Mosh Pits and Cowboys: Our Top 3 Dispatches from the Runways

Callan Malone

No Sesso F/W 2019. Photo courtesy of No Sesso.

This year’s Fall/Winter New York Fashion Week has been invigorating: crowd surfing, punk shows, 70s garage set scenes, Kelsey Lu on the runway. With the men’s shows kicking it off last week, we saw a call for androgyny—for new cowboys and corduroy and a radically artistic ethos—as some of our favorite lines forewent all convention and featured models and clothing for everyone, alike.

No Sesso
No Sesso made their debut at New York Fashion Week with Kelsey Lu and Steve Lacy taking the runway in a collection of stunning deconstructed and recycled materials. No Sesso, unlike its peers in NYFW, is considered neither contemporary nor luxury, but stakes its claim in its unique and fresh approach to style, creativity, and identity. Pierre Davis is the first trans woman to appear at New York Fashion Week; by the looks of her Fall collection, it’s only the beginning of a line that was founded on truth, community and, as Davis recently said, “how I feel and [what] I want to wear.”

Covers of The Replacements rung out as Emily Bode of BODE presented her Fall/Winter collection entirely inspired by New York gallerist, Todd Alden. Their shared fondness for collecting objects manifested in jackets made of pennies, the designer’s signature patchwork jackets, scarves that doubled as hoods, and hand-drawn illustrations on corduroy.

The Irving Plaza stage was framed with a ripped and burned American flag as models walked the platform, falling limp into the arms of four men who carried them across the crowd above onlookers’ heads. The eponymous line by Telfar Clemens featured current American favorites in the form of leather pants, vintage blazers and denim. Instead of the expected walkthrough of every look to culminate the show, Clemens, known for his ability to connect fashion to visual art and political stagecraft, invited hip-hop punk band Ho99o9, to perform a set, mosh pit and all. Telfar’s “Country” collection was a celebration of—as Clemens calls February—Black Futures Month.