The Best of New York Fashion Week, in Pictures

Marc Jacobs closed New York Fashion Week with a colorful parade of nostalgic optimism at the Park Avenue Armory. In a break from the traditional runway format, smiling models came out en masse at the start of the show and each of the 59 looks was completely distinct from the others. If there was a common thread it was a ’70s sensibility; velvet tailoring, flounced dresses and disco sequins read like a roll call of the decade’s greatest fashion hits. Jacobs said the collection was riposte to the “computer or the cloud or the transient archives of the internet.”

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In a classroom at the New York Law School, the Batsheva show was both visually and intellectually stimulating. Designer Batsheva Hay invited three academics in different fields — the psychoanalyst Jamieson Webster, the philosopher Chiara Bottici and the art historian Melissa Ragona — to “engage critically” with her collection as it came down the runway. There was plenty to discuss. Though Hay, a former lawyer, has become famous for her modest prairie-style dresses, this season she emphasized the waist and created more of a cinched silhouette. This look was brought into a new context when paired with an array of kitschy prints: bright zebra, sugary pink polka dots, gingham and tablecloth florals.

Matthew Adams Dolan returned to New York Fashion Week after sitting a season out — he’s been busy helping Rihanna launch her own line — and he was back with a softer take on the wide-shouldered, sculptural denim with which he made his name as a recent Parsons graduate. This time, he mixed in twisted renditions of preppy regatta blazers and rugby shirts, along with longer, more languorous silhouettes.

Laura Vassar Brock and Kristopher Brock, the couple behind Brock Collection, decided to stage their show in the decadent ballroom of the Pierre Hotel, and their collection mirrored the grandeur of the setting. It was full of big statements — sweeping ball gowns worn over high-waisted trousers, full-length skirts and giant bows — but it had plenty of realistic day wear, too, such as crisp cotton shirts and elegant blouses.

Tailoring got a modern update at Proenza Schouler as Lazaro Hernandez and Jack McCollough reconsidered the ’80s-era power suit for the 21st century. Shoulders were wide, pants were high-waisted and knotted at the ankle and dresses and blouses were elegantly draped and belted. Slim rectangular sunglasses and chunky hoop earrings only added to the retro-futuristic feel. The duo also used the show to debut a collaboration with Birkenstock: Two of the models carried the designers’ new chunky leather sandals in their hands as though they would change into them later.

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Since taking the helm at Oscar de la Renta, Laura Kim and Fernando Garcia have drawn on their love of travel to reimagine the iconic New York house. This season, they looked to the Dominican Republic, the birthplace of both de la Renta and Garcia, and made use of distinctly Caribbean color combinations, beachside raffia and tropical flora to create elegantly paneled silk caftans, embroidered moiré coats and, of course, the whimsical ball gowns the brand is known for.

This season, Mike Eckhaus and Zoe Latta sought out fashion tropes that make them uncomfortable. These included frills and sparkling embellishments, neither of which had been part of Eckhaus Latta’s cool, underground canon of references in the past. Yet the bicoastal designers managed to do it in their own way — ruffles were neat and minimal, while blue and orange sequins created bold blocks of color on otherwise simple sheath dresses. Elsewhere, latticelike knits appeared on flared pants, skirts and bandeau tops, and indigo denim came corseted with intricate boning and stitching.


The opening look at Vaquera included a T-shirt emblazoned with “In Loving Memory of New York,” and that sense of angst permeated the collection. City-slicker tailoring came in traditional suiting prints such as Prince of Wales check and pinstripe, but blazers and skirts were rendered with absurd proportions. Elsewhere there were exaggerated bows, supersize strands of pearls and gargantuan ruffles. But one of the most memorable offerings was a giant ribbon-wrapped sequined heart costume: Despite the show’s initial sentiment, it seemed to confirm that the designers still love their city, however begrudgingly.

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Tom Ford can hardly be described as an underground designer, but his latest show brought guests to the subterranean platform of the Bowery subway station. The image Ford had in mind was of Andy Warhol and Edie Sedgwick posing in a manhole, and all the uptown/downtown duality that it epitomized. That translated into a collection filled with contrasts: intensely-hued duchesse satin blazers and full skirts next to sporty jerseys. Sensuality was on Ford’s mind this season, too — a parade of metallic, skin-baring breastplates and bralettes closed the show.

Known for her guerrilla-style shows, Maryam Nassir Zadeh invited guests to a Lower East Side basketball court to see her latest collection, not far from the store she opened in the neighborhood in 2008. This season, she offered an eclectic assortment of clothes for different occasions, mainly balmy summer evenings. There were plenty of knitted dresses, patchwork skirts and cargo pants — but what really stood out were the displays of skin. Several shirts came shrunken and bikini tops were styled under tailored shirts.

Wes Gordon’s spring 2020 collection for Carolina Herrera opened with an immediate reminder of the founder’s signature aesthetic: a crisp white blouse, tucked into a floor-skimming skirt. But this time, the shirt had more volume, and was less prim and proper than those of the past. What followed was an elegantly modernized collection of the ladies-who-lunch look, updated with exaggerated proportions — ballooned shoulders here, thigh-grazing skirt lengths there — that toyed with ’80s leitmotifs such as polka dots and florals.


Kerby Jean-Raymond’s Pyer Moss show was the second in his three-part series of collections exploring the erasure of African-American culture. Titled “American, Also,” the show was held at the Kings Theater in Brooklyn, where the energy in the space was palpable, largely because of the 500 non-industry guests who were given free tickets to sit alongside editors and buyers. A live choir performance opened with a sermon by the writer Casey Gerald. The collection’s muse was Sister Rosetta Tharpe, an electric guitar-playing gospel singer, and Moss collaborated with Richard Phillips, an artist who was recently exonerated after spending 45 years in prison.

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Tommy Hilfiger’s show at the Apollo in Harlem marked the second season of the designer’s collaboration with 23-year-old actress Zendaya. The music-filled set was a ’70s-flavored New York City street party lined with classic cars and joyful jazz bands. Models came out dancing and cheering, dressed in modern updates of the hallmarks of that era. There was plenty of velvet tailoring, pussy-bow blouses, floppy hats and bug-eye sunglasses. Zendaya herself led the finale procession in a gray python suit.

A red, white and blue palette gave way to something altogether more colorful and exotic at Prabal Gurung’s show, a celebration of the label’s 10th anniversary. Sun-bleached tie-dyed prints came in an array of sorbet hues, while floral motifs weren’t just in traditional rose prints, but also in the hands of models as they carried bouquets of fresh blooms. The show’s diverse casting took a political bent when, at the end of the show, each model came out in sashes that read: “Who gets to be an American?”

Jason Wu is a staple of uptown wardrobes, so his collection was unsurprisingly elegant in its soft colors and classic shapes. However, what was unexpected was the array of rustic fabrics that filled his show, the first he has staged in New York in a year and half. Crinkled and rumpled fabrics — silk habotai and washed satine nonetheless — were treated with the same care as Wu’s beloved chiffons. The designer’s fascination with florals continued with sequins layered over painterly prints of flora — a collaboration with the French photographer Maxime Poiblanc.

Sies Marjan, the New York label by the Dutch designer Sander Lak, is known for its inventive use of color — and this season, a palette of rich jewel tones of oxblood, peacock blue and dark violet were followed by bright hues of marigold, peppermint, scarlet and cotton candy pink. Lak said he borrowed the colors from shades of nail polish and lip gloss. Texture was just as important. Leathers came in crocodilian textures — used in sweeping trench coats and abbreviated skirt suits — while draped silks formed slip dresses and cocktail blouses. “This collection is a rejection of irony, bad taste, satire, reality TV and kitsch,” said Lak. “It celebrates the beauty of having the time and freedom to create and consider your choices … the antithesis of rushing.”

Models circumnavigated manicured bushes set up around a marble floor at Tory Burch’s show at the Brooklyn Museum on Sunday morning. The collection itself was hallmarked by old-fashioned motifs of womanhood: fabric roses pinned to a gingham chiffon blouse; painterly tablecloth florals in pretty pastels; neat tweed jackets and coats for a ladylike touch. Yet what could have easily been twee was modernized by a sense of ease and practicality — Burch said her pinup for the collection was Diana, Princess of Wales. The broderie anglaise gown that Natalia Vodianova wore to open the show, for instance, was paired with suede sneakers in a distinctly Diana way. Elsewhere, wide high-waisted trousers had a purposeful stride.


Denim, perhaps the ultimate antidote to Brandon Maxwell’s signature red-carpet glamour, was the order of the day at the designer’s latest show. Jeans came in every fit and shape — from slouchy to skinny — and were styled with a distinct, all-American preppiness. They were paired with shirts and sweaters, costume jewelry and even the occasional ballgown. Maxwell also debuted men’s wear: boldly-hued suits worn over sweaters, classic camel coats with sleeves pushed up and straight-cut jeans worn over suede Chelsea boots. Irina Shayk, Bella Hadid and Candice Swanepoel closed the show in a suite of form-fitting, skin-revealing silk dresses that seemed to say “less is more.”

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Designed by the duo Piotrek Panszczyk and Beckett Fogg, Area has become known for its irreverent take on downtown glamour. The designers certainly brought that spirit to their latest show, which was full of executive-like silhouettes, transformed by generous helpings of fringe and sparkle. Oversize, diamanté-encrusted ties fastened exaggerated shirts while tailoring came with crystal embellishments, and gold chains baring the word “Area” in several languages were draped across the body. Corporate dress codes never looked so fabulous.

The Baton Rouge-born, Brooklyn-based designer Christopher John Rogers is known for his theatrical, larger-than-life designs. But this season (the designer’s third) he staged a show that demonstrated his ability to create elegant daywear, as well. There was duchesse satin tailoring, diaphanous trousers and, every now and then, a dramatic metallic and tulle cocktail number that Rogers has become known for. Exaggerated ruffles took their cue from Pierrot clowns, while the vivid color palette seemed to be straight out of Gauguin’s paintings of Tahitian life.

When Katie Holmes was photographed on a New York City street in Khaite’s matching cashmere bralette and unbuttoned cardigan last week, it became a viral sensation — and, as a result, more eyes were on designer Catherine Holstein’s spring 2020 show than ever before. The collection didn’t disappoint: There were long, eyelet peasant blouses and silk shirts — buttons undone — wide-leg trousers in denim and silk, and pleated tulle petticoats under trailing skirts. Models carried an assortment of geometric suede and leather bags — which will surely find their way to the front-row set soon.

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There’s always plenty to look at on Jeremy Scott’s runways, but this season the designer streamlined his silhouettes. That’s not to say they were minimalist or pared back. Quite the opposite: A distinct air of 1980s-flavored sci-fi kitsch permeated every figure-hugging look. Bold, artificial colors were paired together all at once, while neon zebra prints, chubby metallic leather tubing and bleached denim came together in Scott’s signature cartoonish harmony. Each look was topped off with a bright beehive wig — a nod to the space-age ’60s — and grounded by metallic boots that ran the gamut from ankle-grazing to thigh-skimming.

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Reporting by Osman Ahmed.

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