New York Fashion Week saw a striking return to theatricality on the runway, highlighted by dramatic presentations from designers Thom Browne and Catherine Holstein of Khaite, who emphasized elaborate staging alongside their collections.
For his closing show, Thom Browne transformed the runway into a botanical fantasy reminiscent of the Pixar film “A Bug’s Life.” The set featured towering grass stalks and a leafy canopy, centered on a glowing cocoon into which model Kai Schreiber—daughter of Naomi Watts and Liev Schreiber—retreated after opening the show amidst a swarm of monochrome, tulle-clad moths. This immersive tableau set the tone for the presentation of 60 looks that reimagined classic striped and collegiate-inspired suiting through themes drawn from entomology and botany.
The collection incorporated intricate details including prismatic butterfly wings affixed to car coats, bumblebees perched on plaid rugby jackets, and dragonflies climbing pleated skirts. Other pieces featured ladybug intarsias, and garments mimicked caterpillar articulation through segmented corsetry and body-conscious skirts. Even the footwear included whimsical accents, such as mandibles attached to garden party pumps. The show concluded with Schreiber appearing once again, now styled as a monarch butterfly accompanied by attendants similarly enveloped in vibrant colors.
Despite the elaborate motifs, Browne balanced the spectacle with more restrained silk and wool ensembles that evoked a 1920s picnic sensibility, including sleek black-and-white halter-neck tuxedo dresses. This blend of fantasy and tailoring underscored Browne’s longstanding pursuit to metamorphose the traditional suit beyond its corporate connotations.
Browne’s theatrical approach is relatively uncommon in New York, where fashion presentations often prioritize practical or politically charged designs. Historically, the city’s designers have leaned toward functional apparel, leaving more extravagant, performance-based shows to Parisian couturiers. Browne himself shifted his focus to Paris nearly a decade ago and only recently reinstated one of his women’s wear shows to New York after becoming chairman of the Council of Fashion Designers of America in 2023.
Matching Browne’s level of runway drama this season was Catherine Holstein of Khaite, who staged what may have been the longest runway at New York Fashion Week, stretching approximately 1,000 feet inside a cavernous Brooklyn Navy Yard hangar. The setting was lit solely by a series of spotlights, creating a stark, minimalist atmosphere in which models appeared and disappeared fleetingly.
Holstein’s collection featured striking contrasts, from high-waist black leather hobble skirts paired with white leather bras to Victorian-inspired lace underpinnings with mini horsehair crinolines. Elements such as sheer florals and leather bombers evoked a mood that commentators likened to a fusion of New Orleans gothic and vintage fashion influences, mixed with nods to Alexander McQueen and Yves Saint Laurent.
In just a decade, Holstein has emerged as a prominent figure in New York fashion, known for translating high-end trends into an urbane, cosmopolitan aesthetic. Her increasingly ambitious runway concepts signal broader aspirations. However, some critics note that while the scale and conceptual ambition of the staging impress, the clothing itself does not always deliver the same depth, leaving the presentations feeling more performative than fully realized artistic statements.
Together, the shows from Browne and Khaite mark a noteworthy moment in New York Fashion Week’s ongoing dialogue between practicality and theatrical artistry, highlighting a renewed interest in runway spectacle that challenges the city’s traditionally workmanlike fashion culture.