further protections to fashion models. Specifically, the amendment would hold clients hiring models – photographers, designers, retailers – liable for any sexual harassment claims.

Currently, models are protected very little by law, as their employment often comes through indirect sources, such as agencies, claiming only to act in an “advisory capacity” toward the models’ bookings. This new legislation would remove that gray area.

“The goal is to push back on the silence that has been so pervasive,” said Rozic to the Times, “and find a legislative solution to change the cycle.”

The new amendment would be the second piece of victorious legislation for models in recent years – this most recent Fashion Week also saw the implementation of a ban against underweight or underage models.

Steal This Look: The Off-Duty Falconer

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Illustration by Hilton Dresden

We know what you’ve been thinking: how do I dress myself so I invoke the image of a posh falconer taking a break from hunting with birds of prey to take a light stroll around the block? Luckily, we’ve got you covered. Follows these simple guidelines and you’ll be the most stylish statement in town. Bird sold separately.

The extreme flare pants.

You need to get extreme here. We are into this boot option.

The furry neck.


Keep your neck warm with this piece from Target.

The sweater vest. 


No need to get fancy here. A simply blue will suffice – this one is courtesy of Ralph Lauren.

You’re all set. Now get out on the sidewalk and strut your flared legs.

Dries Van Noten Becomes Latest Designer to Receive Film Treatment

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Photo Credit: @DriesVanNoten via Instagram

In the new documentary Dries, set for a 2017 release, Belgian designer Dries Van Noten becomes the latest name in fashion to receive a documentary about his career, following in the footsteps of Anna Wintour in The September Issue and Raf Simons in Dior and I. 

Filmmaker Reiner Holzemer sold the film to Dogwoof Pictures, the distributor behind other high-profile fashion flicks like Iris and The First Monday in May. 

Dries covers the designer’s career and focuses in on a year in the business, where Dries works on four separate collections from both his home and atelier. The doc will feature talking head-style interviews with some of fashion’s most famous names, like Iris Apfel and and Suzy Menkes.

“It took me a very long time to convince Dries to share his passions, his creative and intimate world in front of a camera,” said Holzemer in Variety‘s report. “I followed him for a whole year and I think I came as close to him and his world as it is possible. I hope the result is a very personal insight into his life and career.”

“Reiner’s access to the personal and creative mind of Dries is captivating. Van Noten is one of the most private fashion designers out there and it is a privilege to represent the first film ever made about him, and to witness his creative process,” said a Dogwoof representative.

Fashion Designer Stevie Boi on His New Film and Trump (Interview)

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Photo Credit: Michael Antonio

You may have seen Stevie Boi’s wacky-chic eyewear in a little publication known as Vogue, or else on up-and-coming celebs like Rihanna and Beyoncé, or the underground artist Lady Gaga.

Just in case you haven’t:



@sbshades via Instagram

His pieces have appeared inside Vogue thirty times and counting. He’s fresh off of a successful show at New York Fashion Week…

…and he’s set to release a film about his fashion ascent next year. We sat down with the blossoming designer for an exclusive chat about where he sees himself heading and what his thoughts are on the current state of the world.

Blackbook: You used to work for the military. What was that like, and how was the transition from that into fashion design? 

Stevie Boi: I loved working for the US government. It actually helped fund my career.  I took my technical experiences working for the military and mixed it with my designs. For example, the job I had instructed me to build tank parts and weaponry. I was able to figure out a way to mix technicality with design from that experience.

Can you walk me through the timeline of going from just starting out as a designer to having your eyewear on the cover of Italian Vogue, and worn by stars like Rihanna and Gaga?

Well, it was literally an overnight situation! I was designing products in my downtown loft in Baltimore. Next thing you know, I’m asked to attend fashion shows and style celebrities. Some of the celebs I’ve known from skipping school at 16 and driving to New York to hang in prominent “club kid” type of venues. Having my products grace the covers of Vogue still to this day (literally today -Oct 19th 2016!) is shocking.

Following up on that – what’s been your proudest career moment?

I still remember waking up to my first Vogue cover.

It appears in your latest collection, “CÄBIN,” that you’re branching out from just eyewear into clothing as well. Could you speak to the collaboration process with Weave Up?

Yes that is correct. Working with Weave Up is amazing. They also will be collaborating again with me for my F/W 17 collection, “NØIR”.  I love Weave Up because they allow their customers the options to create their own textiles, which I believe gives people more freedom to express themselves.

You’re doing a movie, “CÄBIN: the Story,” in select theaters next year. Is it a documentary? Are you planning to move into filmmaking further?

Well, it was supposed to be a fashion film, but after pitching it to Hollywood I was told to make it bigger and more dramatic. So I reached out to my visual director and told him we need a script and movie outline in less than 72 hours! 2 months later we had producers, investors and a distribution team set up. I am 100% ready to take on Hollywood and do more filmmaking after this project. It was draining as hell but totally worth it.

You’re doing a reality series in Europe, and you’re appearing on Whoopi Goldberg’s “Strut.” Is acting as much as passion of yours as designing? Do you see yourself playing characters, or just sticking to playing yourself?

Yes I go to Sweden in December to film “Stevie Takes Sweden.” We filmed “Stevie Takes Vegas” which comes out next year. I’ve been taking my acting very seriously. I was cast in a few Netflix series and movies that debut next year. I would love to do more serious roles. Like as crazy as this sounds – I want to play a crack head so bad. I am really into dark dramatic roles.

You’ve got your next collection, NØIR, coming in February. Can you talk about it at all? Is it just eyewear or clothing as well? 

For the past 4 years I have been working hard to prove to people that I can do luxury & ready to wear. I’m over proving to people that I’m a designer – I’m going back to my roots as a crazy club kid. I’m excited to tap back into my inner goth and fetish aesthetics.

Any other upcoming projects you’d like to discuss?

I am preparing to do something with Disney in a few months. I can’t talk about it just yet but it has already changed my life.

Thoughts on this election?

From the start of my career I had decided it would be best to never speak on political views… But with this circus of an election I must say something. Donald trump sucks! I worked with Chump a few years ago. I also did an IG post explaining the reason why I can’t stand him due to my experiences with him. Many people bashed me and still called me a supporter of his. But I do not support him nor do I agree with him. I don’t trust people that do not blend their concealer in.

RJ Hernández Releases Fashion Film, Discusses Fabulous New Novel

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Illustration by Hilton Dresden

RJ Hernández’s debut novel, An Innocent Fashion, is set in a Devil Wears Prada-esque world, complete with cold-blooded editors and five thousand dollar heels. As the book hits stores, trailed by rave reviews from publications like The Washington Post and Bullett, Hernández has wowed us yet again with a short fashion film to accompany the grand release. Take a look.

Told from the point of view of Cuban-American, sexually fluid Yale grad Ethan St. James, the book is a haunting exploration of personal style, class divisions, and mental health saturated in the sensual imagery of New York’s ritziest nightclubs and unabashed personal vanity.

An Innocent Fashion is a triumphant nose dive into the stormy mind of a depressive Ivy League grad with the world seemingly at his fingertips, but who ultimately feels the crushing, all-consuming loneliness unique to a broke twentysomething trying to make it in New York. It provides us a complex, interesting hero of non-normative race and sexuality without making that the point. And, ultimately, it argues and concludes that having a sense of style does not a vapid airhead make.

We caught up with Hernández to discuss the themes of style, race, and class that have not only informed his novel, but also his life.

What drew you to writing about the fashion world?

RJ: I do take beauty very seriously. Being the kind of person who cares about appearances, you’re put into this category that is often true—lots of people who care about appearances are superficial, two dimensional people. And that’s reality. Or there are people who are just more interested in the sensual world than other people, and derive a lot of pleasure from not merely going about life as a robot but truly looking. As someone who just likes to look at new things, and find new places for my eye to wander, I take issue with the idea that that makes me superficial. I think a person who dresses well and has a sense of style is proposing ideas through the visual medium of their body. To wear something that is truly stylish is to propose an idea to the world that’s interesting. And maybe not necessarily beautiful in an obvious way.

One of the best parts of the novel is it’s prose—the flowery, complex sentences through which it’s told. 

Hernández: It’s on an unusual spot on the spectrum of commercial to literary. But I think this book has a strong commercial allure, in this high fashion world, but is told in a way for a person who just appreciates words and wants to get lost in the language. It’s not what you say, it’s how you say a thing. The style is as important as the product.

St. James is a character who deals with a complicated intersection of sexual, racial, and economic class divisions over the course of the book. Were you writing from personal experience as you created him?

Hernández: I wrote the book mostly as a form of therapy for myself. So it started out as very personal, very close to what it was that I was going through. When I started flushing it out into a fiction, I needed to create some distance between myself and the character, between my world and the character’s world. A big takeaway is class as the ultimate divider of humans. How people of different classes could be friends in a space like college, but simply couldn’t outside of it. And that’s a problem that Ethan immediately faces upon graduation, that his best friends in this space, Yale, simply cannot be his friends in the same way, because the world doesn’t operate on the same terms.

Specifically racially, did you find a parallel struggle between yourself and Ethan?

Hernández: Ethan definitely associates that sense of stagnancy in his childhood with his racial identity. The American dream is always aligned with images of whiteness. The first thing someone does when trying to be a thing is to look like a thing. And so there’s this “fake it ‘til you make it” idea, but more profound. He changes his name, and it’s like trying to change his skin, basically.

A major theme in the novel is the notion of pretending to be something by imitating its appearance.

Hernández: Growing up I didn’t have the idea that I could still be myself and identify with my racial background and heritage, and have that be compatible with this aspirational version of myself. A somebody couldn’t be a person of color.

Do you still feel that way? The more Cuban you are the less advantages you have?

I think everybody’s background does have a huge impact on how far they are able to go in life. Somebody born with huge potential and advantages will be able to go really far. Whereas somebody colored born with the same potential will have to work twice as hard to get a fraction of where another person will. Seeing other people get where you want to be who don’t have the passion of conviction about certain ideas but can get there because…

They’re white. Or they’re rich.

Because of factors out of your control.

But you have come from a lot of disadvantage. You’re still here. You’re being published by Harper Collins. Did you feel like you worked five times as hard as any white author would have had to?

I feel like all my life I’ve had ideas that I’m only now realizing. I’ve had books and ideas in me for years. Part of wanting to do anything in the world has to do with not having. Lack of something is the greatest motivator. In my case not having certain opportunities made me want to get them.

While the book focuses on a sexually fluid character, it’s not being marketed as a “gay” book. What’s been your experience with sexuality, and writing about a sexually ambiguous character?

Hernández: Most of my relationships are gay, but I’d like to think of myself as emotionally and sexually capable of loving anybody. I’d like to think I’m the kind of person who can appreciate someone for more than being a man or woman. The idea that people who don’t identify with queer could pick up this book, that it’s being marketed as just a work of literature, is important. We should be allowed to and encouraged to tell stories, not because we need to tell specifically gay stories. I think there’s a place for that, but any straight-identifying person should be able to read a story with gay characters, the way a gay person can appreciate a story with straight characters.


5 Gender-Neutral Fashion Labels on Our Radar

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These five fashion labels are reshaping the fashion industry with their gender neutral clothing lines. Get to know them now.

Not Equal
Not Equal

Not Equal

Not Equal was established in 2012 and aims to deconstruct gender with each hand-draped garment.

Too Good
Too Good

Too Good

Too Good, a London-based house, rejects the endless cycle of S/S F/W lines and gender norms synonymous with most major clothing labels.



Aalto is a Finnish brand created in 2015 by designer Tuomas Merikoski. Though technically labeled as womenswear, the clothes are androgynous and easily translate onto the male body.

Rad Hourani
Rad Hourani

Rad Hourani

Rad Hourani established his unisex clothing label in 2007, and in 2013 became the first designer in history to present a genderless Haute Couture show. His father is Jordanian-Canadian and his mother Syrian.



69 is a “non-gender, non-demographic clothing line” based in Los Angeles.

BlackBook Fashion: ‘SERIAL1’

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Photographer: Simone Lorusso
Stylist: Pippi Kong
Models: Tim Haije & Dennis Van Schuppen (D’Management), Costin (Brave Model) & Artemii (Nologo Model Management
Grooming: Lisa Lionello & Sara Zenga


Left | Shirt: Balenciaga, Jacket Obvious Basic | Right | (Left) Coat: Jil Sander, Jacket: Hosio, Pants: Obvious Basic (Middle) Coat: Jil Sander, Shirt: Obvious Basic, Pants: Sun 68 (Right) Outside Jacket: Mauro Grifoni, Inside Jacket: Versace, Pants: Sun 68, All Shoes: Versace


Shirt: Obvious Basic, Jacket: Hosio


Left | Jacket: Versace, Shirt: Obvious Basic | Right | Outside Jacket: Mauro Grifoni, Inside Jacket: Obvious Basic


Shirt: Obvious Basic, Jacket: Hosio


Left | (Left) Coat: Jil Sander, Jacket: Hosio, Pants: Obvious Basic (Middle) Coat: Jil Sander, Shirt: Obvious Basic, Pants: Sun 68 (Right) Outside Jacket: Mauro Grifoni, Inside Jacket: Versace, Pants: Sun 68, All Shoes: Versace | Right | Jacket: Jil Sander, Trousers: Sun 68, Shoes: Versace

The Row to Open Three-Floor Flagship Store in New York

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Photo via Vogue

Though New Yorkers Mary-Kate and Ashley Olsen established The Row’s first flagship store in Los Angeles, it was never their initial intention to move west. A few years back, the two had their sights set on a three-story townhouse at 17 East 71st Street in the Upper East Side, but the preferred location wasn’t yet available. Focused and patient, fashion’s most aloof twins have finally locked in the coveted space with official plans to open The Row’s first New York store.

“This store is coming from two sets of eyes with the same mentality,” Mary-Kate told Vogueexplaining how intimacy and collaboration are at the core of The Row’s brand ethos. While Los Angeles’ store was designed around mid-century homes—glass, water and tress—intimacy, here, manifests as a reflection of New York. “We wanted the store to very much feel like a home—that’s sort of the dream of here: a brownstone in New York,” Ashley added.

Unknown-3Photos via Vogue

With help from French interior designer Jacques Grange, who’s previously worked with Yves Saint Laurent and Valentino, The Row’s New York flagship will be a reflection of the Olsens’ relaxed, elegant collections, dotted with special items, like a Frank Lloyd Wright mirror, Carlo Bugatti chair and Masa Takayama ceramics. Framed by the townhouse’s buttery, neutral color palette, The Row’s new home looks absolutely timeless.

“It was really important for us that when you walk into the store it wasn’t about clothes being shoved in your face,” Ashley said, highlighting the importance of designing a calm, relaxing environment for customers to slowly introduce themselves to the clothes.  “Less is more, I believe.”