The two in live in a way that is refreshingly traditional and yet distinctly modern, much like the quaint countryside to which they retreat from their urban lives. Preferring Dostoevsky and the spoken word to Facebook and Twitter, Hassan wears his Dad’s khakis with a unique touch; he rolls up the hem to fine-tune the proportion with a chambray shirt cut up into a vest worn over a t-shirt. Nadia is interested in esoterica; books like The Poetics of Space, films like Fassbinder’s The Bitter Tears Of Petra von Kant and taking photos with film as opposed to digital. She makes kitschy corduroy overalls with a Mickey Mouse belt and sweaters recovered from her childhood seem 21st century. Few can tuck socks into trousers with handmade brogues and possess both a serious stature while remaining hip like Hassan, or exude both a sultry and edgy glamour in a calf-length dirndl skirt with a chopped-off man’s shirt like Nadia.

If you love Nadia & Hassan, you may also like Tat Vateishvili, Freddie Leiba and Desiree Neman.

Christian is known for designing stage costumes for Karen O of the Yeah Yeah Yeahs, beginning with the deconstructed prom dresses she was making when first she started out as a designer. Their collaboration evolved and persists; Christian recalls a seminal moment for herself as an artist on the band’s tour for 2003′s Fever To Tell. Karen wore a colorful hand-made skeleton suit — “Kind of Day of the Dead,” Christian says — with lots of embroidery, a three-dimensional heart, and arteries. But what excited the designer most was the thirty feet of intestines that could be pulled out by the audience. Christian never stops creating. “I constantly think about it. I dream about it.” Everything in her apartment is silk-screened, from the pillows to her linens. 

Christian’s clean, slicked-back hair and classic red lips make her feel as though she can go a little further out on a limb with her clothing, and reveals the conscious detail with which she approaches everything. A white jumpsuit looks “Bohemian chic” with a burgundy scarf tied like an ascot, matching socks, and shoes covered in her abstract Sharpie patterns — and one of her own silk-screened, floor length skirts with a black tank, and a vintage necklace with bold, “unusual combination of colors.” But most poignant to me is how Christian’s sense of peace in creating manifests in how cool she makes a simple breton shirt from Lands’ End, Ralph Lauren pants and an Ann Taylor belt with her splash-of-paint-on-the-oxfords look.

If you love Christian, you may also like Susi Kenna, Jessica Repetto and Shail Upadhya.

The sibling designers are determined to create pieces that will still be relevant fifteen years from now and that possess an authenticity worth being handed down to the next generation. Their shield cuff with inlaid shell looks as if it was dug up from an ancient ruin in Phoebe and Annette’s home country of Mexico. A collection that they made resembling cages is an ode to their deep familial ties, symbolizing how parents set their offspring free. Phoebe and Annette’s grandmother was an artist who assisted Diego Rivera, was close to Rivera’s wife, Frida Kahlo, and who herself designed jewelry that was sold all over the world, including Henri Bendel in it’s ’70′s heyday. “In a strange way we both feel that our mothers both had that sense of adventure and wanting something different. My mother studying abroad and Annette’s mother moving to Mexico. They had the attitude of, “‘Let’s get out of where we are and see the world,’” Phoebe remarks. Born and raised in Mexico City, their father was a painter whose innovative nature can be seen in how he built his own wooden house with huge fireplaces in the center of it that heats the entire building. Phoebe’s apartment, in this post, is filled with wooden doors and indigenous art.

Both of the Anndra Neen visionaries look like a modern version of their grandmother’s iconic bohemian friend, Frida Kahlo– Annette with her haunting thick brows, in a Mayle rust-colored tunic and Dries sage-green culottes and moss Bottega ankle boots; and Phoebe with her long, dark, hair, a flawlessly rumpled Rick Owens jacket and almost mythological-looking Chloe boots that are decorated with leaves. Like the treasures they create, a little bit Mad Max while still ancient in feel, Phoebe and Annette connect the future with the past.

If you love Phoebe & Annette, you may also like Kaelen Haworth, Reece Solomon and Ladyfag.

Christene grew up in the ’70s alongside the emergence of “sexy masculinity” for women, embodied by Jill Clayburgh in An Unmarried Woman and Meryl Streep in Kramer vs. Kramer, both of whom had a big influence on Christene. A vintage Jaeger polka dot top and Dries van Noten coat might read more “mannish classic” than the “ultimate cool” of one of her icons, Gloria Steinem (with her flair for mod), but Christene’s passion for thrifting is definitely “happening.” Independent-minded when it comes to her career choices, Christene has always favored the chance to have a voice – and is willing to fail in order to grow. She is polished, but not a victim of the retail cycle. Proud of an entire outfit she found at The Salvation Army – a Donna Karan tank dress under a sheer dashiki with one of her signature chunky necklaces and the same shoes that Robin Wright wore in a famous scene in Forrest Gump in which she nearly commits suicide – an eBay find. She lives for the excitement of the hunt and finding the unpredictable. A big believer in giving clothes away that don’t speak to her at the time despite her penchant for nostalgia, Christene’s present love for her Brian Atwood leopard-print stacked pumps reveal the part of her that is letting go and letting the more flamboyant, rock n’ roll in her emerge.

If you love Christene, you may also like Cynthia Rowley, Piera Gelardi and Dana Suchow.

Elisa’s French upbringing does not belie her love of perfume, breton stripes, and bags. She has one of Marc Jacobs’s bags from his first collection, a nautical Coach from the ’70s, and one from the legendary Roberta di Camerino. After working in Paris shoulder-to-shoulder with her mother, the designer Lolita Lempicka, Elisa came to New York seeking a change. “I wanted to see what my value was outside of my family,” she says, and crossed an ocean only to find herself in another family workplace, with Betsey Johnson. Of her two maternal mentors, she says, “They both know what they want– they have a style and they stick to it.” Just like them, Elisa finds a certain harmony in her life now that she too is a mother, and seldom strays from her distinctly understated and clean-as-ivory style in a cream ‘30s vintage dress and Marc Jacobs patent sandals.

If you love Elisa, you may also like Erin Bazos, Dalad Kambhu and Nana Taniwa.

Revisit Zarzan’s closet.

Erin’s eye is so honed when it comes to the sculptural side of style that her hair is literally the geometric version of her idol, Audrey Hepburn, a kind of edgy polish, longer in the front and shorter in the back. Her Martin Margiela shoes that she wears with a Zero + Maria Cornejo textile dress have an architectural wooden wedge and her heart beat speeds up when talking about her Yohji Yamamoto navy blazer with its half-pleated peplum. Asymmetry is a theme for Erin, in an Issey Miyake vest which she re-invents as a sophisticated callback to Annie Hall with two-toned oxfords and a fedora. I can only imagine what Erin is going to dress her baby in. Now might be a good time for Pleats Please to get into the kids’ market, so that Erin can stop worrying that her kid will be a hipster.

If you love Erin, you may also like Michela Gattermayer, Jenne Lombardo and Shien Lee.

The Never-Ending Story inspired the fantastical bracelet and necklace designed by Clare Bickford-Smith that Saga wears and which, she says, is very her. They are extraordinary pieces, and recall the unusual things that would happen to her as a kid in the forest, a place so beautiful she was sometimes visited by the Icelandic royal family. In a tribal-print ankle dress with a pleated black cape and Miu Miu peep-toes, she could be the subject of one of her most memorable shoots, capturing a traveling caravan in an ancient churchyard. The texture and light of film — as opposed to digital — is important to her as an appreciation of heightened sensuality, just as Chopin is on a rainy day, or reading a book at a cafe instead of going to a party. In pink eyeshadow, thick eyelashes and a mod, knit Jeremy Scott printed dress, Saga truly is the grown-up, modern 60’s version of her childhood fairy tale spent in a far off land called Thingvellir.

If you love Saga, you may also like Natalie Gibson, Kimme Aaberg and Elizabeth Spiridakis.

Wearing a Rick Owens for Revillon fur that is savage in its raw, bold rectangular shape, Scarlett reveals a tattoo on the center of her chest– a symbol, taken from her studies of sacred geometry, meant to be the eye of her heart shell, which brings focus to this passionate part of her body. On matters of emotions, she has never been one to be content with the surface of things. As a kid, she remembers liking the challenges of a European math test, as opposed to the American ones. They demanded discussions on theory and writing and not just checking boxes. Of her art, like a teal-and-lace sweater worn backwards, she explains, “I want to inspire other people to be themselves as much as possible, to understand what wholeness means for them. I want to be critical, but critical in a way that still wants to create peace. I think it’s interesting how politicians are always ‘fighting for peace.’” Rather than dwelling on the fear of the news, things like symbolism, archetypes, myth, and magic are what pump the blood in Scarlett’s veins, like her one-of-a-kind, Gothic/Egyptian Rick Owens leather jacket with a crazy hood that has a ‘wizard’ vibe. Scarlett gets all of the “weird things that Rick tries (and doesn’t sell)… in other words, the best things.”

A multi-media artist, Scarlett is no shrinking violet, either in red tights with Gareth Pugh futuristic white and black commanding sandals or in the subject matter she raises questions about. She paints stories, often inside of sculptural objects of her own creation, like her ostrich egg series, which on its most simple level is meant to highlight how we tend to “stick our head in the sand” and watch Friends when we are afraid. Her over-the-top decadence — seen in her handbag (made by a friend) of bloody fingers and fake French nails, her Jackie-O shades, and her love of quirky, embroidered, Irregular Choice furry boots worn with a chic black Rick Owens dress — is inspired by the cross-dressers that were her nannies, like Vaginal Davis and drag artist Glen Meadmore (who is almost seven feet tall). Never one to avoid making a statement, Scarlett says, “I was happy, when I moved back to LA, that I could wear color again. In France, especially hanging out with Rick and Michelle, you start to feel uncomfortable in color because they’re always in drab putty. You would sit next to them, and feel like the pink elephant in the room.”

If you love Scarlett, you may also like Licsi Lichiban Szatmari, Kristine Barilli and Lika Volkova.

The reappropriating of divergent vintage clothing that Jean does with ease – like the Nantucket picnic basket bag he wears around his neck over a polka dot button-down with an ebony and gold medallion necklace, couture tribal jeans, Nike sneakers and an handmade American Indian wooden pouch with feathers slung around his torso – speaks to his refusal to cop to the usual divisions between people. He is the leader of an artistic collective in his hometown called the “Jersey Klan” aka “NJ Street Klan,” that was inspired in part by a collaborative called A.L.I.E.N NYC, which stands for A Legion In Every Nation, and expresses themselves so freely with music and style that Jean vividly recalls their exciting intermingling of streetwear like ninja pants and shoes meets skater punk. The Jersey Klan is a collective that promotes artists of all kinds, from concerts to art exhibits. Jean is an artist himself who raps and writes his own music, but the coordinating of his events is driven by a passion to give a platform to others, espcially young kids who would otherwise not have a chance to be exposed to the public.

The attendance at NJ Street Klan affairs are as diverse a tapestry as Jean’s genres of dress. He laces his Air Classic Kicks with zebra laces, mixes a camouflage top with a multicolored patchwork jacket and a Davy Crockett hat, and wears a Hawaiin print shirt with DIY studded Eskimo boots. “Punks, college kids, street kids…come together for the music… if you’re white, black, Asian, whatever color you are, it’s for everybody. It’s not about where you’re from and what race you are, it’s about the music, the culture, the word, the energy, the vibe.” He is so intense about the ability to express oneself though music that he produced a project called “No Faces,” that is a freestyle mix without any visuals in an effort to promote the importance of pure music, free of the pervasive hype of celebrity and “faces” over substance. Of his music and “No Faces,” Jean says, “You don’t have to know who I am… listen to my words… it doesn’t have a color…it’s something that I love to do…we are surrounded by too many people who just want to be celebrities and not leaders.”

If you love Jean, you may also like Matt Parrotti, Erica Yarbrough and Ian Bradley.