2023 Consumed Part 1
Clothes, Clothes, Clothes!
A year of writing Hi and Lo! What Highs! What Lows! Once again with the wind of fellow substackers and art obsessives beneath my wings, I compile my yearly roundup of art I enjoyed, consumed, and tried not to rank. That said, this list is loosely organized by favorites (baby steps I suppose).
Keep an eye out for both a second roundup of non fashion stuff I liked in 2023 and info on the most exciting word the reader of a substack can see: monetization!
Thank you so much to all who have read my work this year in any capacity.
The Runway
As the main event of Pitti Uomo menswear week, Martine Rose’s first show outside of Englands reflected the sense that this was an “event” and “honor”, which is to say they dressed the occasion. Rose’s mainstays received upgrades - tracksuits had fringe, double-breasted suits were in fine burgundies with fringe, and denim sets featured electric acid washes (sans fringe). There were also treated leathers, bubblegum furs, and loose sparkling red shirts to further “dress up” the event. A highlight, particularly in a year featuring Derek Guy’s collar gap discourse, was undoubtedly Rose’s tailoring, military jackets, and sweaters featuring exaggerated collar gaps to create a miniaturized doll-like effect. Classic Rose, these pieces are so close to being normal yet illustrate how small details banish them into delicious strangeness. I saw few buyers (even Rose’s own) bite at the concept of selling the more tailored coats in this style, but their use of this motif yields particular contradiction and delight.
This show was special not simply for its brilliant styling and range, but as a turning point for Rose. Here, she demonstrates the breadth of her offerings: hyped Nikes, wacky tailoring, elevated subcultural dress, tugs at the loose threads of gendered dress, and pure showmanship. A show at this level also demonstrates in so many looks why it’s worth it for Rose not to shuttle herself across the channel to face marketing directives from Bernard Arnault. It’s exciting to see that Rose does not require LVMH cash flow or a heritage to deconstruct to find success. Look at Kendrick Lamar at the Grammys, or to the orange and yellow Nike shox mules on the feet of the trendy, and you’ll know that Roses's work is only growing more visible and exciting.
Few are able to so efficiently consolidate and separate their men’s and women’s lines as Junya Watanabe. Unfortunately, both markets cannibalize the other, particularly men who want in on Watanabe’s fascinatingly more celebrated womenswear. SS24 was and will be a brilliant experiment in fusing worlds and codes in its application of Watanabe’s most popular womenswear designs into menswear styles and ensembles. There were capes, Chanelish cardigans, and coats ending in grand bell curves. Mixed with a more familiar modern Watanabe hodgepodge of collaborations and cargo pants, the result was an aesthetic that felt wholly new for Watanabe. It’s exciting to see Watanabe take the same risks he does with womenswear in menswear, even if it is applying the former to the latter.
Will it sell? will this moment shift Watanabe’s pattern of output? Will I be able to fit into a Watanabe-Chanel dress? These questions and more investigated in my piece on the show from July.
Kapital Kountry FW23 ‘WORKING CLASS HERO PLAY KOUNTRY‘
Kiro Hirata heard Marithe Francois Girbaud was planning a comeback, so he beat them to the punch. Or maybe it was their rise in the reselling world, or an authentic youthful memory of MFG’s baggy striped denim; who knows? What matters is that Kapital employed the brand’s motif wonderfully in cherry reds and soft grape hues to rigid denim pants and overalls. This was the season Kapital leaned heavily into baggy denim in general, experimented with odd collars and short coats to pair with them, and a bevy of branded racing jackets. This collection felt like a deeper dive into flea market fare than usual, with Kapital’s usual rotting antique look taking a more modern turn. What else are “The Kids” hoping to find in the bins but colorful racing jackets, baggy denim, and an ill-fitting but sublime coat?
Few Kapital shows are without their storytelling; the brand’s season lookbooks are some of their most avidly collected work and their most enticing tool. The books, one could argue, are what sell Kapital’s wildest concepts as sellable and wearable - from rough sailors’ pants to ragged caps. Erik Kvatek’s lookbook for Working Class Hero Play Kountry follows bartenders, factory workers, and mechanics gearing up for a talent show. They twirl and sing and tap dance in their Kapital uniforms like an MGM musical in rural Japan. It’s one of the strongest articulations of Kapital’s alchemic treatise of “workwear“ as luxurious and powerful craft, of age and work and repair as celebrations of personality and life, and of the ways we stitch ourselves together every day in new combinations.
This was the year I discovered Dries Van Noten, a find which has brought a bevy of new yearnings and a hopeless list of obsessions. This is mainly thanks to the incredible breadth Van Noten displays through this collection. Skinny black tailoring over tight tops gives way to military cuts and straps, florals and beads (see later in this list), and mesh jerseys. In a similar way that Miuccia Prada defines her work through “bad“ taste or ugliness executed with precision to the point of beauty, Van Noten combines these codes in a smorgasbord without the pretension of normalcy but an irresistible sleekness. Despite the patterns and motifs, the show rarely strays from its simple tans and gray woolen colors, escaping briefly into muted pastels and utilitarian greens. When the show ends with its more hippie-inflected sunset tones and louder clashing patterns, it seems like a crescendo. In reality, these final mixtures pull and combine aesthetics from Van Noten’s simplest to most complex garments. All over the place? Maybe. But Van Noten’s ability to make these ever discordant references and styles work is a feat of brilliance.
The hoopla about this being Thom Browne’s first couture show is mainly semantic; he’s been producing sensational high-concept work out of reach for the common man for over a decade. That aside, every bit of excitement around this show is warranted. This was one of fashion’s most brilliant runway sets - the backstage of a theater that opened its curtains to reveal a full audience of Browne donning dummies while models traipsed on stage. The show was appropriately storied, almost operatic in scale, turning the concept of a character seem like a new vehicle - a suit was just as likely pasted two-dimensionally on the body of a bird than displaying an east coast lighthouse via paneling. Even if this show did feature Browne on a more artisanal and detailed scale (note suits embroidered with sea creatures, aquatic pope headwear, and brilliant dresses) there remained a compelling range of tidy suitcases, fantastical footwear, and prints perfect for suit sets. Even in his most niche of stages, Browne can’t seem to help but do and excel in all.
Rick Owens FW23 ‘LUXOR’
Looking at this show only confirms the odd fact that Rick Owens is a master marketer. He can show the most repulsive and experimental - the bumpy raised shoulders that give way to spiky cowls, the gargantuan jacket that seems a stiff sparkly pinata, or the dress that doubles as ragged urinal cake. Still, each idea is packaged into something understandably desired by a loyal cult of followers, translatable into no less powerful yet somehow more palatable creations. I’ve gotten into many an argument about whether the dyes in this collection intentionally resemble urine soaked denim. I’m unsure quite how this affects the desirability of these garments, but I’d like to think the existence of a gray area is proof enough of the ability to execute an aesthetic and the existing devotion to that aesthetic.
Dear Melitta Baumeister Team. I have been to the sample sale, I have been to the VFILES SS24 preview, and I have looked to your website and Instagram. The tabi boots in your lookbook are absent. The VFILES buyer I spoke to was confused when I mentioned them. No, I’m not referring to the Margiela Tabi boots of internet fame, but those teased in your magical SS24 lookbook. They are markedly different because of their slight bulb, which turns the split design into a (excuse the pun) “camel toe“. Their weird, sexy, brilliant, and will obviously not be made in a Men’s size 13. I don’t care. You must release these boots. Don’t get me wrong - I adore the gigantic track jackets, denim experiments, and phallic dresses. I love the application of snake prints to already complex garments, the giant bow sandals, and the color orange. However, Tabi absence thus far has only made my heart grow fonder. Here’s to a beautiful new relationship.
Every runway designed by the dream team of Miuccia Prada and Raf Simons feels like an event. There is an inevitable showstopper piece, if you ask Vogue it’s the button-downs that form Hawaiian prints via fringe, if you ask me it’s the vests in cherry red or sultry black fur over matching shirts or pastel work coats. Collars are wide, waists are cinched. Shorts are short, leather sleeves are long. This, to me, is the platonic ideal of what a modern fashion show can and should be.
A disjointed, jaunty sexiness exists in Jonathan Anderson’s work that is allowed to run so gleefully wild in his JW Anderson shows. This one featured almost anti-styling; perfect coats, some literally sculpted in metal, resting on slender half naked men. Others wear briefs simply to parade new purple boots, and more often than not those briefs will feature leaping cartoon animals. The whole scene resembles dress up in the closet of an eccentric English artist, perhaps a collector of sultry nude portraits and yellow frog faced Wellington boots. The few moments a model wears enough clothing to, say, acceptably dine at a restaurant, the results feature brilliantly small inversions of casualwear be it a graphic, a color, or the subtle cinch of a pant leg.
Before Banana Republic pricing debates and endless Helmut Lang discourse, Peter Do released one of the most unique and exciting runway concepts of the year. Do showed 351 looks composed of 20 modular garments. I don’t know if that math is correct, it sounds like the middle school word problems I despised, but what I do know is that the results were consistently sleek and mesmerizingly useful. The garments themselves are incredible, but the show functions just as well as a maximalist statement on endless hundred-look shows that seem without purpose or function, reproduced here with the fewest clothes possible in a minimalist chic. Here’s to a new year with double the Do shows, and hopefully a fashion landscape better for it.
Special Mention
SS Daley FW23 - Perfectly nails a British-pretty-boy-garden chic that a post-hippy Loewe has tried to shift into. SS Daley’s benefit is that it does so mainly through expert tailoring and fabrics rather than photoshoots and internet shenanigans. Note the perfect wide pants, duck knits, and Sir Ian McKellan.
John Alexander Skelton SS24 - If British garden chic is too seasonal for you, try it injected with Victoriana, tea dyes, and at triple the retail. It’ll be worth it, if you can find it. John Alexander Skelton’s SS24 show is intangibly perfect, timeless, and in a different league from the fashion system.
Lemaire FW23 Menswear - Sublime. Lemaire remains my favorite iteration of a quieter luxury, a bridge between vintage and craft utilitarianism and high fashion glamor. Almost every look could be worn daily for years of my life.
Luar SS24 - My favorite Luar show so far, and ample proof that New York Fashion Week still contains a vibrant cathedral of an alternative scene for those there to see. Closing the week, Luar’s image is rising - look no further than his circulating sunglasses from this season as proof. Perhaps fashion’s sexiest show of the season
Willy Chavarria SS24 - A new kind of scale for Chavarria, the cathedral backdrop of SS24 allowed for fascinating juxtapositions with new experiments in tailoring, western wear, and giant rose lapels. SS24 brought Chavarria’s fantasies into grounded wearability, one of his greatest talents. His gowns here are perhaps his most striking, and those most likely to be underlooked (now THAT’S what I call a contender for Givenchy’s Creative Director).
Kozaburo SS24 - An obsessive of the interwoven yet differing worlds and classes of the lookbook and runway, I love when a designer is able to move from one to the other. This is the first Kozaburo runway, and it allowed all of the best of his brand to shine. His styling was sublime, patterns and intricate textures popped beside custom-dyed Asics, and his runway itself provided a new language of theatrics and symbolism which heightened his work in a way lookbooks don’t always reach.
Ferragamo FW23 - “Will Ferragamo work? It's so chic but where is the story, where is the personality?” So wondered Brenda Weischer/Hashtag in her end-of-year list, and my optimistic answer is a strong “For all of us, I hope so“. Ferragamo’s luxury is sophisticated and clean, so luxuriously minimal and gorgeous that its success would reveal a landscape that has room for such clothing. If Weischer is right, and the house’s only hope is context/culture signified garments over pure poetry, we may lose a bit of the magic that shows like this one provided.
All In SS24 - It feels naive to call anything “new“, yet perhaps cynical to ignore when experimentation feels audacious and exciting. All In is one of many in the crowd of fashion nightlife/queer party aesthetes, and amidst oversaturation their narrative showcase, Lotto Volkova styling, and strangely textured pieces allowed them to stand out. One of this season’s most curiously sexy presentations.
Hed Mayner SS24 - Just when some proclaimed that the era of the baggy is over, and we must begin reevaluating the revolutionary potential of skinny jeans, Hed Mayner showed a sensationally oddball collection of gigantic vests, half-naked sailors in warped proportions, and almost comically (although not unwearable) inflated tailoring. Perhaps a final hurrah for the baggy era, but a fun one.
Helmut Lang SS24 - Fight with me all you want Helmut Lang purists. The best relaunch and creative director appointment of the year. Read my piece on the show here.
Garments
Martine Rose SS23 Eager Beaver Tee
A piece of me will always hold the graphic tee shirt in high esteem. As fashion tastes quiet and logomania recedes, those continuing to produce high-concept graphic tee shirts must have it in their DNA and be good enough to still sell. Martine Rose has always sold a strange tee shirt, and this season yielded what I would confidently describe as her most mesmerizingly oddball. A loose, silky, and thin yellow tee with a shoddy hand puppet blown up to a large size, framed by a seemingly unrelated declaration: eager beaver. Dear reader, this is my unapologetic personal pick for garment of the year.
I don’t know if there’s anything to “get” with this shirt. There’s something about its contradictions - its thinness matched with such a roughish sock, the lack of the puppet’s expression pared with cold googly eyes alongside purported “eagerness”. Then, the inherent enigma of a pale yellow tee shirt. Why does the puppet have hair? Is this image color-corrected? None of these questions nor their answers quite nail the harmonious chaos, the artful wielding of crudeness to produce such aesthetic strength. Nevertheless, I have been expressly encouraged not to purchase or associate with this shirt, nor threaten to do so. Despite hyped products, the possibility of a Louis Vuitton assignment (take me to that alternate reality), and new levels of acclaim, the eager beaver tee is a reminder that Rose will not stray from her aesthetic of the sexy bizarro. Hailey Beiber wore the shirt well, so why can’t I?
Junya Watanabe FW23 Women’s Leathers
Imagine your favorite movie is one you can never watch. You are relegated to screencaps, descriptions of its making and concept, and exhilarated attempts to define the experience of watching it. This is a bit what it’s like to love Junya Watanabe’s womenswear as a six-foot-tall size large. I must watch as the most discerning collectors of my generation post well priced parachute pants, crinkling skirts, and twisting coats I will never fit my body into.
Then, I tried on one of Watanabe’s womenswear leather jackets this season. It was so special I wrote about it at the time. It was a size small, but still looked oversized in its interpretation of coutureishness via punk - that is, thick leather that serves as both cape, armor, and strappy fetishy slab. I was amazed to fit in the jacket, honored and welcomed somehow as if it were always waiting. I see the jacket’s cousins in other stores, each with its differing alchemies of straps or cape-like drape, but I never forget the shape of that first jacket I tried that so warmly invited me into its folds.
Comme Des Garcons Comme Des Garcons SS23 Floral Cuttout Pieces
This name is not a typo, it’s an arcane diffusion line most often found on the shelves of Dover Street Market, excluded from online viewing, and described on occasion by those obsessives bold enough to imagine fitting in. I speak specifically of two pieces. One is a dress in a crisp white and a long and sleek 50s form, layered with a spiderweb-like black floral lace. The other is a jacket in a white even crisper still, its floral sheath a combination of spotted blacks and whites. Both use similar concepts, one evoking a gothic doiley and the other a punk flower shop.
I’ve written a lot this year about the power of experiencing garments in person, outside the globalized and formalized digital landscape of homogenous brands and styles. Experiments like these pieces are hopeful reminders that those fashion retailers with cash are still willing to invest in the avant - even if they sell slower than DSM’s Supreme section. These are the kinds of dresses that could end up behind glass in bare museum halls - to know they existed for a few months on a twisted silver rack for college graduates to poke and gawk at brings me solace.
Dries Van Noten FW23 Florals & Beads
Honeymoon love is special. It’s a seductive force, this raw desire, capable of eschewing logic and creating loopholes around well-structured lists. This was a good season to fall in love with Dries Van Noten’s work, with its elegant layers mixing high and low, thick velvets, and seas of straps. The florals are the easiest to understand. Thin and silky shirts in brilliant color, blazers speckled with turquoise bulbs, and corduroy m95s in purple flowers that you will only find once.
You may spot a greenish shirt with tattooish flowers on the shoulders, along with a snake. This piece is especially dependent on its ability to be experienced in person - it’s studded with otherwise imperceptible beads. Camel tan overshirts are studded too, with thickish gold that cascades down the shoulders onto your chest and down your arms like petrified ichor. Once you experience these pieces you may recognize that Dries’ work is a luxury fundamentally devoted to inventive, fun, and gorgeous craft.
nonnative × Undercover x Guidi FW23 Boots
Undercover has had sub-labels for years, but the Shephard was the only one designed after founder Jun Takahashi’s platonic-ideal closet of billowing cropped wool and oversized outerwear. The language of the Shephard crept slowly into Undercovers menswear, juxtaposing graphics with entries for the perfect nylon tracksuit, blazer, tee, and hoodie. Sublabel became inconsequential with the emergence of the Undercover x nonnative x Guidi boot, launched via a passionate post by Takahashi.
It’s simple but perfect. It is designed as an investment, but also a disappearance. It will undoubtedly appear in a few years on an archive fashion Instagram as a new discovery, already weathered by time and more beautiful for it. These boots are an apex of undercover in a new, equally timeless era.
Comme Des Garcons Homme Plus FW23 Footwear
George Cox and Lewis Leathers are two of Comme Des Garçons’ most prolific and legendary collaborators. This season both partnerships returned with little to no fanfare for what was perhaps some of the greatest meldings of code, brand, and style. When I wrote about these boots when they released I focused on their inaccessibility due to sizing, oddity, and exclusive stocking, but I think the real reason these matter to me is that they build on a decades long conversation, showing the continued relevance and power of these combined brands. They are timeless and seasonless, easily placeable in a flea market in 1980, a Comme boutique in 2001, or sitting hidden beneath furry coats a few months ago.
Both pairs are equally ubiquitous in their straddling of the formal and subcultural. Here is a black boot that may steal the eyes from a deconstructed suit with its flash of red, there is a loafer that distracts from a short skirt with its bare rubber bulb. There is a purity to these strange experiments - the suggestive power wielded by red shoes and motorcycle boots, the ugly chic of the exposed synthetic. Thank God Comme Des Garcons didn’t produce size 13 pairs of these boots, or I would be in debt today, but perhaps happier.
Engineered Garments FW23 Oxford Pant - Grey Poly Wool Herringbone
The only piece on this list I actually purchased (comparatively reasonably on eBay). I tried on this pair of pants in the Nepenthes NY store on a sweaty summer day during my first week having moved to New York City. It’s a pair with a perfect drape and bagginess, a subtle pleat, and an array of sophisticated fabric options. I enjoy the more traditional wool given that the pair takes direct inspiration from vintage English Oxford pants. The Engineered Garment twist goes beyond exceptional reproduction and varied fabric options, each pant leg features a military style tie for cinching. Few garments on this list better embody (apologies) high and low.
Thank God Nepenthes is staffed by the literate and articulate - their blog post describing the history and detail of this pair is a better endorsement than any I could provide.
Loewe is proof you can have it all: viral products, sophisticated cuts, the perfect gown, the perfect jeans, the heel and bag(s) of the season, an art foundation, new models, old models, and a dreamy creative director (a fact no publication has been unprofessional enough to note). Jonathan Anderson is the most convincing and effective model for his menswear with his many jerseys, Adidas garb, and minimal Masc-Brit normcore. That made the hairy suede boots he wore for FW23 all the more noticeable.
Not to get too parasocial, but it seemed like Anderson really liked these boots. He devoted Instagram posts to them, wore them often, and created a bulbous-heeled loafer iteration for women. The suede is hairy enough to draw attention, as are the clay-like red or muted blue color options. Still, these boots do wonders beside denim - perhaps the hairiness of the suede serves as some evidence of hard work or age, defying the formal implication of a Chelsea boot while signaling allure through these new avenues. These boots illustrate the bounds of a new luxury, some may call it quiet, others in the lineage of the casual made expensive and intricate. Yet unlike its trendy relatives here is a product that seems seasonless, wearable, and yet no less bold.
Kapital FW23 Twill Aging Wool Cavalier Coat - Brown
Some may bemoan the fact that Kapital, the wild child of Japanese denim, has taken to standardizing its collections in recent years. Ephemeral showbooks have transformed into massive digital lookbooks with recurring styles. One-off pieces and seasonal looks still exist, but international stock lists mainly receive tidier iterations of now signature denim cuts, outerwear, and fleeces. Thus, the Kapital fandom splits between those who seek the logos, indiscreet motifs, and recognizably expensive cuts, and those who desire their bizarre aesthetic world.
This Kapital coat lies in the world of the latter. It has a short cut, almost flared in a bell shape as it lands below the hip. Its fabric is thick, its collar large, and its sleeves baggy. The coat looks lovely next to faded blue jeans, which is how Kapital styles it, but it also seems appropriate beside pleated trousers or a grandfather’s idea of a fun tie. It has the feeling, like all of Kapital’s best pieces, of a found object. I hope I find it again soon.
Doublet Men's Mosaic T-Shirt SS23
Unlike some houses, Doublet does not rely on the pretensions that they are concerned with tradition, tailoring, or history. Their single focus means concepts are executed at the highest level - without distraction or controversy. Take this tee shirt. I can’t tell if it’s dumb fun or if I want to write a paper on it. Probably both.
Sometimes all it takes to fall in love with a brand is one coat. In a year where I was pretty strangely enamored with floral print coats, this one had a particular arcane quality to it. The print has an antique dustiness, a sturdy heaviness. Turn the coat to the side and you’ll see that sturdiness give way to delicate turquoise pleats
Undercover SS23 Slashed Pieces
Jun Takahashi’s undercover ss24 runway was one of Vogue’s most viewed. This was perhaps in part thanks to its reliance on less obvious or graphic cultural touchstones and translations of said touchstones through poetry and inventiveness. I’m happy for any exposure for undercover, but as a contrarian and a super-fan, I preferred his FW23 womenswear. Here was a collection that so effectively marketed the runway’s spectacle, one that I was surprised to find buyers accept. One can’t really have one of the slashed shirts in the collection without the lacy slashed suits or the cut-up denim. Rarely, can any one garment from a runway implies so vividly a whole collection, its ensembles, and its histories.
Yohji Yamamoto FW23 Ink Dyed Gobelin Stand Collar Coat
This coat made me realize I had never seen a Yohji Yamamoto garment up close. Seeing this specimen in all its thick corduroy blue marbled glory, I wondered if there was a secret catch explaining why these pieces weren’t more often discussed. The coat felt timeless, fresh from the archive and just as sublime, somehow both severe in its cut and luxuriously cozy in its feeling. With Yamamoto’s SS24 range already available for pre-order, my conclusion is that Yamamoto’s work is, despite his many brands and long history, strikingly consistent.
Prada SS23 Turn Up Toe Leather Ankle Boots
These upturned boots in their roughish leather finish would look amazing with any pair of pants. Prada doesn’t care, so they include it almost primarily in looks with short shorts, and they still look good. Add the fact that these are almost completely unbranded (a miracle for Prada) and you’ve got one of the most ubiquitous, yet not quite “quiet” pieces of the year.
Bottega Veneta SS23 Lug Lace Up Loafers
This year I learned that one of my favorite shoes, the Martine rose bulb loafer, rarely ever comes in a size 46. It was also the year people started cribbing and redesigning Rose’s loafer, and Bottega Venetia’s option is one of the better iterations and is available in a size 13. Unfortunately, it’s double the cost, but for what is (perhaps inversely) a more sophisticated and styled bulb in quality leather. The shoe skews slightly more normal, which is a funny descriptor for anything as close as this style comes to clown shoe.
Special Mention
Schiaparelli FW23 Crystal Ant jacket - Here is a blazer that eschews wearability, occasion, or perhaps taste. To wear this in the world is to displace a museum piece, but then, maybe that’s the point of Schiaparelli ready to wear. Each ant is crystal. pictures do not do the piece justice.
Toys Mccoys Replica Taxi Driver Jackets - Martin Scorsese recently relented that audiences of Taxi Driver have gone from scrutinizing to mimicking Travis Bickle. This was always the case in fashion, where White womenswear designers often mentioned Jodi Foster’s child prostitute as an inspiration, and designers of Japanese Americana translated the collection of military wear through Bickle’s styling. These jackets, by reproduction experts Toys McCoys, are perhaps the most genius and uncanny of these attempts. I wonder what Marty would think.
History repeating itself? New Berberjin x Junya Watanabe Printed Denim & Nigo’s Kenzo x Levi’s reproduction of a pair of 1933 denim released this year. See the first piece of fashion writing I ever attempted
Discoveries
Toogood - British polymath sisters creating clothing inspired by utilitarian workwear, executed to the highest level.
Barbara Sanchez Kane - A lesbian Catholic answer to Walter Van Beirendonck by way of Mexico City, the art world, and Queer print media.
Pillings - A Japanese purveyor of warped and billowing shapes, now a Yohji Yamamoto collaborator.
Elena Dawson - Victoriana reborn in deconstructed tatters and beautiful hues.
Evan Kinori - Slow and exclusive menswear made with uniquely vintage feeling cuts.
Kazoburo - Exceptional patterned denim uniforms and other meldings of East and West inspired by Buddhist practice.