At New York Fashion Week, the lineup is noticeably leaner.
Running from February 6-11, the CFDA’s calendar features 54 shows — fewer than in previous seasons — raising the question of whether NYFW is slipping further from its once-unshakable position as the cornerstone of American fashion. While the week is still drawing big names, the shrinking number of designers choosing to show in New York underscores an ongoing shift in the industry’s priorities.
“I’m not surprised the schedule is shrinking,” said Tibi’s Amy Smilovic, who has focused on doing one show a year, in September, rather than participating in NYFW twice a year. “Why would it be expanding? The industry is stuck in outdated ways of doing things, and that’s held back a lot of designers.”
That’s not to say there aren’t headline moments. Calvin Klein is the big story of the week, marking its return after more than six years away. Under the new creative direction of Veronica Leoni, the brand is looking to recapture its streamlined, effortless cool. With experience at The Row and Phoebe Philo’s Céline, Leoni could be the one to reestablish Calvin Klein’s relevance. The February 7 debut is one of the most anticipated moments of the season.
After four seasons, Christopher John Rogers is also returning to the NYFW stage, headlining the first night. Known for his bold color palettes and dramatic silhouettes, Rogers has been one of the few designers who can command attention without needing the runway. In a recent podcast with Vogue, he discussed his decision to return, stating, “I felt it was the right time to reconnect with the New York audience.” His decision to return is a vote of confidence in New York, though whether he’ll stick around remains to be seen.
Joseph Altuzarra is stepping back into the mix after taking a break last season for paternity leave. His February 8 show will be a test of whether his brand, which has always walked the line between quiet luxury and sharp tailoring, still resonates in an increasingly crowded market. Meanwhile, Norma Kamali’s return after more than a decade is another nod to NYFW’s ability to draw in established American talent — but will that be enough to stop the bleed of designers to Paris and London?
For some, moving to Europe can be a way of declaring themselves ready for the next chapter of their brand. NYC-based Willy Chavarria, who showed at NYFW last season, chose to show during Paris Fashion Week Men’s instead, citing that he “felt ready” for the next step for his brand. Designers that have also moved their shows from New York to Paris include The Row founders Mary Kate and Ashley Olsen, who moved theirs in 2021, and Proenza Schouler, which has been showing in Paris since 2020.
On the emerging side, three designers are making their official NYFW debuts: knitwear designer Gabe Gordon on February 6, Dominican label Leblanc Studios on February 7 and conceptual designer Zoe Gustavia Anna Whalen on February 10. While they have growing followings, their presence on the calendar isn’t enough to shake off the feeling that New York is losing some of its edge. Major players like Area, Wiederhoeft and Melitta Baumeister are sitting this one out. A representative from Wierderhoeft said that awareness building has been less of a necessity for the brand after a breakout year in 2024. “Orders have really picked up within the past year, and ultimately fulfilling top-quality production has consumed all of [the designer’s] time and resources,” they said.
For some, showing in New York — or anywhere — is a means of taking control over the way the brand is presented. “Since Covid, we decided not to do traditional runway shows for the fall,” said Smilovic. “We wanted to approach things our own way, and we’ve never looked back. It wasn’t just a temporary fix — we believe the old system is broken.” On February 6, the brand showed through a backstage photoshoot off-schedule. During Covid, Tibi shifted from runway shows to creative shoots: first at SCAD’s campus, then in San Miguel, Mexico, followed by a shoot with model Kristen McMenamy and a gallery party in London, with another unique project planned for this year.
Ralph Lauren remains silent on his plans for Fall/Winter 2025. For an event that has long prided itself on anchoring American fashion, those absences are hard to ignore.
Ralph Lauren’s decision to show ahead of NYFW last season — turning the Hamptons into a stage for the designer’s Spring 2025 collection — signals a growing shift among major brands opting out of the official schedule. With designers like Thom Browne also reshaping their show timelines between Paris Couture Week and New York Fashion Week, NYFW faces increasing pressure to prove its relevance. As big names carve out their own moments, the event’s ability to continue anchoring the global fashion calendar remains uncertain.
The schedule itself is also causing some logistical headaches. Unlike previous years, NYFW now sits in an awkward spot on the global fashion calendar, with a nine-day gap before London Fashion Week begins on February 20. The CFDA decided to keep the schedule as is, citing a conflict with Presidents’ Day, but the move has left some wondering whether the timing will hurt international attendance. While some see the break as a welcome pause, others worry it will disrupt the rhythm of the season, further diminishing NYFW’s influence.
That said, there are still moments worth watching. Marc Jacobs opened the week on February 3 with a show at the theatrical setting of the New York Public Library, focusing on doll-like silhouettes and bubble skirts. Thom Browne, in his role as CFDA chairman, will close out the week on February 11.
So what does this all mean for American fashion? If this season is any indication, New York Fashion Week is at a crossroads. There’s still star power, but with fewer designers showing and a schedule that no longer seamlessly flows into the next major event, the cracks in NYFW’s foundation are becoming harder to ignore. If New York wants to maintain its status as a global fashion capital, it may need more than a handful of big returns — it needs a resurgence of fresh talent and a calendar that works with, not against, the global industry.
