“Hands like a faggot” isn’t something you expect to read as part of a fashion industry press release, honestly – but Raul Lopez approaches his Luar shows unlike most other designers. They somehow manage to be both deeply autobiographical and have a universality of product, conceptual yet commercial. At what felt like the southernmost part of Manhattan – about as down as you can get downtown – he staged his Autumn/Winter 2025 Luar show. It was dedicated, as that first line suggests, to gay flamboyance, to trans pride, to general don’t-give-a-fuck-ery. And the “faggot” hands were created by harnessed sweaters that serve to lock the arms into a permanent limp-wristed stance. It’s involuntary – which says a lot, about the experience of a gay child. Although they also reminded you of a praying mantis.
This was a thoroughly unapologetic fashion show, arch and driven by attitude – you may call it confrontational, but it could also be defensive. The models whizzed around, in wide-shouldered tailoring in denims and leathers and pressed wools that resembled astrakhan, atop high-heeled mules and toting handbag after handbag, regardless of gender. The clothes were complicated – sometimes tricksy – but for Lopez, they spoke of his upbringing, a mother who was a seamstress and a father who was a construction worker. The whole collection was titled El Pato, which translates as duck, as in the animal, and feathers were shoved under layers of plastic and glued to claw-like nails. But “Patou” is used as a homosexual slur in some Latino countries – and, indeed, it made me think of ducking and covering, back to that attack-defence idea.
The striking thing about Luar – the reason it’s consistently compelling, in the often staid and conservative New York landscape – is that Lopez takes risks. They don’t always pay off: some of his experiments in tailoring need refining (but they will be, I’m sure). Yet this downtown show ended with an uptown swagger and polish, the latter half beginning with legendary ballroom Voguer Stefanie Milan in a long striped fur coat, followed by rich (in interest, rather than capital) looks in brown and gold, tramline coats sweeping the floor, collars popped, jewellery blinged. Those looks looked great. There was, actually, plenty of real fur in this show, albeit upcycled. That’s something that has been bubbling around for a while but which, for Lopez, is deeply coded to working-class success rather than wealth and privilege. “In the hood, you get the mink, the fur,” he said backstage. When someone asked him about the politics of this, he raised a (perfectly preened) eyebrow. “When Black and Brown folk are good, we’ll move onto the next topic,” he said.
And what Luar has, unlike many other brands, is a true following, a tight-knit group of ardent believers. There were whoops and yelps of delight as looks exited from audience members who were genuinely excited to be there, truly interested to see what was coming out next. As were the jaded fashion press, because Lopez is a genuine designer who wants to push boundaries and challenge, experiment and dream. “A lot of the people who walked the show are my friends, my community,” said Lopez. “Luar is a platform to bring people together.” His final words resonated – prosperity, love, abundance, joy. Then he hugged his mother.
