By Erin Moonyeen Haley You could be forgiven if you thought that you were in the fevered brain of Eiko Ishioka (art director of The Cell) or H.R. Giger (Aliens) because the world that was crafted by Han Kjobenhavn was anywhere but the here and now. In a show that embraced gamification via Diablo - the youngest of the three prime evils in the Diablo game series who also goes by Al'Diabolos, the Lord of Terror - hints of the future were evident in the rubbery costumery that was sculptured and hardened at intentionally askew angles. The genesis of the show was a collaboration between Blizzard 4 entertainment, the developer of Diablo 4, and the Danish designer. According to the founder and artistic director for Kjøbenhavn, Jannik Wikkelsø Davidsen, the line was inspired by the beauty that is inherent even when conflict rages. As she elaborated to NME, “For me, darkness is beauty. How do you balance those two things? That generates an [entirely] new feeling. What we’re creating has a lot of volume and language in the garments we’re working with, so in that sense I’m trying to mirror the journey within Diablo as well as my own journey.” While Davidson admits to playing Diablo, she is also not the only creative forerunner looking to Diablo for inspiration and revitalization. Back in 2022, singer Halsey performed Lilith at the Game Awards, darkly serenading an audience in a ritualistic performance complete with black corset, fog, Gregorian-style chanting and Diablo peering as if sitting in judgement from high above. Davidson admits to also being influenced by the "big, beautiful, evil Renaissance" style of Diablo IV's art direction. When looking at the elongated black coats and capes of oily feathers, it is easy to see how both the clothing designer and the game designer took a cue from the uglier side of the Renaissance, the side that bestowed a gripping alternative full of poison rings and devils in paintings that were in full rebellion against the cherubs and Primavera so eagerly depicted by painters. No matter the intentions, it was clear that Kjobenhavn's show succeeded in offering a perfect scene for a dance with the devil.

By Erin Moonyeen Haley When referring to Paco Rabanne - who passed away February 3, 2023 - the word most often applied is virtuoso. Simply put, the term means anyone who is highly skilled in their chosen artistic field. Looking at the carnival of couture that walked the runway in Rabanne's name at Paris Fashion Week 2023, virtuoso almost seems too small, too petite, too minimal of a word; the looks that appeared on the runway were not only parts of a subconscious surrealist daydream of Dali's favorite things, they were also a reminder that Rabanne was always audacious, utilizing technology and materials overlooked by others. As a closing coda, the show punctuated the show by featuring Rabanne's most famous paneled dresses, a reminder that, without his intrepid creativity, fashion's trajectory might have been a predictable, placid lifeline. Designer Julien Dossena paid homage to Rabanne by placing a signed note on each seat "that thanked "Monsieur Rabanne” for his “utopic creative approach” and “radical expression”. He then honored the maverick designer by ending the show with a series of Rabanne's 1960s dresses that had catapulted him not just into fame, but into the public consciousness. These dresses reflected the Space Age influence that had seized the creative world of architecture, (think Doo Wop hotels and motels), as well as fashion designers. For the Paris '23 show, however, dresses were not just a spacey reminiscence, but also a flashback to Rabanne's 1966 show called "12 Unwearable Dresses", a show that shocked all of Paris. The dresses had been made from plastic strips that were loosely held together by metal rings, a design that essentially snubbed traditional craftsmanship and rules of couture. In the wake of that daredevil show, Rabanne further flaunted the rules of convention when he told reporters in 1967 that, “Haute couture is nothing but a decomposing cadaver surrounded by vultures: publishers, journalists, columnists and advertising people … They cannot bring themselves to face the fact that fashion is dead, which is why they spend their time trying so hard to make the corpse look alive and well." So there. According to Vogue, Salvador Dali once said, "There are only two geniuses in Spain: me and Paco Rabanne." With such praise, it's little wonder that Dossena - with participation from the Fundació Gala-Salvador Dalí - channeled the mind-tripping artist. Dresses were a living, breathing manifestation of such works as "Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening". Painted in 1944, the painting featured tigers in mid-hunt and was said to have been prompted by a dream that Dali's wife Gala had. another dress features "Meditative Rose", a 1958 painting that is considered one of Dali's more cerebral, enigmatic works. Other paintings that made cameo appearances on paneled, maxi-length dresses were "The Shades of Night Descending" and "Sun-Table." The show included glittery gold skirts, perspex dresses and aluminum foil suits. For accessories, there were slinky, disco-era scarves and chainmail purses. There also seemed to be a balanced nod towards the past with Grecian style dresses made from gossamer fabrics, and then a continuous embrace of the future, thanks to chandelier skirts with strips of silver and gold, as if the skirts could double as party favors or portable chandeliers. There was also a nod to Rabanne's native Spain with floral patterns and skirts reminiscent of a flamenco dancer. Dali surely would have approved. Images courtesy of Vogue

By, Andi Manakdan House of Aama invited spectators to sit on long couches; along walls decorated with beautiful tapestries and family portraits. The environment at their Fall 2023 Ready-to-Wear show titled, "Prelude: Aama Tales," had a warm and welcoming atmosphere. The migration of Anansi the Spider, a Ghanaian Sky God, who has traveled from the Gold Coast of West Africa to the Caribbean Islands and North and Central America through stories, riddles, and proverbs inspired the show. Many of these cultures hold spiders as sacred. The spider weaves and protects the family stories in its web. We can see spiderwebs designed in several different looks. This collection has a light-weight feel and up-beat rhythm about it. There is a balance between flowy and tight-fitting garments. Key pieces are colorful robes created with a lovely geometric pattern. Victorian blouses with flared sleeves are paired with puckered skirts and miniskirts are styled with cropped baby tees. Additionally, looks are styled with unique hairstyles popular throughout the African diaspora, along with feathered heels that are to die for! Pieces in this collection are aimed at a more mature buyer shown in many of the sheer garments that are perfect for the club, but there are also a few day-time looks that target a younger audience. Men's garments have a 90s preppy aesthetic with the relaxed fits. Long knitted vests, turtlenecks, cardigans, and bucket hats also give these looks some flava. Male models are dressed in deep blue denim shorts pared with colorful tees, sweatshirts, and button-downs. House of Aama uses stories and other elements of the past that enunciate the Black experience to inspire the future with their work. This mother daughter duo including Rebecca Henry and Akua Shabaka, created timeless garments with this collection and will continue to be a grounding force at NYFW.

By Erin Moonyeen Haley There are epic photo shoots and then there are epic photo shoots. Among the greats in fashion history have been the 2003 Annie Leibovitz and Grace Coddington Alice in Wonderland extravaganza featuring Natalia Vodianova. Then of course there was the Rihanna photo shoot in 2022 when she flaunted her maternity style wearing a red lace Alaïa bodysuit in photos also by Leibovitz. And who could forget Drew Barrymore channeling the haunted imagery of Beauty and the Beast in the 2005 Vogue layout where she posed like a dancer in a jewelry box in a crimson Christian Lacroix? Ladies and gentlemen, please welcome Jennifer Coolidge to the star-studded roster of stars who have turned campy fantasy into fantastically fashionable storytelling in the creme-de-la-creme of magazines: W. The photoshoot took place in Corriganville Park, on an old movie-set slash ranch nestled at the foothills of the Santa Susana Mountains. It seemed like the almost sacred setting of Coolidge's ongoing second, third and fourth acts, as she continues to rise above mere mortals with a heroine presence made all the more heroic for its unexpectedness. The shots were directed by Daniel Kwan & Daniel Scheinert and written by Alex Hawgood with photos by Lenne Chai. To call them cartoonish would be dismissive in the same way that calling Lichtenstein's panels of paintings comic strips would be dismissive. There was fun to be had in the story Coolidge & company were telling, but the fun punctuated a much longer and more complex sentence. Coolidge's persona and characters continue to dismiss stereotypes as easily as they pretend to play into them, making us all think while we giggle. In this particular series of images, Coolidge's tongue-in-cheek persona is still on display, and still calling to mind the brassy ballsiness of Mae West, only this time with the out-of-this-world grandiosity of a John Waters character for whom hairspray is the elixir of youth and vivaciousness. She is a villain alongside the '90s Power Rangers, and that reference alone could inspire a grad thesis to unpack meaning along pop culture lines, gender barriers and ageist obsessions. What the article makes clear is that Coolidge is clearly having fun in a photo shoot where she mockingly attacks childhood icons and plays the evildoer in couture. Kwan and Scheinert stylized the shoot around the Japanese cinema called tokusatsu, at one point fondly recalling how it was an arts-and-crafts type of artform where the physicality of creating was not submerged beneath the gloss and polish of digital perfection. When discussing the impulse behind the shoot's storyline, Scheinert declared, "Not only do I really just want to dress up a monster - I want to get our friends together, play with cardboard props, and go out to the desert." Luckily the world of cinematic make-believe allows for such turning-back-time moments, and who better to tag along and reign over this particular playdate than Coolidge in designer duds and glam? Bad Binch TongTong by Terrence Zhou custom bow dress with a headpiece by MAM As she goes from flirting and puckering up to becoming Destructo-girl, Coolidge wears Valentino Haute Couture coat and gloves. The shoes are Thom Browne. Below, Coolidge wears a Gucci cape, Laurel DeWitt crown, MAM necklace and Nickho Rey earrings. Lobster Monster is wearing a Windowsen jacket and pants. Images courtesy of Vogue and W

By, Andi Manakdan Bach Mai's Fall 2023 Ready-to-Wear collection was like a silent play, decorated with the sounds of a grand piano playing underwater melodies, echoing the sound of a woman’s scorn. Instead of having each model walk the runway in a traditional form at "Cave of the Sirens," they embodied sirens at a deep-sea dance party. Smoke covered the floor in spirals and silver metallic sheets hung in rows along the ceiling. “An exploration of light. A deep-sea cave, darkness pierced. Sirens… wrath veiled in fragility,” read the program. Green and blue lights bounced off geometric patterns in dresses and black tulle skirts. Models danced in slow motion to appear as if they were moving underwater. Large rocks were placed throughout the room for them to create different levels with their bodies. It was the combination of wet hair and outer worldly make up that created an atmosphere that was refreshing to witness. This performance was like a gothic watercolor painting brought to life with the use of moire, mesh, and sequin. It also had an edginess that can be seen in the chunky heeled boots, long leather gloves, sheer black corsets, and exaggerated folds. These looks were exceptionally stunning when accented with movement choreographed by DC production company Haus of Bambi. Bach Mai’s collection gave us the bitter bite of a woman’s wrath while enchanting us with her delicateness. We left the show with echoes still ringing in our ears. [Photos courtesy of Vogue Runway]

By Erin Moonyeen Haley Daredevilry was set aside as stars came out in glamorous force for the 29th Annual Screen Actors Guild Awards at the Fairmont Century Plaza. Colors were solid and silhouettes were streamlined to cookie-cutter perfection, with not a thread or frill out of place. Naturally, heavy hitter designer names were dropped like popcorn all along the red carpet: Valentino, Prada, Gucci, etc., etc., and so forth. Nominated for outstanding performance by a female actor in a drama series for her role in Euphoria, Zendaya stepped onto the red carpet with all the sweetness of a Sandra Dee debutante and all the class of all three of the Supremes. Wearing a strapless carnation-pink Valentino satin gown submersed in rosettes that looked sculpted from icing, the star's retro coiffed 'do perfectly complemented the Bulgari jewels. Also channeling the retro vibe was Amanda Seyfried. Clearly having as much fun as she possibly could, the actress wore a micro-mini Prada number that popped in a sour-apple-green shade and came with a table-runner-long train. And if her flipped hairdo didn't croon Nancy Sinatra, nothing did. Another stunner in a solid color was Viola Davis. Wearing a buttercup bright Valentino gown with a full ballgown-length skirt, the star joined her The Woman King cast for numerous glam shots. In lipstick-red Oscar de la Renta, Emily Blunt was flirtatious with florals thanks to the handsewn cherry blossoms from shoulder strap to hip. She kept the red theme going with brilliantly red lipstick, and her Bulgari gems let the dress speak for itself. (Anyone else seeing a lead possibility for a future Veronica Lake biopic?) Julie Garner was a leggy mermaid in a copper shell bra and metallic skirt with a slit razoring the side. The Gucci blood-orange-bronze organza number was given an edgy appeal thanks to the upper bodice chainmail, while the Gucci gold platform sandals were reminiscent of something Ginger would have worn when out-dancing Fred. Quinta Brunson wore a showstopper by Lebanese designer Jean-Louis Sabaji. With a skirt embellished with fringe upon fringe of black sparkles, the dress also rocked a seashell motif, this time with a white shell frontispiece that maintained the old Hollywood ambiance, though in a Ziegfield Follies sort of way. Rooney Mara gave a taste of Edwardian elegance in an Alexander McQueen number of blackbird motifs peeking through snowy-white florals. Like Davis, Angela Bassett ravished in a Giambattista Valli Couture gown that was a summertime bumblebee yellow. Perhaps best known as Queen Ramonda, she spoke with reporters about being honored that night and about the depth of her missing her dynamic costar, Chadwick Boseman. Taking home the trophy for best supporting actress, she accepted her win in a ruched dress with high fashion flaring details apropos for the night. TwoThe Crown stars returned to their own forms, with Clara Foy (Elizabeth II) wearing a chartreuse-colored Prada, while Elizabeth Debicki looked almost autumnal in an olive green velvet gown. Pretty in pink was an understatement when Jessica Chastain swept down the red carpet. In a dress that was officially labeled 'raspberry rose' , the taffeta dress from Zuhair Murad was an embrace of Barbie rocking Barbiecore en route to a black tie affair, with or without Ken. With their signature deadpanned expressions, Jenny Ortega and Aubrey Day were a droll dynamic dua as they presented the award for best male actor in a television series. On the red carpet, Ortega wore an asymmetrical black dress that gave goth vibes courtesy of its crumpled trashbag-looking material. Plaza went for the disco-era sex kitten look in a halter, mid-drift baring bronze slinky dress by Michael Kors. Tyler James Williams kept it posh and playful in a checkered suit by Thrash Bespoke. Becoming the first Asian best actress winner at the SAG awards for Everything All At Once, Michelle Yeoh was understandably emotional accepting her award. While her previous red carpet looks have been classic and crisp, the actress was having a little fun in a black Schiaparelli couture gown, festooned with a furry spine of gold confetti from chin to toes. With stars like Jennifer Coolidge also flipping the hair in playful, '60s school girl coiffs, and with Kerry Congdon and Sheryl Lee Ralph stunning in sequins and monochromatic colors, glamorous nostalgia continued to rule the red carpet and the award stage.

By, Andi Manakdan Audience members briskly shift their heads back and forth as models strut down the runway to an upbeat techno mix wearing Foo and Foo’s Fall/Winter '23 collection that is playful, vibrant, and youthful. The preppy vintage vibe of the show is fast paced and exciting while serving genderfluid streetwear. Foo and Foo designer Elizabeth Hilfiger told Office Magazine that she wants, “people to feel like they’re not bored and that they can play with the clothes in subtle ways. This collection has a universal look with a rapid and on the go cadence. We’ve all woken up from a nap dreaming about our favorite classic piece that’s collecting dust at the very back of our closet or in the bottom of that one drawer we never open. Not sure if it still exists, but hoping it’s there. The energy at this show made everyone want to run home and find that trench coat with the cool buttons, cropped graphic tee, or baggy denim pant with that dope keychain still hanging from the beltloops. On their website, Foo and Foo states the brand seeks to create “functional details that can alter the shape or meaning of the item, empowering the wearer with agency and welcoming their imagination." Fabulous styling details created by Natalie Tauger were accentuated by the disco ball and strobe lights during the show. Models wore chunky shoes, standalone hoods, dramatic belts, and chains paired with skater skirts and denim pants. Other key elements of this collection were button detailing, oversized coats, and skin hugging jumpsuits. Double layering was also seen on nearly every look. This was featured in the brand’s iconic logo tees, belts stacked on top of each other, shorts styled over pants, as well as bodycon and knit dresses layered over one another to create an interesting balance of preppy and grunge. Garments could easily mix and match with other pieces in the collection as if they all came from the same closet. [Photos courtesy of Women's Wear Daily]

By, Andi Manakdan Brandon Maxwell is no stranger to the runway. His work is consistently welcomed with anticipation at NYFW and this year was no different. This Fall collection was subtly sexy and had a beautiful vibrant energy making it perfect for any daytime or evening occasion. The color palette featured neutral colors with several monochromatic moments like these two looks shown below. Other key themes were flared sleeves, long knitted dresses, and wide-leg shorts. There were also many garments in this collection that brought attention to the torso using cropped jackets and blouses that hang below the waistline. This collection is cozy and fierce. It could make any woman feel confident in her authenticity. “I used to really build these shows as defining moments of my life and I’m more interested now in them being days of my life and not defining 7 minutes of my life,” Maxwell told Reuters after the show. The woman who will be wearing this collection is a badass. She’s booked and busy. While on her way to meet colleagues for a glass of chardonnay at happy hour she slicks her hair back into a ponytail, because she woke up a bit late. Then she grabs her signature oversized leather clutch, leaving the house intentionally forgetting to put on her second earing for just a touch of sparkle. [Photos courtesy of Vogue Runway]

By, Andi Manakdan “Aurora,” the '23 Demi-Couture eveningwear collection showcased different portraits of the night sky. The opening look shown below was a romantic silk, black floor-length gown. It was the dramatic draping in the armlet details that brought a depth and heaviness to an otherwise elegant and classy look. The brand’s website shares that Kwon's “pieces harness the beauty in the unconventional, finding the light in darkness and building upon these ideas with passion." The black dress shown on the left looks like the side of a tall glass building reflecting the night sky with the ruffles mimicking the movement of stars twinkling. Another eye-catching look from the collection was the silver strapless gown on the right with a light layer of black tool covering the hips and torso, stretching a few inches longer on the left side to give some attitude. “I found myself reminiscing about my favorite memories and how lights can change your perception of a recollection,” said designer Andrew Kwon via Instagram “I had always envisioned dressing women for the red carpet,” said Kwon pictured below for The New York Times. The key theme of embracing the light in darkness is shown in the collection with a clear and distinct thread. It is especially highlighted in this velvet mock-neck dress featuring crystal trimming at the ends of the sleeves and waist. This collection is for an elegant woman who enjoys hosting glamorous parties. She is feminine and charming, like this collection's glamorous debut. [Photos courtesy of Women's Wear Daily]

By, Andi Manakdan Creative directors Haoran Li and Siying Qu brought a different energy to NYFW. Their powerful show encouraged audience members to explore their wild side. The show began with some interpretive movement where dancers in fox masks shuffled onto the runway carrying lanterns. This beautiful spectacle set the tone for the collection. Private Policy is a “New York based inclusive brand, dedicated to bringing the New York rebellious style and fierce free spirit to the world.” This show stayed true to the brand's aesthetic giving off a similar vibe as their previous Spring '23 Ready-to-Wear collection “Noah’s Ark,” which had similar animal themes. “Noah’s Ark,” had a lighter feel to it. It balanced tight and sexy with comfy and baggy. Both shows featured similar silhouettes like mesh dresses with double slits and boxy cropped jackets. However, “We Are All Animals,” is a bit more emo punk and unhinged. “The collection came together with the idea of pursuing freedom by people releasing their animalistic selves,” designer Siying Qu told Vogue Runway. The designs were unapologetically carefree, especially in the styling that featured hoods up, balaclavas, and chunky chains. The animal theme can also be seen on a T-shirt that reads the title of the show "We Are All Animals," in vertical stripes of fabric constructed on garments that look like scratches, and in headbands with large ears and horns. Dark eye makeup, matte black almond shaped nails, and wild flowing hair gave the audience somewhere to place this collection. We could all see ourselves wearing these looks leaving a New York City club at 3:00am, walking in circles looking for the nearest 99 cent pizza joint because the next train leaves in 17 minutes. The finale look shown below featured a faux fur, two-piece skirt, and cropped jacket combo. Private Policy used their signature checkered design to visualize the light and dark in all of us. It's unclear though, if this model is leaving the club or walking into the club. Did this animal just declare her victory or is she pulling out her claws while approaching her target? The audience leaves the room still wondering. [Photos courtesy of Vogue Runway]

By, Andi Manakdan The looks in this collection are what you wear when you want to make an impactful entrance. Each model at Sukeina's show had an elegance and a type of confidence that could hush a room to silence. It's giving, "I can feel you staring at me... don’t stop.” There was power in the way every look made spectators' spines straighten and eyebrows tighten. Designer Omar Salam‘s tailoring was meticulous and masterful, leaving no room for mystery. The Sukeina woman showed up to tell you exactly who she is. Embrace her or get out of the way. "Waves & Wavs," by Ahmed Spins featuring Lizwi, roared as models were gliding down the runway. Our necks were elongated every time we saw a turtle neck, sharp collar, and mock neck. Gold zipper details and an exaggeration of zigzag stitching gave the collection a fierce edge. An elegant feature designed for day or night. The brand's perfect and precise tailoring highlighted in every look showed up to pierce us with detail and craftsmanship. The collection was thorough; with pencil skirts, suspender dresses over blouses, and zip-up jackets layered on top of collared button-downs being the main themes. Each look was styled with black tights, natural make-up, black heels, and hair pulled back. Additionally, Sukeina's collection featured skin hugging silhouettes, hiked sleeves, and sheer tops. These garments left the audience feeling inspired to be daring and bold in a way that feels relaxed and comfortable. The finale look worn by supermodel Coco Rocha was a black sheer top with a white collar. As Rocha danced onto the runway, she brought our attention to the shimmering sleeves and sequin bralette. She then gave us a few twirls down the catwalk to show off the black high-low skirt with a loud hot pink fabric layered underneath. This look will certainly be snatched for a glamorous red-carpet moment. [Photos courtesy of Vogue Runway]

Humor Mill Comedy Awards celebrates trailblazing legends and visionary emerging stars influencing Black culture in comedy. Recognizing comics of the past, present and future, the show is set to be an evening of unparalleled entertainment, marked by a masterful display of wit and humor. The first annual humor mill awards show hosted by Chris Spencer, Star and executive producer of "The Real Husbands of Hollywood," head writer for "Wild 'n Out'' on MTV . With Red correspondents Tony t. Roberts comedian and Juhahn Jones social media guru on Feb 21 at the Directors Guild of America in Los Angeles. The humor mill awards was something that has been a dream of Frank Holder for over 25 years. With 20 years in comedy, radio broadcastering holder launched the humor mill platform that produce urban comedy & award shows. It was a historical night filled with black excellence, joy and laughter . After months of us experiencing the pandemic being stuck in the house it’s was nice to share space with black culture, high lightening their excellence and contribution to our community all while finding joy and healing through laughter with our favorite comedians. Laughter is truly a form of medicine, it is a universal language that we all understand and feel. Being able to make someone forget about their problems for a few hours because they’re to busy laughing is a beautiful thing. Legends like earthquake who’ve been around for decades and never received an award until tonight was a great site to see. George Wallace aka Mr. Vegas (Batman Forever, Ladykillers, Little Nicky ) received the lifetime achievement award.Veteran television writer and produce Ralph Farquhar. Other notables in attendance Stan Lathan, Tiffany Haddish, Tina Knowles Lawson, Bill Duke, Brian J. White, Flame Monroe, Aida Rodriguez, Michael Colyar, Chaunte Wayans, Dorian Wilson, Coco Brown, Scruncho, Jasmine Burke, J. August Richards, Glynn Turman.