Iseder Takes New York, Literally

Designer duo Sharon Mishiev and Taylor-Paige Garvin is well-suited to celebrate the city with a collection textured in its image. First of all, they’re New York natives, which in this day and age means a lot. More importantly, the two are experts in construction. We’re talking garment construction, but this time around I mean urban construction as well.

The looks appeared to have absorbed the surfaces of buildings: crackled, tattered, and flecked. Some were fixed with actual building blocks coated in a camera roll of nearby streets. Others transposed the effects of exposure and time onto the fabric itself. Deadstock pleather, already decaying, was granted a total shred. Tweed suiting was plastered in, well, plaster. Flakes of it unlatched as the models walked, leaving a gorgeous paper trail which anyone with a pulsed finger will be following.

The night marks Iseder’s fifth showing at NYFW. And while the brand has already established itself as a household name in downtown Manhattan with their I <3 NY rings (as seen on Timothée Chalamet) and cool girl cuts, this season elevated their tailoring chops to the next level. Swagged wool and fitted peacoats bore sophistication without losing the sense of sex that is metropolitan, head-first, easy. The overall result was something like cosmopolitan camouflage, in which the body is positioned indiscernibly from its environment. Accruing pollutants. Witness. Age. To design from the outside-in is to position fashion as a symptom of conditions. Smart, and necessary to withstand the nausea roll of trend. For an independent brand to survive the algorithm, they’ve got to narrate beyond visual impact: this is longevity, baby.

The show situates its beauty “not from an imagined fantasy of New York but from lived experience within it.” For city dwellers, Iseder’s clothes are recognizable structures evoking other-than-tactile sensations: a sculpted tulle gown crackles like static. A vinyl mini dress in lacquered neon, flashing with the nighttime electric. Underlying the collection is an awareness of tension and place. Layered mesh tops tease out opacity and translucence, alluding to the palimpsests that make up most of modern architecture. This is novelty and decay, the abrasion of fashion straddling history and finding context inescapable.

Both Mishiev and Garvin go to Central Saint Martens in London, which for those who don’t know, is essentially a breeding ground for design genius. Yet the two are terrifically humble. When asked about her style references, Garvin cites the people in her own life. Perhaps this is what brings the work its sense of authenticity: legible identity. It is a loyal cast of characters, though joining the familiar faces this go-around is Patch+ on the music. Fierce.

Situated against the sterility of the AI image, Iseder presents a collection material and alive, grainy and real. Never sanitized, never flattened. These are not “Instagram clothes,” though they do photography beautifully. Iseder makes clothing that wants the world in it. Objects to be touched, to be worn— though not always practically. A series of black leather handbags were just skinny enough to carry some cash and a few spare cigarettes. But what else would we need? Maybe a pair of those white leather pants… It’s Iseder’s city. We just live in it.

Fashion

It's Showpony Season

September 12, 2026

This past Thursday, Showpony took the East Village Ukrainian National Home by storm and brought us their Spring/Summer 2027 Runway Collection. Founded by hairstylist Evanie Frausto just this past year, it’s hard to believe this was only their second show. Since its inception, Showpony is proving that they’re willing to take a risk and prance along the edge of innovation in clothing design. The tension between taking something as unexpected as hair and utilizing it to create looks that feel refined is a challenge Frausto excitingly crushes.

office got a special look backstage and saw everything from stilettos covered in neon pink hair to a dress crocheted from braids. For this brand, last touches may include getting your skirt brushed or your dress pat down with hairspray. Behind-the scenes, you entered a world of straight hair, pink hair, curly blond locks, braids, blue extensions, red wigs, and bleach-blond thongs. Featuring a collaboration with COBRAH, who closed the show to a track she wrote and produced, this season of Showpony was rooted in taking provocative chances with a feminine twist.

Words & Photography by Abby Dillingham

Fashion

Beenslackin Photographed by Guillermo Adrade at the 424 Store

Fashion

Camp Twink Is in Session

The TwinkByTwink show kicked off NYFW ahead of the CFDA calendar with a simple ideology: “strip away the anxiety and elitism of fashion week and make everyone in the room feel like a star.” And that he did. Rather than a sterile runway show with expressionless models and robotically observant audience members, the room became a level ground where attendees and talent gawked at and cheered eachother on. The venue was abundant in queer culture, maximalism, and an overwhelming sense of safety to express yourself to the fullest.

Before entering the show, I noticed a guy holding a Dunkin’ coffee with a strawberry sprinkle donut slipped through the straw. God, I thought. That donut looks good. Who brings Dunkin’ to a fashion show? Little did I know.

On the runway, we saw many extravagant mixed-media art pieces that double as fashion statements. Among them, a Dunkin’ Donuts logo-themed outfit with built-in whipped cream bottle breasts. Adding theatrics, the model held a real bottle of whipped cream in hand. She approached the man with the sprinkled donut. Oh no. Sprayed it all over his face, sometimes into his mouth. But he liked it.

With an Americana influence thematically coursing through the show, it’s only natural that Dunkin was everywhere. Fun fact: Twink can be found at Dunkin nearly on the daily.

That wasn’t the only unexpected look. The runway was full of fur roadkill outfits, bright reds and blues, and the occasional butt cheek. The designs were, at their core, a political subversion. Made almost entirely of donated, recycled, and found items, the show was both a critique of fast fashion and a critique of the pretension in the art and fashion worlds alike.

The show was a celebration of individuality and community in the same beat. It was the kind of show that leaves you inspired, leaves you wanting more. More expression. More style. More fun. More donuts. And yes, I did have to get a strawberry sprinkle donut at Dunkin after the show, in honor of Twink.