Diego Nájera Walks Willy Chavarria SS25

How did you first meet Willy?

In Paris, in June, during fashion week this year. It was at a private Adidas event actually. I should have known then that something big was in the works. I love his work and we have mutual friends, so I just went up and introduced myself. He was exactly how he is: himself and real. Very humble, respectful and helpful.

How did you go from meeting him in Paris in June to walking in his show in September?

Willy invited me to his studio when we first met in Paris. Pretty soon after, I came to New York to film (a skate video) for my friend Ben’s brand, Grand and he’s good friends with Willy. So we both went to Willy’s studio together. We brought Willy his favorite cookies and a Grand jacket as gifts for him. He was so hyped. We were supposed to be there like 20 minutes but ended up all talking for two hours. As the two hours passed, before we got ready to leave, Willy told me he’d really like for me to walk his show. It was a dream come true. I hit up adidas and they helped me come back for the show and made sure I was here days early for fittings and anything else needed.

What was the experience like to walk in your first show? Were you nervous?

It was truly an honored moment for me. Not only loving what Willy creates, but also the meaning behind this collection and show. So grateful to be a part of such a meaningful moment. The show started at 7pm, but models had to arrive at 1:30pm for make-up and doing photos. It was sick to see how the whole process works and meet so many cool people backstage. When it came time to walk, I wasn’t nervous at all, all my nerves were full of joy and ready to walk. There was direction on stance and walk and what they wanted us to do. Other than that, I was looking straight ahead, locked in. No eye contact.

What did you think about your look?

I loved it. It’s everything I would personally buy and wear. White hoodie with Willy Chavarria written in old English arched across the chest, 3 stripes detail hit on the hood. White track jacket with royal blue accents. White track bottoms that zip off into long shorts with unique patterns. It’s the baggy silhouettes of the pieces that makes them fit so comfortable and unique. You have to wear and touch the pieces to see how special they really are. The whole collection is special.

You never see a Mexican designer get to the level Willy has. And no matter how big he gets, he still celebrates us and all of humanity. It’s amazing to see him get so much love and support. He deserves it all.

What does it mean to you to be in Willy’s show? Also with the adidas tie in?

Huge, huge honor to be a part of it. I’m Mexican. Willy is Mexican. You never see a Mexican designer get to the level Willy has. And no matter how big he gets, he still celebrates us and all of humanity. It’s amazing to see him get so much love and support. He deserves it all. He’s worked so hard for so long. It’s such a blessing to walk in his show period. Then add in adidas, who has supported me for so many years. It’s just blessings on blessings. So grateful.

What else did you do while in New York during Fashion Week?

Skated, filmed, hung out with friends, explored, ate good food. All the good things you do when you’re in New York. Just be outside.

What’s next after this trip?

Keep the momentum going. Headed on a domestic adidas trip right from New York, then Shanghai with adidas, then Tokyo with Grand in October. Skate more, drop more videos, go on more trips, make more designs. Stay locked in on the things I envision and accomplish them.

Fashion

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.

Fashion

MOWALOLA SS25

Known for her fearless approach to design, Mowalola’s show promised not just a visual spectacle but a profound cultural statement — a culmination of her passions: fashion, music, and her mission to reshape narratives around the Black experience. This season, she pushed boundaries even further, crafting a collection that redefined what fashion can communicate. The show was set against a pulsating soundtrack, featuring live performances that paid homage to hip-hop and punk while embracing the edgy sounds of the underground scene. Models strutted down the runway to this powerful rhythm, draped in pieces that were as raw as they were bold.

True to form, Mowalola’s collection was a riot of color and texture. PVC and leather, staples in her previous works, returned in futuristic silhouettes that fused streetwear sensibilities with avant-garde shapes. But it wasn’t just about the clothes; each look told a story — a bold reclamation of Black narratives, individuality, and freedom of expression.

One standout moment featured pieces emblazoned with the word “Ebony,” drawing attention to the fetishization of Black individuals worldwide. These designs were more than just fashion statements; they kicked up conversations about race, identity, and belonging, inviting the audience to reflect on their relationship with themes on display.

As her seventh Fashion Week presentation came to a close with supermodel Irina Shayk, it was clear that Mowalola had once again succeeded in doing what she does best: challenging the status quo. With every collection, she continues to break new ground, reminding us that fashion is not just about aesthetics — it’s about identity, culture, and the power of storytelling.

Fashion

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.

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