New York Fashion Week A/W 2026: all of our highlights

Models backstage at Tory Burch A/W 2026 runway show at New York Fashion Week A/W 2026 — Backstage at Tory Burch’s A/W 2026 runway show, which was held in New York yesterday (11 February 2025) (Image credit: Ava Van Osdol)

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Tory Burch
Coach
Proenza Schouler

And so begins another edition of New York Fashion Week – and with it, the start of fashion month, which will make subsequent layovers in London, Milan and Paris over the coming week (we broke down all the standout moments to look out for here). Editors will brace the city’s winter chill for a reshuffled schedule, with a handful of the city’s defining names – including Coach, Michael Kors, Tory Burch and Proenza Schouler – showing across the first two days.

The latter, which opened proceedings yesterday, marked perhaps the week’s most anticipated moment: the debut of Diotima designer Rachel Scott as creative director of the New York-based label. She showed an astute collection which played off founders Jack McCollough and Lazaro Hernandez’s signature style – an intellectual, art-inflected wardrobe for the polished urbanite – while embracing imperfection. ‘It was really important for me to respect the legacy of Proenza Schouler, and that’s this really strong love of the New York woman,’ she said. ‘But I wanted to find a way to get closer to her, to have more complexity and texture – she can be erotic, she can be angry. Sometimes she’s not quite so perfect.’

This front-loaded approach does not mean there is not plenty to look out for over the coming week: look out for buzzy young labels LII and Ashyln, Nicholas Aburn’s sophomore show at Area, and shows from Calvin Klein, Eckhaus Latta and Khaite. We’ll be picking the best of the week in our rolling roundup, reported from New York by Wallpaper’s US Editor Anna Fixsen – stay tuned. Jack Moss

Tory Burch

‘I don't want to live in a house which was in vogue 20 years ago,’ modernist architect Marcel Breuer once said. He would have found a kindred spirit in Tory Burch, who not only staged her A/W 2026 collection in Breuer’s famed Madison Avenue building (recently transformed into Sotheby’s global headquarters) but also returned to evergreen silhouettes for inspiration. ‘Classics shaped by history and utility, made personal through our own stories and experiences – [that’s] where true style originates,’ the designer said in her show notes.

Throughout, Burch investigated what makes classic garments stand the test of time – corduroy trousers, trench coats, sweaters – while giving them a fresh twist. Ensembles that would otherwise be relegated to prep, like a pencil skirt topped with a crewneck knit, got smart upgrades with materials like patent leather and a vibrant colour palette, which included tomato, chartreuse and saffron. Cardigans received a Midas touch with metallic embroidery, stitched by Indian artisans. A handful of easy yet elegant silk dresses had dropped waists and were apparently tossed in the wash for a perfectly worn-in finish.

Burch also proved that classics could be fun: as a set of models clad in breezy ‘80s-inflected dresses glided past, the driving rhythm of Dolly Parton’s 9 to 5 filled the room, causing A-List guests (including Pamela Anderson, Amanda Seyfried and Tessa Thompson) to bop along in their seats. Anna Fixsen

Coach

Attendees of Coach’s A/W 2026 show found a hint of what was to come in the setting: the Cunard Building in lower Manhattan, once the headquarters of the luxury British steamship company. Indeed, guests, clustered beneath the 65-foot frescoed ceiling, were in for something of a voyage – a journey through youth fashion history.

Set to LCD Soundsystem’s starry American Dream, models showcased looks that spanned decades and, in some cases, centuries. Some ensembles drew from vintage sportswear, as with unisex long-sleeve shirts inspired by 70s-era football jerseys. Womenswear reached further back, to the Victorian era, with flowy shift dresses and blouses with high pie-crust collars and pussy bows. And viewers of a certain age certainly took note of the voluminous denim shorts, skinny ties, messenger bags and low-slung belts – combinations that felt plucked from the crowd of Warped Tour circa 2002. Of course, Coach especially excelled in the accessories department, which included silver pins in the shape of moons and stars, as well as distressed suede sneakers that featured the brand’s signature brass clasps in lieu of laces.

In the show notes, creative director Stuart Vevers said he wanted to appeal to Coach’s next generation of customers. ‘We embrace the continuous reinvention of what it means to be young and forward-looking, resourceful and creative,’ said the British designer. Anna Fixsen

Proenza Schouler

The official start of New York Fashion Week kicked off Wednesday with, appropriately, a highly anticipated debut: Rachel Scott’s inaugural collection for Proenza Schouler. Scott took the helm last fall after the brand’s founders, Jack McCollough and Lazaro Hernandez, decamped for Loewe, one of many switch-ups amid fashion’s great reset. While McCollough and Hernandez grew the brand from a humble Parsons thesis project into one of the most reliable names in American womenswear, Scott promised to introduce audiences to a ‘new Proenza Schouler woman.’ Her A/W 2026 show certainly provided a warm introduction.

From the upper floor of an office building at the base of the Williamsburg Bridge, models strode across a tonal blue carpet to a percussive soundtrack. Proenza Schouler signatures were close at hand – grommets, clever button closures, a certain uptown polish – but those hallmarks became looser, a bit more undone, in Scott’s handling. There were demure suit jackets with wide lapels and cropped, trumpet-shaped hems; fluid, legs-for-days trousers; and dark, drapey gowns covered in an abstract orchid pattern. There were also craft-centric details that will feel familiar to fans of Scott’s own award-winning line, Diotima, notably the fringe that sprouted from the edges of sleeves, hems, and heels.

It’s all, according to the designer, in service to a woman with people to meet and places to be (a feeling heightened by makeup that included an asymmetric red lip conceived by Thomas De Kluyver). ‘It was really important for me to respect the legacy of Proenza Schouler, and that’s this really strong love of the New York woman,’ Scott said. ‘But I wanted to find a way to get closer to her, to have more complexity and texture – she can be erotic, she can be angry. Sometimes she’s not quite so perfect.’ Anna Fixsen

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Anna Fixsen is a Brooklyn-based editor and journalist with 13 years of experience reporting on architecture, design, and the way we live. Before joining the Wallpaper* team as the US Editor, she was the Deputy Digital Editor of ELLE DECOR, where she oversaw all aspects of the magazine’s digital footprint.

With contributions from

Jack MossFashion & Beauty Features Director