Not so long ago, the NYC LGBT Center on West 13th Street held one of its annual fashion industry focused fundraising dinners. Movie producer and Center stalwart Dorothy Berwin gave a rousing call to action to get behind the space and the organization like never before, because—as if this needs saying, all too sadly—homophobia and transphobia are on the rise. Designer Jonathan Cohen, who first visited the Center in 2021, was at that dinner and took note. He visited the building some time later for a walkthrough, then committed himself to doing something. “I think of the Center as being a bit like Planned Parenthood,” he said. “It can be a refuge; knowing that it exists… it brings such a sense of comfort.”
Which is why bright-ish and early-ish on a Saturday morning, we were back at the Center to see Cohen’s Spring 2025 collection. It was a symphony of: color (from bright scarlet to a shimmering midnight blue); pattern (anemone flowers rendered with a delightfully faux naif vibe, luxe-y luxe tie-dyes for cashmere sweaters and cardigans); beading and embroideries exploding like supernovas over shirting and lanky jeans; and gentle layering like a dress over a skirt over big pants, which, seen here and elsewhere, is beginning to coalesce into one idea of how you might want to dress come next spring. (Or sooner! What’s stopping you now, after all?) One other styling tip worth sharing: The spangly Swarovski colored crystal belts worn over the tie-dye cardies and lean jackets, and modeled on the necklaces of a certain editor-in-chief you may have heard of. I’ll give you a clue in case you’re scratching your head: I am currently writing this about ten feet from her office.
One of Cohen’s best qualities as a designer is his intentionality. His choice of venue was one of them: The desire to do his part, make a difference, be sensitive to the world, is very Cohen. (He’s planning to get involved in workshops and open days to help young people, to demystify the industry, and to more broadly empower them as they move into adult life.) The other way it shows up is in how he meticulously researches and thinks through the starting point of any collection. One thing was uppermost as he started Spring 2025. “How can you push things forward, make the future better?” he said. “Clothing has the power to do that. I’ve always felt that—and it’s my job not to ignore it.”
He alighted on music, an abiding love of his, which led him to reading about people who see colors when they listen to it—synesthesia, the condition is called. (Cohen said, laughing, that he doesn’t have it.) That in turn set him off on his foray into those aforementioned bold hues, or a rather psychedelic striped textile which is a Japanese fabric that takes some three months to make just fifteen meters of; Cohen used it for a short wrap skirt and a shoulder hugging jacket. For evening, he repurposed what was meant to be a capelet into a one-shouldered top, serendipitously discovered while styling the presentation. His way with handwork was evident in a nip waist jacket and long dress combo whose seams were lined with tiny knots. Much of this was worn with flat docker shoes—“Bringing it back to California!” said west coaster Cohen—which were trimmed with fabric orchids. And by the time all of this arrives in stores, he will already be doing all that he can for the Center. Quite a bit to admire here then, whether Cohen’s clothes—or his sense of commitment.
