Why it’s time to stop declaring New York Fashion Week…
Season after season, the same tired claims resurface: New York Fashion Week (NYFW) is having an identity crisis—or worse, that it is “dead.” As the industry pivots toward London Fashion Week, that narrative threatens to become the only takeaway.
New York Fashion Week sits among the “Big Four” alongside London Fashion Week, Milan Fashion Week, and Paris Fashion Week. It has historically been the most commercial of the four—less theatrical than Paris, less heritage-obsessed than Milan.
The optics have not helped either. A growing number of American brands have opted for Europe. The Row, founded by Mary-Kate and Ashley Olsen, now shows in Paris. Designers like Thom Browne show in San Francisco instead of on the official NYFW calendar, while brands such as Rachel Comey and Brandon Maxwell sit out entirely.
However, to declare New York Fashion Week dead is to misunderstand its function and representation. With more than 60 runway shows this season, the platform remains robust.
Because yes, the cultural resonance of a New York runway is still measurable.
NYFW’s strength lies in its independent designers
New York has never thrived by mimicking Parisian couture theatrics or Milanese polish. Its strength lies elsewhere. The city’s identity as a cultural crossroads—often called the “Melting Pot”—shapes its fashion ecosystem. Here, fashion intersects with music, art, politics, and the rhythms of everyday life.
Crucially, NYFW remains the primary stage for independent designers. Without it, an entire creative network would lose global visibility. The week may feel less monumental than its European counterparts, but it is more porous, more experimental, and arguably more democratic.
The independent names proving that point this season include:
1. Prabal Gurung
For Nepalese American designer Prabal Gurung, NYFW is both a creative arena and a commercial anchor. His designs consistently appear on global figures—from Shakira to Tessa Thompson. Just last week, he dressed “Heated Rivalry” star Hudson Williams and “Bridgerton’s” Yerin Ha for Gold House’s Lunar New Year celebration, reinforcing his cross-industry reach.
His new collection opens with sharply tailored suits inspired by Catholic schoolboy uniforms, featuring high collars, sleek contours, and peekaboo lace cuffs. He then translates the flowing movement of saris into satin shawls while blending Catholic and Hindu references, exemplified by a quilted nun-inspired duffle coat followed by a shamanic ritual dress.
The color palette is deeper than previous seasons, exploring charcoals, sapphires, and ambers, with blush pinks, fresh mints, and whites providing moments of contrast. The garments also highlight global craftsmanship, incorporating French lace, Italian wool, Japanese textiles, Indian embroidery, and Nepali knits, all assembled in New York by immigrant hands.
His fall 2026 collection is presented as a rite of healing, seeking sanctuary amid uncertainty while uniting artistry, heritage, and resilience.
2. PatBo
Founded by Patricia Bonaldi, the São Paulo-based label PatBo continues to showcase in New York, using NYFW to amplify its international presence even as Brazil remains its largest market. With a footprint in major US retailers, the brand positions itself squarely within the American ready-to-wear scene.
For Fall 2026, Bonaldi drew on Brazil’s ’70s boho movement, translating the era’s free-spirited energy into flowing maxi dresses, tops with ruffled hems, and skirts layered with flouncy fringe. The collection also heightened the brand’s craftsmanship through intricate hand embroidery.
3. Sergio Hudson
Celebrating his 10th anniversary at the New York Public Library, Hudson delivered a show that felt closer to couture than conventional ready-to-wear. At last year’s Met Gala, he dressed 18 attendees—the most of any designer.
This season drew on the legacy of Black vocal icons such as Leontyne Price and Aretha Franklin. Texture anchored the collection, giving depth to monochrome looks through snakeskin-embossed leather, mohair, cashmere, and silk. Beading and metallic accents added drama, while the brand’s sharp tailoring stood out—flared trousers and strong shoulders balanced by cinched bodices and below-the-knee hems that expressed sensuality.
Fashion’s most democratic stage
Perhaps the industry’s obsession with whether New York can “compete” misses the point. It was built to reflect American fashion in all its contradictions—commercial yet creative, pragmatic yet theatrical, independent yet globally ambitious.
At the official opening event at Rockefeller Center, Steven Kolb, CEO and president of the Council of Fashion Designers of America, laid out an expansive vision for the future of NTFW. Framed within New York City’s 400th anniversary, his remarks positioned fashion as connective tissue, an engine for creativity, culture, and commerce.
“Focusing solely on who is not showing overlooks the extraordinary talent that is… Fashion Week has weathered significant challenges before. Each time, the industry adapted in how collections are presented and brought to market—and it prevails,” Kolb tells the Business of Fashion in a recent article.
Measuring the health of New York Fashion Week purely by absences is analytically shallow. It overlooks emerging and independent designers and the creative experimentation still happening on the ground.
