Iconic Horse Girls and Homoerotic Jocks: Inside Designer Gabe Gordon’s First Runway Show

Hi, Gabe! The show was so amazing.

Thanks for being there!

Of course. Let’s go in reverse chronological order. What’ve you been up to since your show?

After the show I went to Fire Island. With Timothy Gibbons, who helped design the collection, to take a breather. Now I’m back and feeling stressed again. It’s market week. But I’m still feeling good.

How was your party? A lot of NYFW parties are kind of boring — they can feel like air coming out of a balloon slowly. But your party was cute — a real family affair!

It felt really good. My uncle has a soda brand called Gus, so he sponsored the party and I got to design drinks with his soda. It felt close to home.

As a designer, do you do other things during New York Fashion Week — go to other shows, parties — or are you really locked in on your show?

Just locked in. I really wanted to go to Gauntlett Cheng’s show — I used to work with them. They came to mine, which was really nice.

If you squint, you can sort of see some fashion family trees in lineages in the New York fashion world — you worked for Esther and Jenny at Gauntlett Cheng, they worked for Mike and Zoe at Eckhaus Latta. And I think Mike and Zoe worked at ThreeASFOUR. There’s an arc there. A DNA centered on knitwear, a fidelity to geometry.

That lineage is real. And Zoe Latta and Mike Eckhaus went to RISD. And Jenny Cheng went to RISD. I worked for Gauntlett Cheng while I was in school. I also went to RISD. And every summer I have interns from RISD who work on my collection. It’s like a real community.

RISD mafia!

Yeah. And Ben Doctor, too. He went to RISD.

This being your first show, were there any veterans or industry insiders who helped guide you through the process?

The photographer who shot my first looks helped. Michael Hauptman. He’s been in fashion for a while and shot first looks at many shows. He knows how the whole thing goes. It was nice having his eye and input throughout. It was a first for a lot of people though. It was Iman Said’s first show styling.

Yeah, Iman is so cool.

Yeah. It was her first time styling a show by herself. And Shay Gallagher — it was her first time producing a show. Gus Grossman who did the art direction, it was his first time art directing a show and doing the graphic design around the show. It was a new, fun experience for everyone.

I feel really inspired looking at your clothes. The first time I photographed them was with my friend Lauren. There’s a lot of sub-surface sexual appeal to your clothing. Can you explain how you view the relationship between clothing and sexual appeal?

I have a weird relationship with menswear as a male designer. It’s hard for me. I get in my head. "What would I wear?" So I gravitate towards making womenswear from the start. My work started as this form of catharsis. I started making knitwear after my dad passed away. I was interested in how cloth holds traces of history. From the start, I’ve gotten feedback about how the work is sexy. That wasn’t always the goal. It’s not what I’m thinking about when I’m making the clothes. The sexiness comes from anxiety from dressing. One of the big references is horror movies. The final girl in a horror movie being chased by the antagonist. Her clothes tearing off. It comes off as sexy. But it’s more rooted in feelings of anxiety.

That sort of horror is so carnal.

Yes! But I love the way it has evolved. I don’t know how my audience or the customers see the clothes. But the clothing evolves [on figure]. Each customer has their own experience with my clothing, which I really like.

The personality of the wearer really shines through your clothing. Does producing a show psychically change your attitude or process towards making clothing?

Yeah. I’ve had a lot of roadblocks. Having a business. Not knowing how things work. Last year I felt really disconnected and pessimistic from the whole experience of having my own label. But what has excited me is this idea of world-building through the clothes. That’s why I want to design. I want to think about characters and the world in which they exist. The runway is the ultimate way of displaying that, showing it to my audience. With lookbooks I can do that. But being in person with an audience — it can be a whole experience, with music and perfume. It's made me really excited to keep going.

What are some fashion references that are eternal for you?

This season I was inspired by a lot of Alexander McQueen’s collections between 2000-2004. There was one collection and the story was about a shipwreck. I loved the really direct form of storytelling through that collection. It’s what he was amazing at doing.

Tell me about ‘Horseplay’.

Yes. I took the fall/winter 2024 season off. I sell at a few stores in Australia. I needed a break from making new stuff. I was feeling disconnected. I went to Australia for some pop-ups for two months. I got this book about Australian ferns. I was obsessed with the illustrations of the ferns.

I was researching these jocks called Sharpies that were big in the 1970s. With my work I’m always interested in this nostalgic Americana, which is very present where I’m from. I was really excited by these jocks and the clothes they wore. They were tight, striped knits. Something about it was so homoerotic. Part of Australia reminded me of the equestrian farmland I grew up near. I thought it would be so cool if I created a story where the protagonist is in this world of horse girls and jocks.

In my head, I created this story about this boy who had a nightmare that he’s in a competition amongst these really sexy, cool girls. Like the girls at my high school I looked up too. Then the boy falls off his horse into a fern bush. It is nighttime. He’s pulled out of the ferns by these jocks who haze him and have him kill off the horse girls to win a prize. That story came to me in five minutes. That’s how I work. Really impulsively.

Your process seems instinct-driven.

Yes. That’s the horseplay idea. It’s interesting you bring up the sexiness of the clothes. I did lean into sexiness in this collection. The horse girl being a sex icon. I keep referencing or thinking about this one hot babysitter I had. Having her be an icon as a gay kid. These horse girls are the hot babysitter or my sister's hot older friends [laughs]. It was also fun designing the menswear. Different vintage sportswear. The first shorts I worked on with Timothy were inspired by vintage football shorts. Super high waisted. There’s something very gay about them. We decided to make them out of fur. When clothes are made out of knits, it turns them homoerotic.

In your clothing, there is an allusion to it being taken off.

Totally. That’s always been present. The first knits I made were about layering and thinking about taking layers off as well as feeling comfortable in what you're wearing.

GEN 13: Parsons’ MFA Class of 2024

September 21, 2024

In a former historic industrial site by Washington Square Park, guests gathered for Parsons’ 2024 showcase. Launched in 2010, the school’s MFA program gives eleven designers the chance to debut their collections at New York Fashion Week. This year’s runway was set beneath a concrete atrium's skylight, with attendees wearing eclectic pieces ranging from suits printed over with text to pink, pointed Prada shoes, capturing the innovative spirit characteristic of these student showcases.

A few hours before a beat filled the space, office had the opportunity to go backstage, observing as garments were fitted and refitted. Nervous murmurs and critiques from tutors blended with the excitement as the models lined up for a run-through, each look they wore a deeply personal narrative.

Just ahead of the show, the designers took a moment to speak with me, frequently shooting sideways glances at their pieces to ensure everything was in place. Every second was precious. Take a peek at the designers’ collections below.

By Julia Silverberg
Backstage photography by Taryn Segal
Runway photography by Madison Voelkel

Margarida Feijão

Margarida Feijão’s collection is part of a continuous body of work within her creative practice. Drawing from her experiences growing up in a small town in southern Portugal, Feijão witnessed the oppression faced by the women who raised her. This inspired her to tell their stories—stories of her own past, traumas, and the enduring effects of patriarchy, which continues to impose new sets of rules on each generation. While the challenges she faces differ from those of her ancestors, new obstacles still arise.

Feijão, who was taught to meet certain societal expectations to be recognized as a woman, struggled with being born without hair. This personal experience is reflected in her designs, which mimic the textures of hair. The designer’s goal is to empower women. As she put it, “If you feel self-conscious about it, you wear this piece, and you’ll feel fucking amazing.”

Ziqi Zen

Since childhood, Ziqi Zen has had an obsession with dolls and flowers. Named Symbiosis within my mental sanctuary, her final collection reflects the delicate figurines that populated her youth. She didn’t just want to incorporate their physical aspects into her designs, but also capture the time she spent with them. With a collection of over a hundred dolls and countless accessories, these objects have become a recurring visual motif in her life. They offer her an escape from reality, a retreat from the pressures of daily life.

The collection transforms its wearer into a symbiotic creature, with tights printed to mimic the appearance of ball-jointed dolls. Dainty patterns and prints are sculpted into structured dresses adorned with florals, embodying the fragile beauty of the designer's personal form of escapism.

K. S. Tehara

Still working on a label name, K.S. Tehara wants to have a discussion about culture built upon survival. His MA collection, titled All these arid places, bridges his Indian and queer identities, finding a shared resilience in how both communities flourish in seemingly barren settings. Aesthetically, the collection draws inspiration from William S. Burroughs’ The Wild Boys, offering a playful take on gay strength through the likeness of Tehara’s own fragility.

The garments are crafted from upcycled sarees and t-shirts, with secondhand materials incorporated alongside 3D-printed wood accessories—pieces the designer says his boyfriend “hates him” for constantly helping him make. Each look comes in larger sizes and can be cinched or shriveled, allowing for augmentation based on the wearer’s body. Tehara also provides a pattern system for his single-material garments, encouraging them to be reproduced at-home, inviting modernity into traditional craft.

Patrick Taylor

Patrick Taylor channels the intensity and resilience of childhood sports. His collection blends the free-spirited playfulness of youth with the toughness that competition instills. The pieces explore how sports not only build community, but also shape individuals. Many of the silhouettes intentionally distort or contrast with the body, symbolizing the way growing up can "force you into a position." Some garments even reference specific stances from competitive skiing.

Drawing on memories of summers spent sailing along the English coast, Taylor reflects on family holidays, racing on the water. His goal was to create an all-knitwear collection, even developing a custom fabric that mimics neoprene, a material often worn by skiers, to give the garments their unique structure.

Mohan Li

Forget About Everything I Told You is the MA collection of menswear designer Mohan Lee. The inspiration for the garments began with a letter from her high school teacher in China, who gave each student a note upon graduation encouraging them to abandon the knowledge they’d been taught and instead absorb the world with fresh eyes. This message deeply resonated with Lee, prompting her to question the value of everything she'd learned and the necessity of knowledge as it is traditionally received.

Lee’s focus is on creating structured designs, and she uses her pieces to demonstrate her skills in pattern making. Her collection consists of five looks, most of which are inspired by school uniforms. To emphasize invariability, she uses a consistent color palette of rich reds and blues. All of the garments are highly wearable, which is the designer’s way of rebelling against the industry's tendency to favor designs that are impractical or unwearable.

Take a look backstage below.

BEYOND: Fashion Institute of Technology MFA Show 2024

September 20, 2024

In New York, the talent emerging from the renowned Fashion Institute of Technology (FIT) is far from a well-kept secret; the school boasts a star-studded list of alumni who have gone on to shape the fashion world. Their intensive two-year MFA program offers students the opportunity to dive deep into a research topic of their choice, utilizing their undergrad background, whether it be in knits or evening wear, laying the groundwork for potential future labels.

This year, the BEYOND runway featured eight-look collections from 13 designers, each reflecting the diverse backgrounds that make up the program. For the first time, their NYFW show took place at FIT's 32nd Street campus, with the building itself serving as a backdrop for the wide range of designs. Sitting on benches scattered throughout the space, the audience watched and listened to soundtracks curated by each designer, setting the tone for their collections. The high-level craftsmanship on display signaled an exciting future ahead for fashion’s next generation. View the designers’ 2024 collections below.

By Julia Silverberg
Photography by Taryn Segal

Bryan Barrientos

Juana tells the story of Bryan Barrientos’ mother, who migrated to the United States at 19. Through this thesis collection, he delves into the ongoing immigration crisis while exploring the experience of being a first-generation American. With deep admiration for his mother's resilience, the designer uses all-white garments to focus on the interplay of shadows and highlights within the materials.

Barrientos’ designs incorporate traditional Peruvian textures and silhouettes, with woven fabrics and natural dyes forming the foundation of each piece. With a background in evening wear, which he studied during his undergraduate years at FIT, he is a natural storyteller, skillfully using shape and volume to convey his family’s history to the audience.

Yoon Seo Lee

Yoon Seo Lee is a streetwear designer whose 2024 collection draws inspiration from her childhood experiences trying to outsmart the TSA while traveling with her family. When she was young, she attempted to sneak her pet lizard into her suitcase, an act that would later shape the theme of her collection, aptly titled The Smuggler. The collection explores the concept that everyone has something they wish to hide—whether it's physical items or emotional baggage.

Through the use of 3D-printed details, Lee conveys the idea of concealing objects in plain sight, creating space where hidden elements can be folded. Many of the fabrics featured in the collection are sourced directly from her home in South Korea, adding a personal touch to each piece and grounding the futuristic designs in her cultural heritage.

Brunela Ramirez

Titled Collection 0, Brunela Ramirez's debut explores the intricacies of world-building, much like the work of visionary film directors. Just as they craft immersive environments to evoke their inner emotions, Ramirez uses fashion to construct a narrative that reflects her own perception of reality. Born in Lima, Peru, her designs feature structured silhouettes, a nod to her deep research on how people adapt to their surroundings, and the influence of environment on personal identity.

Driven by a commitment to creating genderless fashion, Ramirez constantly seeks unconventional methods in her design process. She embraces the challenge of reimagining classic silhouettes in a way that is authentic to her vision as a designer, while also aligning with her values of sustainability. Most of the fabrics she uses are sourced from FABSCRAP, an organization focused on recycling and repurposing textiles, highlighting her dedication to eco-conscious fashion practices.

Eunhae Cho

It takes time for fossils to develop in nature. Eunhae Cho was fascinated by their slow development, naming her final collection Memory Fossils due to the unique colors, shapes, and textures of these bony structures.

Utilizing the concept of modularity, her garments can be adjusted, allowing individuals to create their own variation of the looks. As she puts it, “ the wearer becomes the artist.” The twisted patterns allow the pieces to expand and shift, making them as unique and dynamic as fossils themselves. Cho views this lineup as a fresh beginning, using deeply personal materials and textures. She began working on the pieces over winter break in Korea, initially planning to omit their wear and tear, but after experimenting with a swatch, she decided to incorporate it as a defining element of the collection.

Talia Abbe

Tabbe Designs, the label created by Talia Abbe, debuted its collection titled Bubble Wrap at the FIT MFA showcase. Inspired by the positive and negative stimuli of the world, the designs reflect how people respond to their lived experiences. The collection serves as an introspective exploration of the gap between what we outwardly perceive vs. what’s happening internally. During the pandemic, Abbe’s personal struggles with mental health inspired her to create a representation that would show people they are not alone.

Although the theme is inherently heavy, she aimed to make the pieces fun and playful, showcasing the strength of community—a place where people feel comfortable and supported. The idea for the latex inflatables in the line came to Abbe during her first year of research, combining the sensation of tightness, representing suffocation, with the inflated form that suggests a protective layer.

Behind the Scenes at RAISEfashion

The organization is led by Executive Director Felitia Harris. Designers I spoke with described her as someone they aspire to be. Harris is a beloved connector, driven by her mission to provide black designers with the support and resources that have diminished in recent years. Her strategy centers on fostering inclusivity from within. Since the project’s founding in 2020, following the resurgence of the Black Lives Matter movement, RAISE has tapped into fashion’s existing community, using it as a platform to increase racial equity in the industry through collaboration.

Each year, the organization provides select designers with a seasonal grant, which comes with pro bono consulting to help emerging labels refine their strategic marketing efforts. This year’s spring preview featured brands ranging from Keith Herron’s Cali-based Advisry to Kingsley Gbadegesin’s justice-focused K.NGSLEY. Their garments were showcased alongside a new 90s luxury line by Abercrombie & Fitch, a sponsor of the event. Abercrombie collaborated with Janae Harmon and TyAnn Amos to bring this collection and event to life.

Take a look at some of the Masterclass 2024 designers below.

Aisling Camps

After graduating from Columbia University and New York's Fashion Institute of Technology, designer Aisling Camps immersed herself in the creation of handcrafted knits. Whether or not she is doing a "sustainability lean", her material-conscious label focuses on developing high-quality textiles. Recently, she collaborated with Moda Operandi, traveling to actress Isabella Rossellini’s Long Island farm to create a collection using wool from Rossellini’s heritage sheep — each unique in its characteristics, which Camps likens to “heirloom tomatoes.”

This season, her brand emphasizes textures and fabrication, featuring materials such as boiled wool sourced from Italy and brushed mohair. Novelty yarns serve as the foundation for the collection, heavily inspired by the tree roots and waterfalls of Trinidad, Camps' hometown. Referring to her design process, she explains, “Every garment is perfectly undone, with the scraps of one piece becoming the basis for the next.” The organic lines of her designs, which accentuate the female form, reflect her zero-waste philosophy, using fabric in a way that avoids excess.

Burkindy

Burkina Faso-born artist and designer Burkindy blends cultural symbols with natural elements to honor the heritage that informs his work. In his latest collection, he incorporates fluid, organic forms into bracelets and necklaces designed to drape across the body. His animal-shaped rings, crafted in gold and silver, reflect a deep appreciation for classic designs, yet each piece bears his distinctive touch.

Handcrafting all jewelry molds in Brooklyn, Burkindy has a dedicated storefront in Crown Heights where admirers of the brand can explore the collection. In addition to his jewelry, Burkindy’s creative practice spans Ready-to-Wear and visual art, integral to his artistic process. A pivotal moment for his brand came when he connected with Felitia Harris through a mutual friend, leading to his involvement with RAISE — a transformative experience for his career.

Kingsley Gbadegesin

There’s no deeper meaning behind Kingsley Gbadegesin’s newest collection — the Nigerian-American designer’s work is rooted in the idea that form follows function. For him, it’s about creating a feeling and making something personal for each wearer. Putting a sexy spin on prep-styled pieces, from cropped polos to sheer silhouettes, Gbadegesin designs with fabrics and fits that excite him, fueling his body-centric work.

With a background in sales and merchandising, Gbadegesin shares his vulnerabilities through his creations.“ If you follow the label,” he says, “you’re judging me, you’re feeling me, you’re dressing in me, sans it [the label] being named K.NGSLEY.” Bridging the gap in equity for queer and Black communities is central to his brand’s ethos. During the pandemic, a friend encouraged him to join RAISE, where he met Aisling Camps, his “business wife.” Their collaboration has accelerated the pace and process that shape his garments.

Keith Herron

Keith Herron launched his label, Advisry, in California at just 13, and he has consistently found innovative ways to deliver cult-favorite pieces to his audience. Expanding beyond garments, Herron has explored multimedia projects, including film and music, which further define his brand’s identity.

At this year’s RAISEfashion showcase, Herron joined a BOF panel to discuss building his fanbase, upcoming partnerships with retailers in Korea, and strategies for brands to incorporate wholesale to expand their reach. Leveraging his connections from the program to boost his direct-to-consumer market, Herron continues to create standout pieces, such as graphic tees and wide-leg trousers, paying homage to his inspirations, Pharrell and Virgil Abloh.