Metrosexual. Luar AW24

Raul LopezLuar shows have become highlights, just as Marc Jacobs’ or Raf Simons’ Calvin Klein shows were back in New York Fashion Week’s history. Autumn-winter 2024 is one of those definitely, not only because Beyoncé was in attendance. This collection was a witty play around the clichéd term “metrosexual” (the last time I’ve heard it in a serious conversion was in 2012, and I live in Poland where such topics always arrive delayed). According to a dictionary definition, he’s a “single young man living in a metropolis in close proximity to the best gyms, shops, and social spaces, with a vast disposable income spent mostly on himself”. A metrosexual is a “well-manicured man whose sexuality is often immaterial – though he’s presumably heterosexual – who is well groomed, well-mannered, and has good style”.

They’re back, and it comes in cycles,” said Lopez, pointing at images of Elizabethan and Victorian era men in brocades, makeup, and wigs, as well as men in the late ’70s with tight knits and blow-dried hair. “There are different generations of the metrosexual, and now we are in the era of the stray (straight gay),” the designer concluded. The collection in itself was an anthology of the metrosexual from the perspective of a queer man. This season, Luar clothes can be really flamboyant, but can also turn very masc at the same time. This dichotomy was on display on the runway as Lopez offered opulent zebra devoré prints in shirting (a riff on Tom Ford, an iconic metrosexual), glossy leather tailoring in the designer’s signature hefty proportions, and his recurrent hulking shoulder treatment on everything from cardigans to denim jackets. There were tight jeans paired with tighter tees (the uniform of the Dominican metrosexual, he said) that highlighted the models’ builds. A run of extra large jackets with the aforementioned bold shoulders and rounded sleeves, Lopez’s play on Elizabethan male attire, dwindled the body. The one-two punch provided by the Luar designer was the combination of a knockout collection paired with thought-provoking hypotheses about our culture. Forget the “strays,” metros, queers, straights, and everything in between. This fashion week, he christened the “Luarsexual,” and by asking the right questions about American culture and welcoming one of its biggest icons into his space, Lopez himself cemented his place as a key figure in American fashion today.

Here are couple of Luar classics you can shop right now!

ED’s SELECTION:


Diamond Tech Pinstripe Dress



Diamond Boulder Shoulder Pullover



Hybrid Tech Zip-Cuff Trousers

Collage by Edward Kanarecki.
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Woman For Women. Batsheva AW24

A whole fashion show full of women in their 40s, 50s, 60s, and beyond: that’s a meaningful statement. This phenomenal Batsheva outing was opened with Molly Ringwald in a black velvet shift dress and a short hooded cape, her hands held in front of her inside a lace trim muff. Then came Amy Fine Collins in another black velvet shift with a scoop neck and lace trim, a bit like a French maid uniform, but on Fine Collins it was the chicest little dress on this planet. Though Batsheva Hay said she simply wanted to see women like herself on the runway, the effect it had on her clothes was remarkable – not just because of the diversity of their body types but because of the way they carried themselves; the lives they brought to her dresses. It was especially interesting, given that Hay broke onto the scene with little girl-inspired dresses. The intarsia knitted sweater with the word HAG emblazoned on the chest, modeled by one of New York’s OG cool female designers Victoria Bartlett, was another unapologetic F-U towards fashion industry’s ageism. Although many models were friends of Hay, a good number were also street cast and on at least one occasion the designer and her team checked out dance classes. “When I stopped people, the one reaction they all had was like, ‘Why would you ever want me?’, so that actually made it more exciting. Like they don’t even feel visible.” Now we just need the rest of the industry to catch on.

Collage by Edward Kanarecki.
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Comfort Zone. Gabriela Hearst AW24

Since Gabriela Hearst is freed from Chloé, you would expect the designer to take a bit more creative risks at her namesake brand. The autumn-winter 2024 collection stays grounded in the comfort zone Hearst has carved for herself for the last few years. Slip-dresses with lace-inserts; chunky, knitted coats; proper leathers. Those are investment garments made with the finest techniques. A growing number of brands in New York do that too. And we already know this version of Gabriela very, very well. I wish the designer challenged herself more.

Collage by Edward Kanarecki.
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The New York Canon. Michael Kors AW24

When Michael Kors comes to work, he really delivers. His autumn-winter 2024 collection is one of his best in years. It’s a real, consistent, and absolutely convincing proposition of how women can dress in 2024, without the ridiculous “quiet luxury” or “power dressing” labels. From the opening skirt-suit to the closing eveningwear, kept in all-black, real power oozed from these looks. All that confidence weaved into these clothes came from a very personal belonging, a black-and-white photo of Kors’ grandparents on their wedding day. “I was always absolutely enraptured with how my grandmother looked in her dress,” the designer said. “There was such simplicity to it, so chic. It’s the height of the ’30s. When my mom passed away over the summer, we were going through everything, and all of a sudden I saw this garment bag, and I opened it up and there it was. It’s the ultimate sleeping beauty story.” The dress was a two-fer, with a modest tunic over a “sensuous, sinewy” bias-cut number, the latter of which proved inspirational. “I started thinking about what endures,” Kors said. On the mood board, his grandmother was surrounded by women of other generations in bias-cut slips: Carole Lombard, Elizabeth Taylor, Kate Moss, Naomi Campbell. And for a counterpoint, there was tailoring of the Katharine Hepburn and Carolyn Bessette Kennedy school: strong yet feminine, with sharp shoulders and sculpted waists in Prince of Wales checks, herringbones, and camels. Kors is at his best reworking polished New York classics like this. He doesn’t just know the American sportswear canon, he’s helped shape it these last 40 years. And it shows this season.

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Everyday Sublime. Tory Burch AW24

This New York Fashion Week we hear about either designer farewells or big anniversaries. Tory Burch celebrates 20 years in business. But what’s absolutely surprising is that this designer found her design ground just in the last couple of years. For autumn-winter 2024, she aimed to make the “everyday sublime”. Lamp shades, old jackets and even shower caps served as inspiration for Burch, who put texture and silhouette at the center of the collection. It worked, truly sublimely. There were dresses and jackets with sharp silhouettes, metallic fringed coats which were all about texture, bright-colored skirts paired with tight-fitting hoodies, lots of leather and sheer dresses. It was all about “sharp edges, unusual textures, and technical sport details“, she explained. Some of these pieces had been engineered from the inside out, an approach which is usually used in handbag construction. She also left some seams raw-cut, heat-sealed, and bonded to add dimension without weight. “They’re almost like origami,” Burch said of the fabric. It looked sensational. It’s pure pleasure watching Tory bloom as an actual fashion designer.

Collage by Edward Kanarecki.
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