New York’s Spring 2026 season was shaped by fresh starts and milestones: Rachel Scott’s first outing at Proenza Schouler, Nicholas Aburn’s debut at Area, Veronica Leoni’s second Calvin Klein collection, Off-White’s return to the city and Brandon Maxwell’s ten-year anniversary. Ralph Lauren looked his most relevant nearly sixty years in, Diotima gave the week one of its finest moments and LaQuan Smith closed it out with high drama. 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 Fall 2026 overview and New York Fall 2025 overview, or browse every city in our Fashion Week coverage.
Ralph Lauren
Ralph Lauren has a way of reminding us what American fashion can feel like at its best: classic, confident and quietly bold. Spring 2026 stripped the palette back to black, white and flashes of red, crisp and graphic after last fall’s moody, romantic drama. There was ease in the structure: tailored trousers softened with sarong-style wraps, bandeaus under sharp jackets, wide brim straw hats, low-backed slip dresses and gowns that sparkled without trying too hard. Denim overalls in patchwork, boyfriend shirts stretched into tunics, leather bustiers and feather light gowns kept the Ralph polish while feeling fresh. Minimalism here meant precise, sensual and full of attitude. Nearly sixty years in, this felt like Ralph at his most relevant… Read the full Ralph Lauren review
Calvin Klein
Veronica Leoni’s second Calvin Klein collection was interesting, even if a little predictable, and maybe predictable is what the moment needed. Shown at the Brant Foundation in the East Village, it chased strong simplicity without sliding into flat minimalism, with textures that felt tactile and hard to resist. Backless apron dresses, sweeping trench coats and pencil skirt suits with lingerie showing beneath sat in a calming palette of greys, whites and blues, with a caramel fringe dress and a glossy pink suit as the jolt. Sporty logo waistbands, pom-poms on suiting and luxe leather pieces did not all land, but the nods to Carolyn Bessette-Kennedy slips and Phoebe Philo-era Céline were enjoyable. A thoughtful continuation: more refinement than reinvention… Read the full Calvin Klein review
Michael Kors
Michael Kors delivered a collection that was real, desirable and, above all, wearable: chic essentials with enough glamour to be hard to resist, which is Kors at his strongest. Shown at Manhattan’s Terminal Warehouse, it drew on travels from Morocco to California and leaned into escapism and ease. Jackets draped like cardigans, sheer overlays floated over wide trousers and breezy silk sets came in soft sunset tones, while even the eveningwear, usually his boldest category, felt more relaxed. The polish stayed in sleek tailoring, statement fringe and metallic accents. Kors called it laid-back elegance, and that fits. It does not reinvent fashion, it refines pieces that travel well. One of his most grounded yet glamorous collections… Read the full Michael Kors review
Coach
Coach’s Spring 2026 collection felt like a grown-up reset. Stuart Vevers has always balanced grit with polish, but this season he leaned into clean finishes and stripped-back forms that read like uniforms for today’s adults, while keeping the playful spirit that keeps Coach relevant. Against a cinematic New York morning backdrop came crisp whites, soft creams, sun-faded pastels and warm leathers, with tailored jackets and cropped blousons over wide trousers and floor-grazing skirts. Weathered leathers, distressed denim and scuffed boots spoke to the Americana roots, and the new Kisslock Barrel Bag, mini duffels and coin purses worn as necklaces looked like future staples. Mature without losing edge, polished without being stiff: it is Coach at its cleanest… Read the full Coach review
Proenza Schouler
Rachel Scott’s first outing at Proenza Schouler was billed as a studio-team collaboration, but her touch was clearly visible. It played as a thoughtful prologue, honouring the brand’s DNA while slowly adding her own voice. Deconstruction ran through it: blazers turned inside out with seams and shoulder pads exposed, jacquards flipped to show their hidden threads, and cotton laser cut into floral echoes rather than printed. Draped dresses in black and seaglass green carried blurred chrysanthemum motifs, while frayed edges and soft creases gave a lived-in intimacy. Chunky knit dresses and playful accessories nodded to her Diotima roots. Never shouting, always intriguing. Scott called it a “soft undoing”, and it reads as the quiet start of a new chapter… Read the full Proenza Schouler review
Khaite
Catherine Holstein’s Spring 2026 Khaite collection struck a balance between sharp experimentation and wearable elegance, even if at moments it felt uneven. It opened with a leather blazer spliced at the sides over dark denim, then explored contrasts: sleek tailoring against naïve embroideries, cocktail dresses offset by raw denim, and supersized polka dots. Cut-up blazers and stuffed-tulle bodices leaned into imperfection, and although it did not always land, with some details bordering on overworked, the effort gave it energy. Cuffed jeans, sculptural bags and boat shoe heels (yes, heels) kept it grounded. Not as cohesive as some past seasons, with an underwhelming moment here and a showstopper there, but proof of why Khaite remains one of today’s most relevant voices… Read the full Khaite review
Altuzarra
Joseph Altuzarra’s Spring 2026 clothes felt modern and timeless. They looked understated and minimal at first, but closer up the details emerged: florals appliquéd in three dimensions rather than printed, and a stole that turned out to be a surreal illustration of bird wings. It was a collection about tricking the eye. Altuzarra cited AI and today’s hyper-reality, yet he explored the uncanny through craftsmanship rather than technology, in feathery fringing, shearling that resembled mink and light chiffon. Balloon trousers, trending elsewhere, felt distinctly his thanks to soft tailoring. Clean from afar and intricate up close, with no overcomplication, just thoughtful design. Beautiful, wearable and made with rare care, pieces you would want to touch, study and wear… Read the full Altuzarra review
Off-White
IB Kamara brought Off-White back to New York with a loud, colourful ode to the city. On New Design High School’s rooftop basketball court, among graffiti murals for each borough, it blurred fashion show, art exhibition and block party, with Mary J. Blige and Busta Rhymes watching. Titled Pop Romance and Fountain of Youth in different notes, it leaned into sport, streetwear and the Black cultural references Virgil Abloh once spotlighted. The result was bold and maximalist: colour-blocked body-con leggings, sheer button-downs with shoulder pads, crystal-studded denim and varsity jackets airbrushed with skyscrapers. At times it felt slightly overdone and risked excess, but the core captured what Off-White has always been about: community, culture and creativity rooted in the streets… Read the full Off-White review
Anna Sui
Anna Sui’s “Desert Blooms” was a playful, free-spirited collection full of heart. Her cutesy charm came through in soft prints and layered textures, with a youthful spirit toned down and easy to wear. The inspiration was the bohemian Mabel Dodge Luhan House in Taos, New Mexico, where D.H. Lawrence, Georgia O’Keeffe and later Dennis Hopper once gathered. Lace-edged slips in pastels, pyjama-like layers and cardigans thrown over babydolls mixed with small doses of plaid, eyelet and stripe, more insouciant than sexy, in a relaxed boho-boudoir mood. The Hotel Chelsea setting heightened the nostalgia, echoing her recent book on the nineties. Her growing young fanbase gets something fresh that stays true to her signature. It is about being free at heart… Read the full Anna Sui review
Area
Area’s Spring 2026 show was a reset and a reintroduction, with Nicholas Aburn, a Balenciaga couture alum, making his debut as creative director. He kept the Area spirit alive, and for once the clothes felt wearable and grounded, not built only for editorial spectacle. Framed around the anticipation of getting ready, it opened with a sweatsuit spliced with crystal lariat necklaces. Denim returned as layered jorts, satin-lined slashed wide-leg jeans and a bow-skirt made from pant legs, alongside sequined basketball-jersey dresses and satin hoodies with silk skirts. The finale, drenched in tinsel, oversized paillettes and ropes of crystal, felt less like a one-night-only fantasy than a vision of the brand’s future. A promising debut with plenty of room to grow… Read the full Area review
Brandon Maxwell
As a self-professed Brandon Maxwell sceptic, I have to admit I was pleasantly surprised. Spring 2026 felt cohesive and desirable, almost powerful, and for once it had me fully paying attention. Marking his ten-year anniversary, Maxwell skipped nostalgia for an optimistic, playful, future-focused mood. Plaids came in vibrant blues and warm browns, fringe spilled from knit dresses, zoo animal prints added humour, and bolo ties, oversized buckles and cowhide motifs nodded to his Texan roots. Polished jackets met fluid silk dresses and a voluminous nylon tracksuit sprouting red feathers, and airy black, white and red gowns worked as easily with thong sandals as with heels. For a designer I’ve often dismissed, he may have finally found his sweet spot… Read the full Brandon Maxwell review
Christian Siriano
Christian Siriano brought Old Hollywood into Macy’s, turning Herald Square’s basement into a cream-draped salon where Coco Rocha opened in stripes, polka dots and a brimmed hat. Marlene Dietrich-inspired glamour meant tuxedo tailoring, corseted gowns and voluminous skirts. It was big, bold and, at times, a little too much. Some looks dangled between elegant and gaudy, and a tuxedo blazer with a spandex catsuit cheapened the mood. When he leaned into simplicity the results were undeniable: strapless black gowns and cream evening coats were timeless. The finale’s neon orange, teal and lilac, like Technicolor on screen, did not all land but energised. For me, the sleek suits and clean gowns were the highlights, proof that sometimes less really is more… Read the full Christian Siriano review
Collina Strada
Collina Strada might have just delivered my favourite collection by the brand: refined in direction, thoughtful in execution and clear in signatures that get sharper with every show. Hillary Taymour staged it on a Manhattan helipad at golden hour, with models in pairs, each bright look trailed by a “shadow” in all black, lace masks and all. Her point: acknowledge the darkness that follows us, but move toward light. The clothes carried that duality beautifully: ballooned denim cargos, empire-waist tops, lace bodysuits, lace-patched slip dresses and a standout cutout blue plaid coat. Joy came through in pastel lilacs and greens, crystal belts and Converse collaborations. Her silhouette and upcycling experiments came together with a clarity that shows real growth… Read the full Collina Strada review
Diotima
Diotima’s Spring 2026 show was one of New York Fashion Week’s finest moments. Even if the clothes aren’t everyone’s personal style, there was no denying their power, personality and presence. Rachel Scott channelled the spirit of Caribbean carnival, opening with layered crochet and translating figures like the Baby Doll, the sailor and Dame Lorraine into chenille-trimmed sailor collars, feather-like rayon skirts and cage bra-inspired jackets. Guava pinks, lime greens, magentas and stormy greys clashed in the best way. For Scott, carnival is not just joy but resistance, rebellion and community. It reminded me of Jonathan Anderson’s work at Loewe in how clothes became characters of their own. Poetic and playful, it cements Diotima as one of NYFW’s must-watch names… Read the full Diotima review
Grace Ling
Grace Ling’s “Future Relics” was soft but super sharp and deeply sexy, pushing her blend of cutting-edge technology and sensual, sculptural design further. Debra Shaw opened in a 3D-printed metallic petal top and fluid satin skirt, setting fragility against strength. Burnt edges met pristine tailoring, sheer fabrics met moulded metal, and sharp-shouldered blazers met gossamer tees. There were 3D-printed roses, knife-handled bags, padlock fastenings and jewellery that looked unearthed from an imagined archaeological site. Ashley Graham, Quannah Chasinghorse, Precious Lee and Ugbad Abdi brought body inclusivity to the vision, making it a wider statement on strength, beauty and identity rather than futurism for one type of woman. A tree-branch couture dress closed. Ling’s clothes are objects meant to endure… Read the full Grace Ling review
LaQuan Smith
LaQuan Smith closed out New York Fashion Week with his signature drama, sex appeal and edge. It wasn’t my favourite of his shows, but it still delivered the fire and spectacle only he can bring. Inspired by Lara Croft’s mix of danger and allure, it opened with sheer bodysuits, laced leather and floor-sweeping chiffon, against sports cars at Manhattan’s Classic Car Club. His beadwork shone, from a mock-neck column gown in wood and turquoise beads to hand-embroidered minis. Sheer tops with cigarette trousers and even pinstripes hinted at a more relatable side. It was pure LaQuan: provocative, dramatic and made for women who want to own the room. Even off his absolute peak, his shows still feel like an event… Read the full LaQuan Smith review
Prabal Gurung
Prabal Gurung has long been my New York favourite, and Spring 2026 felt like a reminder of why. Held at St. Bartholomew’s church with a live choir and a stained-glass glow, the show was both celebration and quiet reflection. Titled Angels in America, it threaded the idea of angels through the clothes. Dresses moved with ease, from ethereal trumpet-hemmed whites to jewel-toned evening gowns, in brocade, taffeta and cloqué that looked sumptuous but never heavy. Hot pinks, corals, yellows and blues made it girly but grounded. Reflecting on his Nepalese roots, Gurung honoured marginalised voices, particularly the trans and non-binary communities he sees as modern angels. Femininity here is not fragile but powerful, hopeful and full of joy… Read the full Prabal Gurung review
Ulla Johnson
Ulla Johnson’s Spring 2026 show felt like a sunset escape. Staged at the Cooper Hewitt, near her new Madison Avenue boutique, it took its cue from abstract expressionist Helen Frankenthaler and her rich colour. Weightless dresses, feather-trimmed pieces and gauzy fabrics moved with every step, while peaches, lavenders, chartreuse and raisin washed across the runway like watercolour. Ruffles, fringe and transparency embraced prettiness without apology and stayed powerful, not flimsy, like a meadow at dusk: dreamy but rooted. Some elaborate mixes of volume and peplums were less convincing, but the fluid strapless gowns, hand-crocheted knits and colour-drenched silhouettes were pure magic, and the glowing finale was a highlight of the week. This is Johnson at her most open and optimistic… Read the full Ulla Johnson review
Wiederhoeft
After a year away from the runway, Jackson Wiederhoeft returned with a classic and daring collection, though not without imperfections. Shown salon-style in his midtown atelier, it was more intimate than his past theatrics, with details to admire up close: gowns in fil coupé woven with vintage metallic threads, corsets sculpted with old-world precision and fantasy embellishments. Titled “Lost Works” and rooted in rediscovery, it leaned on corseted gowns but tried sturdier brushed wool and suiting. A slim strapless peach wool gown and a double-breasted black suit hinted at a direction beyond bridal and eveningwear. The ideas were delightful, classics pushed into bold, over-the-top territory, but some finishing felt unresolved. The grandeur was there; more refinement could have elevated it… Read the full Wiederhoeft review
Pictures courtesy of Vogue Runway
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