Key to Suno are their cotton prints which always, surprisingly as neither of the design duo are Scandinavian, remind one of vintage Scandinavian prints. It’s the cool blues, flowers and fauna added to unfussy, precise lines on the cut that lead the mind to think of Sweden or Finland but infact the New York label was born out of Max Osterweis’ love for vintage Kenyan prints. Connecting with clothing designer Erin Beatty, Suno began, named after Osterweis’ mother.

Todays show at MADE fashion week was perfect example of how important it is for young designers to not just receive support structures enabling them to present their collection to press and buyers but that this support continues allowing young labels to define, refine and elevate their aesthetic. It’s a big learning curve. On day two of NYFW, Suno delivered one of the strongest shows of the season thus far. As Cathy Horyn, fashion critic of the New York Times bemoaned the lack of originality and ideas on the runways in the Big Apple, Suno presented an exciting collection of thirty-two looks to a waiting audience.

Culottes and a loose jumpsuit in granite grey wool cashmere were paired with pin-striped cotton shirts with embroidered flower wreath motifs. The little zip-up ankle boots, a collaboration with Nicholas Kirkwood, came in either black, a print to mis-match with the clothes or with a stripe of bright colour on the sole.

Defining pieces of the show: a cotton, violet blue shirt dress with graphic print along the collarbone, arms and hips that was given drama by a thick black sash that tied high on the midriff area. Green tartan was matched with a Kenyan print that was woven into a body-con, knee length dress that had peep-holes on the shoulder.

For a label whose founders and fanbase are very New York, the aesthetic is anything but which stands Suno apart from the crowd. As Cathy Horyn sends out the call for American designers to step up their game, it’s possible that the future stars to come from US are sitting right under everybodys noses.

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