Things in America, you may have noticed, are a little chaotic at the moment – and New York’s SS27 fashion season was no exception. In fact, if you’ve spent any time online over the past few days, you’ve probably seen the week’s most-shared moment come across your instagram feed; no, not a new collection or runway gimmick, but when CFDA President Stephen Kolb assaulted multiple PETA protesters during COS’ runway show.
Shortly after protesters entered the show space, shouting out against the brand’s use of wool, Kolb physically restrained them – pulling one to the floor and covering her mouth. Later, Kolb penned a short apology online, noting that he should have allowed security to “handle the situation” and announcing a voluntary leave from his position.
Online, fashion critics and fans drew parallels between Kolb’s actions and the country’s political climate. “Irony is not lost that this happens in New York during a Trump administration,” wrote journalist Susie Bubble on Instagram, highlighting that it’s no surprise the country’s normalisation of violence through ICE kidnappings, police brutality, and inaction towards genocide has found its way into fashion’s front row.
It’s telling then that – just as creative communities have historically shown up together to offer hope and joy in times of political crisis – NYFW’s biggest talent seemed to eschew dark, heavier themes as the week played out. Instead, designers leaned into playful fantasies, otherworldly escapism, and rich, cultural storytelling as the blueprints for what fashion should look like today (it is still Zohran’s New York, after all).
For proof of the fun, see: Thom Browne’s A Bug’s Life-inspired show where models literally hatched out of human-sized cocoons, Coach’s big 85th anniversary runway which dressed models as brand archetypes topped with party hats, and New York legend Tory Burch’s whimsical, more-is-more take on building a wardrobe.
Below, we break down more of the best moments – from Connor Ives’ self-proclaimed “flamboyant” NYFW debut to Collina Strada’s Carly Rae Jepsen dance party, Luar’s anti-coloniser vampires, Campillo’s ode to Mexican sunsets, and Sandy Liang’s princess-packed entry into sportswear.
SANDY LIANG
Sandy Liang delving into sportswear might come as a surprise. But those who’ve been around since the brand’s early days know that the Chinese-American designer’s sporty bags and fleeces used to parade around New York’s fashion crowd long before her ultra-feminine bows and ribbon motifs. This season, however – pairing logo bum bags, football and grass-printed slip skirts, and gorp-core windbreakers with frilly tulle skirts, regency-era corsets, and “Versailles”-emblazoned trackies (and sending models to walk around a mini fairytale castle, ofc) – the offering appeared more like an ultra-wearable take on Sofia Coppola’s Marie Antoinette costuming than athletic-wear alone. “It’s sporty, but through the lens of me, who hasn’t actually played real sports my entire life,” the designer explained to WWD at a collection preview. “This is kind of like if that girl became interested in sports – just the idea of it, not actually playing it.”
CONNER IVES
Glossy, matador jumpsuits; frilly, neon georgette robes; and slinky, pale green “lady liberty” gowns – just a few big moments from Conner Ives’ highly-anticipated NYFW debut. After nearly a decade of showing in London, the designer marked his jump across the pond with a high-energy, high-drama meditation on what it means to be American. “Flamboyance!” the American designer answered in the collection’s show notes. “The flamboyance of a homecoming. The flamboyance of thinking your homecoming means something, as only an American would. The flamboyance of being flamboyant….It’s great to be home.”
However, like any good Conner Ives show – and he admitted this season that he loves to put on a good show – the collection came with a few star-studded cameos and standout pieces. See: Charli XCX’s creative director Terrence O’Connor walking in a winged tuxedo and opera pumps, Pose’s Dominique Jackson in a swinging yellow dress, and Hari Nef modelling an orange “bring back shame” graphic tee.
LUAR
“Luxury has always been about more than the object for me – it’s about what you bring to it,” explained Luar’s founder and designer Raul Lopez in an SS27 press release. This season, the designer looked to his Dominican American heritage and ideas of home for his show, Christopher Street Columbus. As the title might imply, the collection delved into the tension between New York’s Christopher Street, where Lopez grew into his queer identity, and colonizer Christopher Columbus. “I’m reversing the voyage now,” the designer – who staged the show at Flushing Meadows Corona Park – told WWD. “It’s like a new Luar world order.”
On the runway, Lopez did just that. Rewriting Columbus’ story with models circling the park’s Unisphere globe statue, he imagined his new collection being worn by 15th-century vampires that overtook the colonizer’s ship, and later, made their way to Christopher Street’s queer scene. Think sleep suiting offset with puffed-up breeches, aged lace peeking from beneath asymmetrical tailored jackets, and stretchy sheer hoods that engulfed models’ shoulders and heads completely. As with every Luar show, attention to detail and craftsmanship came balanced with some standout, theatrical accessories – from giant feather boas to furry, leather neck tie-slash-collars that looped between models’ legs, and colourful, patterned scarves that paid homage to the designer’s Caribbean roots.
CAMPILLO
For SS27, Patricio Campillo transported guests from New York’s East River heliport to distinct, joyful memories from his childhood in Mexico via a series of vibrant, sunset-coloured looks. “It’s those kinds of moments that you want to freeze, and make that moment into an object or idea that will romantically survive the creator and this container of it,” the designer told Vogue, particularly referencing a hike he went on with his mother in Chiapas, Mexico.
On the runway, soft-smiling models walked in easy-going, but well-styled looks: deep v-neck tanks scooping down below the chest and tucked into orange mini shorts, twisted-up shirting with splayed-out collars matched with dyed horsehair skirts, and tongue-in-cheek, distorted-text logo tees we’re sure to see on Adults’ Paul Baker come season three. Topping things off, shoes came tacked with rings of fringe trims, jewel-toned scarves were looped around models’ necks, and big-buckled belts by Guerrero artisan José Zamora completed almost every look.
COLLINA STRADA
It’s not a NYFW season without a taste of Collina Strada’s weird and wonderful world of fashion – and this season was nothing short of a party. While we’ve seen a few great runway-side performances over the years – from FKA twigs at Valentino SS24 to Slayyyter at Tommy Hilfiger this season – there’s not quite been a scene like Collina Strada’s SS27 show. After walking outside through New York’s Storm King Art Centre gardens, models stormed the venue’s fields, jumping and dancing together to a surprise performance from Carly Rae Jepsen.
Fittingly, the SS27 offering included punky, eccentric gowns packed with movement – sleeves draped long below the body, tops puckered and ruched across the chest, and trousers were inflated with big, ballooning pockets. As for the palette, looks came in shades of black, shimmering pastel blues, and worn-out, sun-bleached acid greens, as if the models had spent all summer touching grass.
BAD BINCH TONG TONG
“I’m not just happy with a simple runway [with] beautiful clothes going down,” Bad Binch Tongtong’s Terrence Zhou proclaimed on Instagram after his SS27 show. “I’m more interested in building a spectacle that no one has done before.” Returning to the runway after a two year hiatus, the designer collaborated with New York’s Balloon Museum to accomplish just that: a collection of over-the-top, sculptural pieces that engulfed its wearers – bouncing down the catwalk and transforming models’ bodies into a series of giant, alien-like shapes.
“This is a surreal collision of fashion, performance, and installation,” said the designer, whose references spanned anywhere from pink, sequinned Barbie cakes to Marina Abramović’s immersive SNOWY / WINDY / SPRING ON THE PLANET Z installation. With blown-up, fuzzy mini dresses, slinky turquoise pencil skirts that flared at the hem, and a spiky, feathered gown modelled by rapper Saweetie, the offering provided a much-needed dose of escapism for its New York audience.
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