What sent Jonathan Cohen down a rabbit hole this season was discovering that Muhammad Ali was once distracted in the ring by the sight of Elizabeth Taylor in the stands. Phase one of Cohen’s process was researching all things Liz. The next step was to add sports references into the mix and the final hurdle was to somehow connect this historical fiction to real life. This Cohen did by shooting the collection on women who are part of the brand’s family. At his presentation, blow-ups of photographs of the likes of Sally Singer, Julie Gilhart, Cohen’s mother, model Dilone, and the rest of the cast were hung on the walls while the clothes were shown on mannequins, allowing for close inspection of the many carefully thought-out details.
The pattern on tie-dye sweaters, for example, were based on scans of a brain concussion (a fighter’s injury). Taylor’s famous eyes were subtly worked into what looked like a snow leopard jacquard. Inspired by the porcelain gardenias the actress collected and which inspired one of her fragrances, Cohen created a smashed floral print and also festooned a mesh tank with sequined flowers. Boxing-style boots made in collaboration with Larroudé added a sporty element as did the use of striped ripstop edging. Building out this linear theme was an A-line skirt with horizontal cutouts suspended by knots (a signature technique), and zip-front Stockman tops, one in denim, another in black leather, with vertical rows of fine tucks.
Cohen, always mindful of waste, used lengths of leftover fabric from past collections as linings, which felt very luxe. Quilted separates in black were enlivened with colorful patches of scrap material. Textile fragments were also used for one style of sunglass frames made in collaboration with Selima Optique. This eyewear line featured knots in the arms and was named after Siouxsie Sioux, who Cohen thinks of as a sort of punk version of Taylor.
This was a rather decorative collection that relied for effect on unexpected combinations of fabrics, patterns, and references. To the designer’s credit, you didn’t need to understand the complicated back story to get the clothes, which tended towards the dressy. Apart from jackets that emphasized the waist, and a lone pillbox hat, Cohen’s offering didn’t engage much with the trends we are seeing elsewhere. Still, the introduction of the pugilist—not as aggressor but prepared to react—though conceived pre-election, felt very prescient when so many institutions are under attack. There was a personal angle at work here, too. Cohen, it turns out, took up boxing during the pandemic, and said it gave him confidence and helped him through a depression. “I always say you have to take care of yourself so that you can keep fighting,” he said, explaining that he finds strength in fully engaging with his craft. The aim this season, Cohen said, was to create “conversation pieces that help you escape for a bit—not that you put your head in the ground, but help you keep going.”
