By Erin Moonyeen Haley Whispers of the 'Girly Goth' trend were well underway by the time New York Fashion Week 2023 wrapped up. That passion has seemingly taken black-winged flight on the runways of Milan, with a dramatic fusion of gothic glamour and balletcore gorgeously evident in the theatrical presentation of Antonio Marras. Utilizing what Marras called the Sardinian aesthetic, the feel was Old World on a parade of nostalgic elegance. All 104 looks for this particular show were framed around the writings of Grazia Deledda, who, in 1927, became the first, (and thus far only) Italian to win the Nobel Prize for literature. A Sardinian herself, she garnered attention for her "idealistically inspired writings which, with plastic clarity, picture the life on her native island." From her writings, Marras and his wife, Patrizia, spun a narrative where one of Deledda's characters and a lovesick hunter had a midnight rendevous deep in a bewitched forest. To bring this tale to life, faces were left almost gossamer and fresh with kohl-lined eyes giving a wide-eyed, doll-like visage that befit the abundance of lace and heavy fabrics. White, red and black were the dominant colors, servicing Marras's story by calling to mind costumes from a Victorian gothic romance where the themes of the supernatural and the tragedy of the past infringing upon the present played on the audience's sense of pathos and longing. Black lace swathed models galore, with delicate appliques on tailored jackets and smokey veils whispering of ghosts in the night. The use of reds seemed to pull from the gothic fantasies of Guillermo del Toro, while the tartan maintained the aura of posh refinement forever subjected to old money whims and tragedies. Wolves howled over the sound systems, dovetailing the loose nod to Nordic-style overcoats and boots. Black and white patterns seemed to take inspiration from heavy tapestries, each with its own vignette unraveling in the fabric. Princess-like gowns with caramel and gold brocade maintained the 'once upon a time' retrospective approach. Just when it seemed that the show would stay ensconced in the 19th century, black tie attire with modern silhouettes and subtle sparkle edged the narrative toward the present. ~ Images courtesy of Vogue Magazine

By Erin Moonyeen Haley NYFW might have inaugurated such trends as Girly Goth and tilt-a-whirl dresses, but the 76th British Academy Film Award (BAFTA) held at the Southbank Centre's Royal Festival Hall saw the embrace of all things sophisticated and regal. With films like “The Banshees Of Inisherin” seeing victory for Colin Farrell and Kerry Congdon and "All Quiet on the Western Frontier" dominating with seven wins, fashion was not eclipsed by the fanfare. Glit was subtle, silhouettes were streamlined and jewelry was minimized, emphasizing a clean and fresh-faced conceptualization of beauty that was in polar opposition to theatrical trends seen throughout recent Fashion Weeks. Jodi Turner-Smith was quite literally star-kissed. With crystals fluttering and contouring her cheekbones, the star wore a lavender Gucci gown made stunning with a reptilian iridescence of sequins and asymmetrical tiers of feathers that gave the costume a starlet-languishing-in-her-studio-boudoir-between-takes ambiance. Florence Pugh made a striking exclamation point of a statement in a tiger-red Nina Ricci gown designed by creative director, Harris Reed. Made from pleated tulle and featuring a mermaid train, there were layers in the back and front, culminating in a dramatic fan to flaunt the face. To say that Cynthia Erivo was a bronze goddess is an understatement. Wearing Louis Vitton, her architectural copper gown had an almost Art Deco flare courtesy of a sharply jagged, lightning bolt tip at the shoulder. The rest of the dress had thick rows of fringe from top to bottom, keeping the look flouncy and flirty. Viola Davis wore a Stella McCartney 1930s-style evening gown. Beaded and loose, the bright orchid number came with a sweeping cape and a scooping neckline. Sophie Turner stunned in a lacy, smokey-gray, sheer Louis Vuitton gown adorned with a haphazard distribution of gems and trinkets from neckline to bottom hem. Among the whimsical accouterments were rubescent tears, jade stones nestled in silver and a melee of crystals. Anya Taylor-Joy eschewed the sweeping skirts for a champagne micro mini and an oversized cape, all courtesy of Schiaparelli couture. The extremes of the geometrically cut bustier and the excess of fabric for the cape only further serviced the maxim 'less is more and more is better'. Danielle Deadwyler, star of Till, wore Armani Privé. The Egyptian blue satin gown was color-blocked with a cinched, emerald green sequined midsection. Lily James cleverly ensured attention would be on her plunging neckline, courtesy of the bejeweled spider web attachment. The Tamara Ralph gown was strapless and sculptured, creating a smooth waterfall of white in Lily's wake. Our favorite OCD Derry Girls' sweetheart, Nicola Coughlan, took a nod from Jackie O with her Pierpaolo Piccioli's Valentino haute couture. The floral print gown had the detailing that reminded Coughlan of Jackie's famous Ann Lowe wedding gown. Emma Thompson's cream jacket and suit by designer Laura Pitharas provided all the class that was required. She kept things appropriately chill, however, with the sneakers that peeked out from beneath the tailored pants. Gwendoline Christine might have been channeling her Wednesday vibes in her black, A-line Giles Deacon ruffled gown with a statement belt that accented the wedding-cake-tiers of fabric. Her crimson pout perfectly matched her hair set in Harlow-Esq Hollywood waves. Like Thompson, Michelle Yeoh donned a suit, only her Dior, blush-colored number came with a cape and satin lapels, all of which perfectly matched her shoulder-dusting Moussaieff earrings. It's impossible to think of Spielberg's West Side Story without thinking of Ariana Debose and her megawatt smile. She was both seductive and refined in a sheer, cappuccino Fendi tight bodysuit with an overlay of bedazzled netting, all of which was paired with Bulgari Serpenti jewellery. From Julianne Moore, to Hong Chau to Ana de Armas, the award ceremony did not disappoint. And, as always, the BAFTA's can always boast about having the Prince and Princess of Wales drop by. Lashana Lynch in Fendi Couture Hoyeon Jung in Louis Vuitton Tohib Jimoh ~ Photos courtesy of Vogue, WWD and stars's Instagrams

By: Robert A. Brodie In a move that has shocked and delighted the fashion world, Louis Vuitton has announced that musician, producer, and fashion icon Pharrell Williams will be taking on the role of creative director for the storied luxury brand. Williams will succeed Virgil Abloh at the helm of Louis Vuitton's menswear collections. The news was announced via Instagram, with Louis Vuitton CEO Bernard Arnault writing, "I am proud to announce that Pharrell Williams is now part of the LV family. He's always been a true icon, not just in music, but in fashion as well. He's the perfect fit for our brand, and we can't wait to see what he does next." Pharrell, who has collaborated with Louis Vuitton in the past on several successful projects, including a line of sunglasses and a limited edition collection of sneakers, expressed his excitement about the new role, saying, "I am thrilled to be joining the Louis Vuitton team as creative director. The brand has always been a personal favorite of mine, and I look forward to bringing my vision and creativity to the table." As a musician, Pharrell has always had a keen sense of style, and his fashion choices have been a source of inspiration for many. He has been known to push boundaries with his fashion choices, often blurring the lines between menswear and womenswear and playing with bold colors and prints. But it's not just his personal style that makes Pharrell the perfect choice for Louis Vuitton. He's also a creative genius with a keen eye for design. He has collaborated on successful fashion projects with brands like Adidas, G-Star Raw, and Chanel, and already has his own successful clothing line, Billionaire Boys Club. Pharrell's appointment as creative director of Louis Vuitton is a perfect move for the culture of the brand. Williams is a true visionary across the board. With his unique perspective and creative vision, we can expect to see some truly groundbreaking designs and collaborations coming out of Louis Vuitton in the coming months and years.

By Erin Moonyeen Haley It says something about a legend when the funeral is a voguish affair with fashion as much on everyone's mind as the mourning. When saying goodbye to an artistic mastermind like Vivienne Westwood, nothing less than haute couture on parade would do, and that is exactly what her luminous life warranted and received. It was a bittersweet but starry affair, with Kate Moss, Victoria Beckham, Helena Bonham Carter, Elle Fanning, Stormzy, Georgia Jagger, Christina Hendricks, Gwendoline Christie and many other stars and acolytes paying tribute. The ninety-minute service was more of a celebration than a somber remembrance, with the band Arnfield Brass opening and closing, and Westwood's husband, Andrea Kronthaler, regaling attendees with stories of himself and Westwood, starting with how their relationship began as an illicit affair in 1988 when he was a fashion student in Vienna and she was the teacher. They went on a date to see the Old Masters, and he recalled how,"She looked a sensation. She wore a chocolate brown stretch-velvet catsuit. A scarf draped around her hip. Her rocking-horse shoes. A leopard fake fur in pink. And her curls, in orange.” Her son talked about how her fury at injustice had been part of her personality from the beginning, and how the chaos of Vietnam and other government travesties made her feel as though she was shouting into the void. This emotional stranglehold led her to embrace the idea of anarchy, which she channeled into her punk aesthetic. Guests wore argyle and plaid, bustles and bows. There was fire-engine red hair and spikey mohawks. Fashion was centerstage, of course, with an abundance of individuality to befit the funeral of an iconoclast. Westwood's legacy is too epic and vast for anyone to summarize in anything smaller than a book. But there are iconic looks, particularly during the mid-90s when supermodels were riding high and social media had yet to dissect fashion culture into nitpicky oblivion. There was the female dandy in exaggerated, sexualized silhouettes and lavender tartan wedding gowns. There were flaming-pink feathered boas and Byzantine-purple platform heels with ballet lace-ups. Call her eccentric or flamboyant, edgy or ecstatic, Westwood made an indelible stamp on the fashion world, using her own brand of chaos to vivify couture. Taking a walk down Westwood memory lane is like taking a walk into punky Wonderland. Kate Moss was a not-so-blushing in 1993 as she wore a voluptuous plaid silk tulle gown in plum and mauve tartan, complete with a veil and wildflowers galore. In the wake of Westwood's death, Naomi Campbell has reminisced on her epic fall in 1993 while wearing 12-inch heels and a Moulin Rouge-style feathered boa. On her social media, she fondly remembered the daredevil designer and her streak of impetuous ingenuity. Westwood made the vampiric look sexy long before the bevy of vampire franchises monopolize the screen. Edwardian suits and bowler hats were testimonials to her love of historical dress. Part of Westwood's panache was her focus on hair and makeup. Amid the thrills of Regency Era dress, faces were powdered and lips painted to pinched tulips typical of courtesans vying for kingly affection. The Victory Suit of the 1940s was given an excess of canary-yellow feathers, a reminder that Westwood was a genius at taking a staple and giving it a misfit motif. Westwood could always pull off a surfeit of fabric, for it played into her love of the excess. Jerry Hall was among the many famous faces who made a cameo on the Westwood runway. Christy Turlington was pure baroque in a grandiloquent coiffure and dress with its satin that cinched around white petticoats like ridiculously expensive foil. Naomi made numerous Westwood appearances, this time in a plaid ensemble with Lisa Frank colors and purple, pink and green argyle that screamed Clueless-goes-Country-Clubbing. ~ Images courtesy of Vogue & Naomi Campbell IG

By Erin Moonyeen Haley In the dark, there was the ticking of a clock. Or perhaps it was the sound of a typewriter, of a key being struck continuously. Whatever it was, it was mechanical and steady. Then, about twenty-three minutes in, it was joined by the sound of a plane with a twin propeller engine diving low, followed by another, and yet, always, there was the staccato of the clock, the reminder that time was passing in a steady, almost monotonous beat. And then a voice in the darkness: “We find ourselves in the desert A plane has crashed.” With that prologue, the scene was set and the show began. Lights went up, revealing a stage with globular moons hanging like rice paper lanterns, and stars scattered in a haphazard array that was reminiscent of Georges Méliès's Le Voyage dans la Lune. As a whimsical flute serenaded away the sound of the clock, a model emerged at last. But she did not strut or sashay. At first, she moved around the stage as if a bit dazed from the crash itself. The theatrics were evident in her debut costume, with a voluminous, pseudo-astronaut-inspired button-up piece, made with exaggerated padding at the thighs and revealing a blue and tropical green floral shirt beneath. Her lipstick was a deep sapphire and she carried a helmet. She had either just been somewhere fantastic or she was on her way. In some ways, Browne was the ringmaster of a Theater of the Absurd spectacle full of existential dynamics and minimalism, all of which perfectly dovetailed the fashion. Just as that 1950s-era theater utilized a round or egg-shaped stage, so too did Browne have models maneuver around oversized aviation props on a circular platform. As the designer who was unanimously elected to the position of Chairman of the Council of Fashion Designers of America, when Browne took over the position he promised that he would elevate creativity above all else. That anthem was evident on February 14th when stars such as Queen Latifah took in the spectacle that included oversized suits with askew hems, mismatched fabrics and cage-like sculptures as headdresses. There were also all-white ensembles consisting of voluptuous sleeves made from layers and layers of sheer fabric, mixing in the essence of a fairytale with the fabulist scene. At first glance, the suits might appear ordinary, but at a second glance, they were anything but; plaids were overlaid with stripes and pants were half-concealed with layered skirts. Oversized coats were long and exaggerated, teasing the businessman silhouette with cartoonish whimsy and delight. Skirts were given a balletic charm with tulle petticoats. Face paint added to the drama, accenting cheeks and hairlines. Joan Miró seemed to have inspired sheath dresses, while white powder thickened around the eyes to complete the harlequin motif. Celebrities were out in droves to support Browne's line. In the audience were Lil Nas X, Erykah Badu, Johnny, Christine Baranski and Queen Latifah. ~ Images Courtesy of Vogue

By Jessica Mora Yesterday, Kevan Hall made a triumphant return to New York Fashion Week with his Fall/Winter 2023 collection, Faceted. Hall has been a major fashion force for over 30 years, having crafted designs for stars such as Celine Dion, Selma Hayek, Vanessa Williams, and Anne Hathaway. His latest show was presented in a glamorous ballroom and celebrated sophisticated womanhood. The collection was inspired by the iconic music of Dame Shirley Bassey, whose allure and style were reflected in Hall's pieces. He blended conservative fabrics such as tweed and velvet with metallic elements and a gemstone palette, creating colorful reflections. From the start, guests were met with crisp white garments accented with black pleats and stitching. The show then progressed into gold-embellished tweed sets that evoked Parisian style. Standout pieces included off-the-shoulder tuxedo pantsuits, sequined tulle dresses, and spectacular gowns that paid tribute to Bassey's passion for embellishment. The show concluded with Hall himself taking to the runway to the sound of Ricky Dillard's "I've Got The Victory". Hall's Fall/Winter 2023 collection was a stunning success, reaffirming his place as one of the biggest names in fashion. 1/11 Photo: Arun Nevader 2/11 Photo: Arun Nevader 3/11 Photo: Arun Nevader 4/11 Photo: Arun Nevader 5/11 Photo: Arun Nevader 6/11 Photo: Arun Nevader 7/11 Photo: Arun Nevader 8/11 Photo: Arun Nevader 9/11 Photo: Arun Nevader 10/11 Photo: Arun Nevader 11/11 Photo: Arun Nevader

By: BriannaRose Hewitt 5 years, 260 weeks, 1825 days, that’s how long it’s been since Frederick Anderson debuted himself as a designer. Therefore, the stakes were high for this New York Fashion Week. Anderson believes style is how one communicates to the world, and today he communicated that he is worthy of all glamor, celebrations, and achievements. Sparkles and metallics made their way down the runway during each stage of the show. The line which was entitled “Renaissance,” defined itself with its literally eye-catching pieces that could easily revive art. Anderson is known for using couture, specially-made fabrics, and it appears his preference for this season were fabrics that brought a glitz and gleam. The first looks were black and navy, with some ensembles bringing the colors together. Pairing black and navy together can often be a risky move, as some believe the two dark colors just look mismatched, but Anderson’s looks seamless pulled it off. The colors were distinct, yet seamlessly blended together in their roles of the outfit. All images credited to Kendam.com The sparkes and metallics continued to the purple pieces brought in during the middle of the show. The purple was rich and royal, the gem tone brought a vibrancy different from the opening pieces and continued to stand out as black pieces still outnumbered the color. All images credited to Kendam.com Starkly contrasting the black and navy opening, the show ended with gold, bright blue, and peacock patterned pieces. The statement colors definitely showed that a celebration was in order, and these were pieces that would catch anyone’s attention. All images credited to Kendam.com Anderson draws much of his inspiration from sports wear and casual clothes, but elevates them. Remaining on brand, his casual inspiration for this celebratory season was crochet and knitwear. Crochet has risen in popularity and projected to do so for the next year, and this line did not shy away from that. Not only were there crochet tops, but there were also daring crochet dresses. The crochet complimented the use of other fabrics within the line such as lace creating pieces that gave models very little coverage. All images credited to Kendam.com From the metallics and sparkle fabric to the crochet, Frederick Anderson’s 5th anniversary line perfectly summarized everything that makes him an amazing designer. He helped close out NYFW with a bang. Get excited for the next 5 years and ones beyond that because who knows what else may emerge from this special brand. See some more of the iconic looks from the show below! All images credited to Kendam.com

Fashion has come back around to the master of modern minimalism! Michael Kors takes 1970's neutral eccentricity to the next level. On the final day of New York Fashion Week, the designer debuted his Fall/Winter 2023 runway collection in a space sprinkled with artificial Birch trees and a futuristic metal walkway of which the models walked out. From animal print dresses to strong tailored suits, this newest collection emphasizes the designer's versatility in the womenswear realm. Michael Kors has the reputation to host one of the most powerful and international front rows of New York Fashion Week.This was clear to attendees as soon as they approached the Meatpacking District venue on Wednesday morning. Fans and paparazzi were already crowded around the entrance, eager to catch a glimpse of Kake Palmer,Katie Holmes, Don Lemon, singer Kim Dahyun, Kate Hudson, Lisa Rima ,Lea Michele to name a few. The front row saw Anna Hathaway, Serene Williams & Vogue editor -in-chief Anna Wintour Michael Kors moodboard this season was inspiration from the muses of 1970's ;vintage and gravitas: Steinem, Cher, Tina Turner, Lena Horne, Ali McGraw, and Jane Fonda, along with a news clipping of Kors’s own mother Joan. The opening look, a taupe wool overcoat and sweater over chocolate brown suede shorts and boots, with a hip-hugging wide belt reissued from Kors’ 2004 collection, was all Gloria Steinem in her ’70s urban bohemian glory. The colors were kept neutral with pops of red, dark greens and dash of camel adding to the neutral eccentricity. As said by the designer “I’m into tonal because at the end of the day, it makes everyone feel confident because they know they’re putting the right thing on. It’s easier to get dressed.” "Sharp Tailoring "has been a trend at New York Fashion week 2023, and Michael Kors took this trend to the next level with fluid appeal.Tailoring was made to move, with cape sleeves, slashed skirts and flared pants, and chocolate brown fringed dresses added another bohemian element. The double-face cashmere overcoats were clean and oversized. Animal prints accentutuated the bohemian vibe ; flowing in from slashed maxi dresses, double breasted overcoats, leather boots , and fringed leather handbags . For evening, it was all about the modern mermaid, as he calls it, in sequin embroidered jersey bodysuits and tailored trousers, keyhole dresses, flared jumpsuits or fishtail gowns in daytime colors of chocolate or taupe. “Someone needs to wear this to the Oscars,” Kors said of a sequin jumpsuit under a matching camel coat. Michael Kors as a brand appeals not only to the stars and celebrities, but his accessories and handbags , boots has a huge mass market appeal. This season saw new trends with fringes ,animal prints ; seen in dresses to bags to jackets. Michael Kors was not afraid to experiment with the stringy, Southwestern-inspired substance. Statement belts were also an imperative aspect of Kors' collection. In one instance, a snake-printed leather belt with an enlarged silver metal clasp sits on top of a fitted brown knitted dress. The over-the-top mineral-inspired circular necklaces are a naturalistic aspect in Kors' recognition of the '70s. Throughout his Fall/Winter 2023 collection, Michael Kors affirms his precision in styling and recalls spirited neutrals through the era of 1970. Images courtesy of Vogue

By Erin Moonyeen Haley Once upon a time, CHOCHENG told an interviewer: “Chanel and Armani are two of my greatest inspirations. They are both revolutionary tailors who have invented their own cut. Tailoring is my passion and I've been developing my own signature cut in the past decade. My signature cut is rooted in traditional Savile Row tailoring, but softer, more feminine and completely natural." As New York Fashion Week came to a close, not only was it evident that CHOCHENG's artistry has an unrivaled feminine touch, but it was equally apparent that she crafts with the same sophisticated aesthetic as the icons who introduced the little black dress and the women’s suit (Chanel), and the ready-to-wear elegantly beaded dress (Armani). What was also axiomatic was her training and tutelage on British Savile Row. (After, of course, she studied fashion and costume design at the esteemed Parsons School of Design). An environmentalist as well as a couturier, CHOCHENG's garments have no commercial iron-on interfacing or machine finishings. Everything is hand sewn and hand-embroidered, with decorative silks and other natural materials being used exclusively. For the Autumn/Winter 2023 show, such behind-the-scenes labors of love laid the groundwork for an urbane ambiance that both thrilled and captivated the audience with a sense that the whole world was polished, posh and flawless as pearl. The clothes played to a love of all things vintage and dynamic, but in a way that was subtle and understated. Outwardly hallmarks of the CHOCHENG's attentiveness included faux-fur details, classic lines and sleek silhouettes. Undercurrent details - such as the fact that the basting, stiffening and interfacing were all done by hand - could be sensed in the way that the clothing moved. The tailoring also saw a spectrum of blacks and whites, plummy purples and merlot reds, royal pigmentations that serviced the refinement of the couture. Asian conical hats and elbow-length gloves were the accessories of choice, with long black skirts and minimal black tops providing the basis for many looks. ...Of course, some black ensembles were punctuated with the softness of velvet scarlet pencil skirts. Button-up jackets were dolled up with satin lavallière bows at the neck, while pants and A-line skirts broke from the black monochrome scheme in shades of lapis lazuli. Hair was kept coiffed and sleek while Chanel-esq jackets also appeared in blushing hues of pink. Evening wear included the nuanced touches of gloves and bows, while long skirts flared out as if tango-inspired. The classic looks were an ode to antiquity thanks to white and cream dresses that draped or cinched at the neck, letting fabric pleat in ideal mimicry of Hellenistic sculpture. ~ Images Courtesy of Vogue

By Jessica Mora On February 14th, the world of fashion was abuzz with anticipation of Hellessy's Fall/Winter 2023 Collection at New York Fashion Week. The show was an impressive display of modern femininity with a sophisticated edge, with bold and edgy designs as well as soft and romantic pieces. The runway was filled with sleek silhouettes, inspired by the glamour of the '70s and '80s, with a modern, minimalistic twist. The collection featured a range of luxurious fabrics, including silk, velvet, and cashmere, in a palette of bold colors, including red, blue, pink, and metallic gold. Designer Sylvie Millstein was inspired by the '90s, creating an array of pieces that were both timeless and modern. She showcased a range of daywear, from tailored trousers and blazers to statement coats, as well as eveningwear. The pieces were designed with attention to detail, featuring intricate embroidery and embellishments. The collection was also full of vibrant floral details, bows, and fringe. The show concluded with a standing ovation from the audience, who were captivated by the level of craftsmanship and attention to detail in every piece. They applauded Millstein for her vision and ability to create clothing that was timeless and stylish. Hellessy's collection was one of the most exciting and memorable shows of New York Fashion Week FW23. It was a great example of the power of fashion and how it can be used to express oneself and a reminder that fashion is a powerful tool for expressing our individuality. 1/11 Photo: door11.com 2/11 Photo: door11.com 3/11 Photo: door11.com 4/11 Photo: door11.com 5/11 Photo: door11.com 6/11 Photo: door11.com 7/11 Photo: door11.com 8/11 Photo: door11.com 9/11 Photo: door11.com 10/11 Photo: door11.com 11/11 Photo: door11.com

By Erin Moonyeen Haley It says something about a city when the looks on the streets are just as dynamic and photogenic as those that own the runway. And it’s not just because Instagram and Twitter have created platforms where the hoi polloi can flaunt, pivot and pirouette like the most seasoned of models. There is a charisma and effervescence about those who are giddily prowling the streets during Fashion Week. It is almost as if they have all heard and vowed to adhere to the Tommy Hilfiger quote: "New York Fashion Week comes twice a year, make it count." For posh pedestrians, it is not about a thirst to be seen; it is about turning the human body into fashionable art, about expressing oneself with one of the most available mediums out there: clothing. It is about the sense of community that emerges when everyone loves the same thing to such an extent that they express their emotions with unbridled enthusiasm. Vogue photographer and contributor, Phil Oh, is only one of the many fashion oracles to spend as much time outside the fashion shows as in, capturing personalities galore. Popsugar, Essence and WWD also bracketed media space and time just for highlighting looks outside the show. Perhaps the most refreshing aspect of these candid shots is the fact that, not only are ages and body types all over the physical map, but the smiles are genuine, indicating a bona fide thrill and rush to be in New York City, especially at a time when the urban hotspot is heady with optimism and artistic boldness. For those of us who must be content with vicarious viewing via pictures and social media clips, it will be interesting to see if any looks organic to the streets find their way to top ten lists and trend watches in the year to come. Popsugar captured looks that were bold and bright. Even Queen Latifah's street style was at once chill and cosmopolitan, especially with the heeled saddle shoes and a kiss-kiss of bright fire-engine-red lipstick. Essence was also out and about, capturing images of those who were loving life and loving fashion. Phil Oh proved he always has a magical touch with candid street shots that feel like a piece of a much more interesting narrative. Images courtesy of Vogue, Popsugar and Essence.

Batsheva's dreamy Fall 2023 line pushes artistic boundaries while staying true to the brand's core aesthetic. Batsheva accomplished a retro clothing lovers dream - perfectly made pieces that vintage lovers have scoured ebay and old dress shop racks for, while breathing new cool life into each one. The collection stays true to classic vintage silhouettes from the 1950's-80's. Long fairytale like dresses, a pair of big pigtails, and little white bobby socks peeking out from a retro pair of heels - the looks in this collection are heavenly and cohesive, and a blast from the past. Most notably - the model has "hinges" at her limbs to make her resemble a doll, tying the brilliance of this collections vision together with a perfect bow. The presentation is ethereal - blissfully transporting us into the hazy world of the living doll wearing the collection. The looks lean retro, with 1980's style dresses and patterns, big puffy sleeves and babydoll collars. The model floats around what appears to be a vintage dress shop/cleaners, playing dress up in what feels to be another dimension. Racks of big vintage dresses and the model playing with dismembered mannequins is right in line with the hazy euphoric vibe we all love, and the vibe the brand is well known for. The artistic presentation of the collection elevates every look. And the model's performance is as close to perfect as dolls get. The use of vintage silhouettes and patterns is as cool as it gets. This past year we saw the return of the bloomer, reworked to suit 2022 outfits, but this collection brings them back in their truest form, pairing them with matching tops - an outfit perfectly suited for any doll. A soft classic cream sweater vest paired with a puffy patterned dress to push the boundaries of the well known, youthful silhouette. The collection is soft, while remaining fiercely feminine, as well as versatile. They could be seen on family beach getaways, glamorous parties on the Upper East Side, as well as any cool kids prom.