The collection is framed as a character study of a space cowboy in return. The title itself carries narrative before anything is explained — “return” suggests memory and history, “space” implies distance and futurity, and “cowboy” evokes rebellion and individuality. Inspired loosely by the interior futurism of Jamiroquai and the drifting emotional landscapes of Cowboy Bebop, the collection imagines a wanderer moving between eras, pulled back toward something familiar rather than chasing what is new.
Building on brand codes established in earlier work, bouclé tailoring, couture dresses, and statement headwear are used to suggest evolution through repetition rather than reinvention. Familiar silhouettes shift through scale, surface, and proportion, creating subtle signs of change rather than disguise. The collection continues a design language first introduced in 2023, reasserting lineage while allowing past ideas to reappear in new emotional contexts. The result is a wardrobe shaped by nostalgia, tension, and transformation — a return not to a place, but to a feeling once known.
Inspired by Éric Rohmer’s film anthology of the same name, Four Moral Tales explores the quiet complexities of moral character and how it surfaces through subtle gestures, fleeting glances, and internal contradictions. These are not loud stories, but slow burns that unfold in the spaces between what is said and what is withheld.
The collection reflects this restraint and ambiguity through silhouette and styling. Garments are deceptively simple, designed to hold tension. Fabrics drape with ease but conceal structure. Proportions shift slightly to imply intention. Each look is a study in presence, where character is built not through excess but through quiet choices.
When moving image was invented, it was very rare to see a film in color. ‘Technicolor’ is not the first moment color was utilized in film, however it was the most innovative solution to film’s color problem. Technicolor achieved color by combining three color film strips onto one clear strip. This solution was so practical compared to previous methods, that it changed the way people produced and consumed the medium entirely, with the tide eventually turning to more color films being produced than not, evolving the medium itself. With the Technicolor collection, I want to share a color story that goes through the history of color processes in film that results in Technicolor, to symbolize the evolution of aesthetic technologies. This color story will epitomize the growth of the brand itself - with this being the finale of the numbered seasons, from ‘Black & White’ to ‘Color.’
Masculin Feminin is about the naive exploration of the “woman” and the challenging of the genre of fashion “womenswear” itself. In my first collection of womenswear, I attempt to understand the many styles of different types of women, as a way to epitomize the fact that there is no average woman. In the fashion calendar, collections either fall under a menswear and womenswear category. Today, these rules seem very black and white. Along with exploring womenswear, I want to challenge the industry's notion of womenswear and see how far we could go while still being referred to as womenswear. At what point do we draw the line between menswear and womenswear looks? Is it possible to create a womenswear collection that is fully gender inclusive? These are all questions this collection attempts to pose. Season 9 is simply a curiosity, not an answer.
This collection derives its title from the 1966 French New Wave film of the same name, directed by Jean Luc Godard. Within the film, one character interviews four women, and their stories are told inter-spliced and out of order. The result is a film that depicts an accurate representation of the youth culture of 1960s Paris, France. To serve as a present day counterpart to the 1966 film, the runway show continues this narrative with myself assuming the role of protagonist “Paul” interviewing fashion icon Bethann Hardison. Bethann was chosen for this interview not only because she is a fashion icon, but because she shares a perspective with “the Children of Marx and Coca Cola,” but operates in the world of fashion. Our interview isn’t a period piece, though, as we connect the history of fashion to the present day. Like the film, the collection explores womenswear and the different facets of it from a naive perspective, and results in being a timeless reflection of today’s time.
The Season 8 collection “Sometimes Dancing” is about finding black joy in the midst of chaos and trauma outside. As black people, we often meet adversity with resilience and find moments of joy within these moments. This fact is highlighted within the collection.
This motif is translated through the action of dancing, and symbolized by drawings of characters from the 1976 painting entitled “Sugar Shack” by Ernie Barnes. Barnes is quoted as saying he created the painting from reflecting on his childhood, when he was not able to go to a dance. The painting features black people in a segregated South, being their joyful selves in the midst of a racially charged American era. Not only does what is occuring in the painting directly speak to the theme of the collection, but also Ernie’s own motivation for painting it. Ernie depicted joy that came from a place of not being allowed to experience it. The painting made its way into pop culture by being regularly seen in the sitcom Good Times and most notably being used for the classic Marvin Gaye album I Want You.