New York Fall 2025 had one headline debut, Veronica Leoni’s first collection for Calvin Klein at the brand’s first runway show in six years, while Brandon Maxwell marked a decade in the industry by trading gowns for sportswear. Elsewhere, Khaite proved again why it is the gold standard of the week, Thom Browne sent Alek Wek out under 40 metres of tweed and Carolina Herrera lined its runway with 3,000 ranunculus blooms. Here is a quick overview of every show we reviewed, with a short take and a few looks from each. The full reviews are linked under every house.
Want to compare seasons? Read our New York Spring 2026 overview and New York Fall 2026 overview, or browse every city in our Fashion Week coverage.
Calvin Klein
Calvin Klein’s first runway show in six years centred on Veronica Leoni’s debut as creative director. Her CV of The Row, Jil Sander and Phoebe Philo’s Celine suits a minimalist revival, and for the most part she delivered. The new silhouette pairs structured outerwear with fluid separates, inspired by New York’s everyday archetypes: taxi drivers in leather bombers, students in shrunken jumpers, office workers swapping suits for a red dress. Outerwear was the highlight, from double-faced wool coats and crisp trenches to an organza “fur” coat. Underwear returned as a subtle motif, with knitted henleys over silky slip dresses. It is an “everyday lux wardrobe”, but the brand must push harder to stand out from The Row and Jil Sander… Read the full Calvin Klein review
Michael Kors
Michael Kors leaned into movement, layering and a polished yet easy sensibility, all the MK classics. The collection was a love letter to the city that never tries too hard, inspired by icons like Zoë Kravitz and Sharon Stone: coats slung over shoulders, hands shoved in pockets, bias-cut skirts that seemed to float, pleated skirts over trousers. Tailoring led the daywear, with oversized blazers, crisp coats and paper-bag trousers in camel, black, grey and deep chocolate, plus pops of aubergine and dusty green. Evening was what Kors called “opulent minimalism”, with fluid sequined dresses that skimmed the body, including a standout deep-plunge tank dress. In a world obsessed with manufacturing effortlessness, Kors proves that true ease is innate… Read the full Michael Kors review
Carolina Herrera
This Carolina Herrera collection was a love letter to transformation, beauty and care. Held on the 48th floor of the Solow Building with a snowy Central Park as backdrop, the runway was lined with 3,000 cherry-red ranunculus blooms, echoing Gordon’s inspiration, the 1979 film Being There. Florals appeared in almost every form: handmade silk rosettes at the waist, rosette evening bags, brooches, and sleek black trousers with one large flower at the waistband. Oversized white shirting met lace cage skirts, and pinstriped suits came with bandeau tops. Sonia Delaunay’s Rhythm Color shaped a palette of deep reds, cobalt blues and vibrant pinks against greys and whites. Like Chance the gardener, Gordon nurtured Herrera’s heritage, and all is well… Read the full Carolina Herrera review
Khaite
Taking inspiration from David Lynch and the refined elegance of Merchant Ivory films, Holstein created a collection that was both dramatic and wearable, an intersection she has mastered. The show took place at the Park Avenue Armory on a circular golden runway, a nod to The Wizard of Oz, Lynch’s favourite film. The grandeur was balanced by practicality: slouchy dark-rinse jeans with deconstructed corsets, oversized leather jackets softened with fur trim, structured shrugs over pencil skirts. Over-the-knee boots, top-handle bags and opera gloves added polish, while plush furs, buttery leathers and distressed silks gave a sense of lived-in luxury. Khaite has long been the gold standard of New York Fashion Week, and this season proved why… Read the full Khaite review
Thom Browne
Thom Browne opened with two models quietly folding paper birds at a stark white table. Birds are a long-running Browne motif, this time inspired by a 60 Minutes segment on birdwatching, and they work as a powerful metaphor for personal expression and artistic defiance. Oversized waterproof cashmere parkas cocooned shrunken patch pocket jackets and mini wool flannel shorts, worn with thigh-high wader boots in light grey and white suede. Heritage tweeds came in herringbone, Glen plaid, houndstooth and windowpane checks, with birds in satin stitch and gold bullion embroidery perched on pockets. Alek Wek closed in a gingham bustled ballgown draped with 40 metres of tweed. In Browne’s world, freedom always takes centre stage… Read the full Thom Browne review
Brandon Maxwell
This was a powerful start to New York Fashion Week, with a fresh, forward-thinking approach. Celebrating a decade in the industry, Maxwell stepped beyond his early reputation for glamorous gowns and into refined American sportswear. Models strutted in menswear-inspired button-downs, belted trousers and double-lapel leather jackets, and the outerwear was especially striking, with maxi coats featuring voluminous attached scarves. “Now I just want to be the sweater they pick up in the morning and a really good pant,” he explained. A collaboration with knitwear specialist Ryan Roche brought chunky polo-neck sweaters and sleek intarsia knit dresses, alongside 1980s nods like power shoulders and midi leather skirts. Absent were the extravagant evening dresses that defined his early career… Read the full Brandon Maxwell review
Christian Cowan
This was pure creative expression rather than something meant for sale, and it was chaotic in the best way possible. With Sam Smith, Kesha and Cole Escola in the front row, the soundtrack jumped from classical music to TikTok snippets, matching what Cowan called a “clash of influences” tied to the Gen Z attention span. Nostalgia came from his late friend Abbie McLaughlin and the British TV show Art Attack. There were silicone dresses mimicking chewed-up gum, high heels dangling from skirts, corseted polka-dot dresses with peekaboo bras and a minidress made of clothing labels. A patent leather gown with pink plumes arranged like a peacock tail was jaw-dropping. Excessive, yes, but it reminds us fashion is about storytelling… Read the full Christian Cowan review
Christian Siriano
Christian Siriano knows how to put on a show! A stark industrial space in Chelsea became a red fantasy, with lush red flowers, bold red chairs and a Toyota Crown parked in the centre. This season he took a more structured approach while keeping his love of glamour. Bold black and red openers suggested power, a corseted, latex-like gown with a laced-up back was the standout, and a blue cocooned mini dress hid one arm. Then the fantasy returned with shimmering sequins, voluminous tulle and daring silhouettes. Menswear got a stronger, gender-fluid push through cropped tuxedos and ab-baring suits. Hate to say it, but his blend of spectacle and wearability keeps him relevant… Read the full Christian Siriano review
Christopher John Rogers
This time, Rogers took a more introspective approach. Working with Italian factories on tailoring, the collection felt more refined yet kept his signature exuberance, and he called it his most personal yet. The title, ‘Exhale’, stood for a release of societal pressures, with inspiration from artists Ángela de la Cruz and Hélio Oiticica. The clothes walked us through the rainbow, from reds and oranges into greens and yellows, proving CJR is one of fashion’s finest colourists. Fuzzy mohair duster coats came in acid yellow-green, olive trousers met oversized chartreuse shirts, and a black corset gown carried rainbow stitching. Daywear took centre stage, and the final look, a monochromatic brown wool coat with matching trousers, showed he can pare things back… Read the full Christopher John Rogers review
Collina Strada
The first model, a take on Little Red Riding Hood, wore a corduroy balloon jacket dress in a floral print resembling camo. Many models wore hoods or oversized bee-eye sunglasses, walking with exaggerated femininity and ending with taunting curtsies, a theatrical nod to embracing vulnerability while projecting power. It was a striking contrast to the first show I remember, where girlies happily walked around a garden. Taymour’s sustainable materials stood out: deadstock knits turned into chunky sweaters, upcycled wool overcoats with hand-cut ribbons, and gowns crafted from heirloom wedding dresses. The show ended with models walking hand-in-hand and exchanging a kiss that drew cheers. Her message was clear: joy and self-expression are acts of defiance in an uncertain world… Read the full Collina Strada review
Commission
The clothes were edgy, corporate and undeniably cool. Known for abstracting the corporate dress code, Commission added new layers of intrigue with realistic styling that feels wearable and raw. Think classic office pieces, but transformed: dress shirts scrunched like bandeaus, sweaters draped loosely, and slacks made club-ready with grommeted leather belts. This season, Cao and Kay were inspired by Jacques Tati’s Playtime, mixing the film’s monochromatic corporate grid with techno-scene rebellion. They captured that in-between space of post-office drinks, pre-club uncertainty and the limbo of Friday outfits, a romantic take that fits their transatlantic leap from New York to Paris. The photography evoked a dim, dead, post-9 pm at the office vibe. I’m here for it… Read the full Commission review
Kim Shui
Inspired by Monica Bonvicini’s leather belt art, Shui transformed pleather into laser-cut fringes and draped elements that flowed beautifully down the runway. Her signature blend of Chinese and Western influences was ever-present, with Qi Pao collars, faux-fur cowboy hats and frog button details symbolising prosperity, while serpentine motifs nodded to the Chinese zodiac and renewal. Sensuality and restraint came through loud and clear, and the pieces had a more structured, reliable fit than in past seasons. Accessories stole the spotlight, with bra-inspired bags, bolo ties and the cheeky “butt bag”. Deep greens, rich reds, browns and blacks with pops of white kept it dramatic yet cohesive, from oversized fur coats to structured snake-print trousers… Read the full Kim Shui review
Prabal Gurung
For a designer who has long mastered the balance between East and West, feminine and masculine, refined and rebellious, this season felt like an experiment that didn’t fully come together. Gurung was inspired by the liminal space between a night out and the morning after: oversized men’s shirting worn undone, elongated leather trousers, cocoon-like coats, vibrant cardigans and Mongolian shearling. The menswear elements didn’t always feel cohesive with his ultra-feminine pieces, and some tuxedo-inspired minidresses, metallic plissé dresses and bubble skirts felt gaudy rather than glamorous. The best moments came in outerwear, from a sharply structured blazer to a kimono-style coat and a double-faced cashmere topper. They were the collection’s saving grace, fashion as armour… Read the full Prabal Gurung review
Pictures courtesy of Vogue Runway
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