New York Fashion Week reasserts American identity with focus on local talent and manufacturing

In recent years, New York Fashion Week has found itself at the centre of growing discussion. Much like other major global fashion weeks, namely London, it has faced ongoing scrutiny regarding commercial viability, brand longevity, and overall industry influence, especially as prominent domestic designers began seeking higher-profile platforms abroad. This season, however, marked a clear turning point. Driven by a surge of high-profile debuts, revivals and returns, NYFW delivered a dynamic schedule. At the same time, new legislative efforts injected momentum into domestic manufacturing, while landmark brand anniversaries showcased the enduring legacy of the city’s leading labels, all accompanied by a touch of runway drama.

Henry Zankov’s DVF debut, Conner Ives’ homecoming and influencer-fronted debates

It was debuts specifically that sparked a buzz. At Diane von Furstenberg (DVF), Henry Zankov made his long-awaited debut as the house’s first artistic director, finally unveiling his vision for the distinctly New York brand. The collection paid homage to the namesake founder’s signature hallmark wrap dress, which served as a blueprint and appeared across the board in updated silhouettes and colourful adaptations. Zankov told media that his mission was not to form the collection around trends, instead favouring the development of a solid visual identity to make DVF instantly recognisable.

Another that sought to strengthen their position in the market was that of Polish designer Madga Butrym, who made her NYFW debut with a collection titled ‘Natalia’. The show coincided with the opening of the brand’s first US flagship, marking a specific departure from the brand’s sole focus on wholesale setup and appointment-only showrooms in the region, taking Butrym into the next stages of market expansion. The collection extended on the designer’s existing principle of catering to an individualistic woman, merging nostalgia and power dressing elements in looks spanning nighties to strong-shouldered blazers.

The US was at the centre of Conner Ives’ homecoming show in more than just singular efforts of targeting the market. The New York-born designer had, up until now, retained a spot on the London Fashion Week schedule since the brand’s runway debut in 2022. For his SS27 collection, however, Ives made his presence in New York known with an Americana-themed presentation at the Edison Ballroom. The collection, aptly titled ‘Across the Pond’, continued Ives fervour for upcycling and repurposed materials, which were utilised to convey a sense of flamboyance evidenced in embellished denim, floral patterns and cowboy-like details.

Another debut that captured the industry’s attention, albeit in a positive way is up for debate, was that of Vivet. The streetwear was founded by Kai Cenat, a streamer who built a career and audience on Twitch, from which he is said to have taken a break for nine months in order to prepare for the label’s launch. According to Dazed, Cenat had spent time in Italy during this time, studying manufacturing, pattern-making and leather construction. The resulting collection drew comparisons to Kanye West’s Yeezy, Demna’s Balenciaga and even Virgil Abloh’s Off-White, with huge fur coats, motorcycle-inspired getups and retro-like sportswear appearing as early hallmarks.

A push for localisation push extends further into the Big Apple

The question of whether New York can provide any sort of longevity, however, was challenged this season by the slew of major anniversaries that called for celebratory presentations this year. Several American mainstays hailed historic milestones, led by Coach celebrating 85 years, Caroline Herrera hitting 45 years, Tibi turning 30 and Rachel Comey and Libertine celebrating their 25th anniversaries. These industry leaders offer a more positive perspective of New York for the emerging names on the schedule, particularly amid a period in which the city is attempting to tackle homegrown manufacturing challenges.

In fact, discussions over localisation remained a common theme over the course of the week, particularly in the context of broader measures underway in the US to motivate the ‘Made in America’ tag. In New York specifically, efforts have largely centred around the city’s Garment District, where newly established funds, such as the CFDA and NYC Economic Development Corporation’s Local Production Fund, which launched earlier this year, intend to drive growth in domestic production orders.

During NYFW, further legislative measures were also introduced, or rather reintroduced. Congressman Jerry Nadler and US senator Kirsten Gillibrand revealed plans to reinstate the Fashioning Accountability and Building Real Institutional Change (FABRIC) Act, which had previously faced delays in implementation due to corporate lobbying, time constraints and complex debates over regulatory burden. Under Nadler and Gillibrand’s rehashed version of the bill, the focus lies specifically on restructuring pay rates for 75,000 garment workers in the city. The addition of new liability and recordkeeping measures would also sit alongside incentives for reshoring to be channeled through a domestic garment manufacturing grant programme, working towards the goal of revitalising the industry.

Speaking on the renewed act, which would amend the Fair Labour Standards Act, Gillibrand said: “Garment workers are the backbone of a multibillion-dollar industry, yet for far too long, their labour has been undervalued and exploited,” Gillibrand said. “We cannot champion American innovation while turning a blind eye to abusive labour practices in our own backyard. It’s time to take bold action at the federal level to change the fabric of the American garment industry. The US was once home to a booming apparel manufacturing industry, and it’s time to reexamine how this industry has evolved over the past 50 years and change how we treat our workers. With the FABRIC Act, we can curb wage theft, protect our workers, and revitalise domestic manufacturing so that 'Made in America' also means ethically made.”

Runway drama distracts from the prevalence of established names

Debates over production methods also made their way onto the runways. Despite this season of NYFW being the first to ban fur, PETA continued to target the event, this time addressing the use of wool in collections. Associates of the animal rights organisation staged a protest during Cos’ show, holding signs that criticised the H&M-owned brand’s use of the material. Their actions prompted CFDA chief executive officer Steven Kolb to step up and physically restrain two individuals, bringing one to the floor in a headlock and pushing another up against a window, resulting in widespread calls for Kolb’s resignation across social media.

Following the incidents, both of which were captured on video that were widely shared online, Kolb initially issued a statement saying he had reacted inappropriately and later posted a fuller apology via Instagram announcing his intention to take voluntary leave. Despite confirming plans to meet with PETA representatives to discuss concerns, the organisation said the two individuals involved planned to press charges and take legal action.

Kolb’s actions have sparked discussions over not only if someone who reacts in such a way should hold responsibility over such a prominent industry body, but why wool was being rallied against in the first place. PETA said it was amping up efforts to raise awareness for alleged sheep abuse in the wool industry, specifically targeting Cos for its use of material from a Native-certified farm in South Africa. The animal welfare organisation has already released 17 exposés of over 150 wool industry operations across seven countries, “showing why such labels serve only to mislead customers”, it had said.

A distinctly American fashion identity

The incident was somewhat of a distraction from the presence of established names that cast a further spotlight on the longevity of New York’s industry. Calvin Klein, Michael Kors, Tory Burch, Christian Siriano, Ralph Lauren and Jonathan Simkhai opposed what many have been doubtful over: how durable the city’s fashion scene is. The return of official schedule mainstays only emphasised this, pointing to a renewed sense of strength and fortitude in New York.

Tommy Hilfiger’s ‘Plaza Prep’ saw the designer reinstate his position on the official schedule after prior seasons elsewhere. The show, held at his former place of residence The Plaza Hotel, doubled down on the American prep staples his namesake label is known for. Gigi Hadid opened the show in baggy chino trousers and an oversized blazer, making way for a string of equally preppy looks as the show went on. Elsewhere, a repreinterpretation of preppy classics was championed by CFDA chair Thom Browne, who returned to New York with a series of fitted skirts, corsets and ballooning dresses.

Taken together, the season suggested that NYFW is reconnecting with one of its defining strengths: a distinctly American fashion identity. From Conner Ives’ Americana-inspired homecoming and Tommy Hilfiger’s return with American prep, to the anniversaries of established domestic labels and renewed efforts to rebuild local manufacturing, the emphasis increasingly appeared to be on what New York can create at home.

That does not necessarily resolve the wider questions around the commercial viability or global influence of the event, but it does point to a shift in focus. Instead of positioning itself as a competitor on the global fashion calendar, NYFW is drawing greater attention to its own designers, heritage and manufacturing infrastructure. With further policy support for domestic production and a new generation of designers engaging with American identity in different ways, the week appears to be returning to localisation, and, with it, a renewed sense of Americanism.