New York

Metropolitan. Fforme AW26

| Design & Culture by Ed

Fforme is yet another New York–based representative of modern-day minimalism and an advocate of all things “good taste.” Frances Howie, the brand’s current creative director, drew inspiration from “Metropolitan” – Whit Stillman’s 1990 cult classic and the cinematic shorthand for Upper East Side dressing and socialite allure.

The collection was prim and elegant, yet beneath the surface two key references emerged: Martin Margiela’s fur wigs created in collaboration with Bless in 1997, and Mary-Kate and Ashley Olsen’s cheeky tights-as-shoes moment from a year ago. (Industry lore has it that the shoes failed to arrive in time for The Row show; at Fforme, by contrast, the black “tights” are in fact ultra-slim boots with barely visible soles.)

Howie’s highly-photogenic line-up will undoubtedly please Pinterest art directors. But will the idealized, moneyed Manhattan woman – the figure so many New York designers seem intent on dressing this season – buy into it? I’d wager, and hope, that these mythical women, who model themselves on Lee Radziwill or Babe Paley, know their references.

ED’s SELECTION:


FFORME Ekani Silk Midi Dress



FFORME Jamie Wool Coat


FFORME Aline Scuba Straight-leg Pants

Collage by Edward Kanarecki.
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Unanswered Questions. Calvin Klein Collection AW26

| Design & Culture by Ed

After two entirely unmemorable and unresolved collections, Veronica Leoni’s third outing for Calvin Klein Collection is her strongest yet. That doesn’t mean it was flawless. A significant question still lingers: what is the actual purpose of this line? And why does it feel so disconnected from what Calvin Klein as a brand represents today?

It’s clear that Leoni wants to challenge both herself and the house by proposing sophisticated interpretations of minimalism. Yet the result often comes across as misguided, particularly in a city like New York, already saturated with minimalist labels. Why not take a cue from Dario Vitale’s now-legendary debut at Versace and engage directly with the most recognizable signifiers of contemporary Calvin Klein? Why not embrace full-throttle hedonism in the spirit of the Bad Bunny campaign? Maybe, in the end of the day, the hypothetical client of the brand wants to get laid. That shift would truly shake things up – for Calvin Klein Collection and for Leoni herself, a seasoned and undeniably talented designer who nonetheless appears somewhat constrained within this corporate behemoth.

Her autumn-winter 2026 collection assembles a series of compelling ideas – sack-like silhouettes, or her first foray into straightforward, muscular sex appeal expressed through sleeveless jackets that expose sculpted arms. But these moments are diluted by awkward curtain-like dresses and outerwear that feels closer to Helmut Lang than to Calvin Klein. A sharper edit might help clarify what Leoni is trying to communicate. Ultimately, however, the issue seems to lie within the institution itself: a brand that aspires to high fashion without fully committing to making it work. In that context, the designer becomes the casualty of the story.

ED’s SELECTION:


Calvin Klein Collection Anna Metallic Cracked-leather Pumps



Calvin Klein Collection Annie Stretch-knit Mock-neck Mini Dress



Calvin Klein Collection Kate Satin Slingback Flats



Calvin Klein Collection Luna Satin Skirt



Calvin Klein Collection America Duffle Medium Croc-effect Suede Tote



Calvin Klein Collection Parker Wool Blazer



Calvin Klein Collection Daisy Cotton-poplin Shirt



Calvin Klein Collection Felix Leather Brogues

Collage by Edward Kanarecki.
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Poetic Lines. Ashlyn AW26

| Design & Culture by Ed

Of all the contemporary New York designers, I truly think you should keep Ashlynn Park on your radar. She’s a designer I genuinely hope retailers choose to invest in. A Yohji Yamamoto alumna, she knows how to shape a peplum so that it feels not overly ladylike, but unmistakably modern, and she has an instinct for poetic line. Her namesake brand, Ashlyn, strikes a beautiful balance between restraint and impact – a quietness of gesture offset by punchy, deliberate details. READ MY FULL REVIEW HERE.

ED’s SELECTION:


Ashlyn Prince V-Neck Asymmetric Jacket



Ashlyn Cade Kick Flare Pants



Ashlyn Aislinn Wool Silk Coat Dress

Collage by Edward Kanarecki.
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New York Chic. Tory Burch AW26

| Design & Culture by Ed

You can always rely on Tory Burch – she never disappoints and consistently makes New York Fashion Week worthwhile. Her autumn-winter 2026 collection delves deeper into the interwar period she has been exploring of late, offering stunningly effortless drop-waist flapper dresses, elegantly contrasted with a subtle garçon-esque flamboyance in more utilitarian ensembles. Enter the meaty corduroy trousers – inspired by her father’s well-worn pair – and chunky sweaters layered over crisp shirts, collars peeking out from underneath. The strong lineup of highly wearable, unpretentious pieces was enlivened with silver fish pins and pendant necklaces. Woven raffia baskets for winter? Unexpected – and undeniably cool. This is a collection for the Leandra Medines of the world: women who dress eccentrically and instinctively, with wit, intelligence, and attitude.

ED’s SELECTION:


Tory Burch Pierced Pumps



Tory Burch Colorblock Wool Skirt

Collage by Edward Kanarecki.
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Underwhelming. Proenza Schouler AW26

| Design & Culture by Ed

Proenza Schouler officially opened New York Fashion Week with Rachel Scott’s official debut (following last season’s “dialogue” with the studio). On the positive side, the Proenza woman no longer resembles a hybrid of Philo’s Céline, the Meiers’ Jil Sander, and Lee’s Bottega Veneta, as she often did in the later years of Lazaro Hernandez and Jack McCollough. The downside? The collection left you feeling somewhat underwhelmed. It was proper and prim – there was nothing wrong with the gray sleeveless dress featuring a sculptural roundness in the skirt, nor the neat midi-length skirt suits that followed – but it makes you wonder: will this be remembered a week from now?

This is a brand that needs to exit the stale “quiet luxury” jargon and reclaim a spark of excitement (which was actually present last season). Rachel Scott is the designer behind Diotima, a brand admired for its exquisite crochet and knitwear; I wish she were more confident about infusing that special, upbeat energy she transmits so well there. Debuts are never easy, and they don’t always land exactly as the designer intended. Scott certainly has a thing or two to reflect on.

Collage by Edward Kanarecki.
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