New York Fashion Week just wrapped its Spring/Summer 2027 shows, and the range this season was genuinely wide, Carolina Herrera marked 45 years with nearly 30,000 tulips, Christian Siriano staged a full fairy tale in laser-cut leather and tapestry florals, and Luar drew on 500-year-old silhouettes beneath a 120-foot steel globe in Queens. We pulled the runway highlights worth actually remembering from 14 shows, brand by brand, colors, prints, and standout details included.
Photo: Ralph Lauren, Christian DeFonte
Wes Gordon marked the house’s 45th anniversary by bringing the show home to New York for the first time in years, staging it at Lincoln Center’s David H. Koch Theater with nearly 30,000 yellow tulips lining a recreated Park Avenue. The 63 looks leaned into the glamorous ’80s energy Herrera herself built the brand on, with taxicab yellow as the season’s defining color alongside bold red, soft blue, and pistachio, showing up even in windowpane tweed jackets trimmed in yellow and worn over wide-leg black jeans. A first-ever licensed collaboration with the Andy Warhol Foundation put his portrait of Carolina Herrera herself on select pieces, including an embroidered mini dress, a portrait with its own origin story: Warhol reportedly became fixated on Herrera’s jeweled Van Cleef & Arpels clutch one night at Studio 54 in 1979 and offered to paint her portrait in exchange for the bag on the spot.
Photo: Zoe Joubert (1,5), Carolina Herrera (2,3,4,6)
Staged beneath towering palm trees inside a climate-controlled Brookfield Place Mall, LaQuan Smith’s collection pushed his signature sensuality into daytime territory for the first time, mixing dark denim and poplin with python, pony hair, and animal print. Smith called it a “24 hour perspective,” pairing ruffled evening blouses with denim capris and shirtdresses cut with asymmetric hems, while sculptural, exaggerated “Grace Jones shoulders” gave several jackets real architectural weight. Sheer body-con dresses and bodysuits played directly against opaque, tougher materials like mock croc and space-age leather throughout, and custom python boots and fringed biker jackets closed out the show with real bite.
Photo: Jiraurd Key (1,3,4,5), LaQuan Smith (2,6)
Ulla Johnson’s collection leaned fully into spring itself: butter yellow, dusty rose, lavender, soft blue, camel, moss, and faded rust colored a lineup heavy on fringe, sheer lingerie-inspired pieces, and ruffled florals. The palette felt lived-in rather than pristine, and the pieces read as genuinely wearable, easy separates that could be pulled apart and folded straight into an existing wardrobe.
Photo: Ulla Johnson (1,4,5), Jennifer Livingston (2,3), Dan McMahon (6)
Ralph Lauren’s own signature codes, navy blazers, white shirts, faded denim, got a looser, more rebellious spin this season, worked through feathers, brocade, and corset-like construction. The runway opened with fine cotton jacquard tie-back corset shirts over slightly low-slung white trousers with side buttons running from midcalf to hem. From there came shrunken Old World floral jacquard jackets, a drapey gold wrap tank with overpainting and embroidery, and midriff-baring frilled tops layered beneath tailored jackets, alongside a Gilded Age-style pinstripe waistcoat with dramatic tails trailing to the floor. One especially personal touch closed the loop on his own history: an oversized tie, four inches wide, echoing the exact width of the ties that first launched his career back in 1967. Voluminous pants paired with navy and white coats, denim jackets trimmed in feathers, and floor-length draped gowns all pointed toward what the designer called “an irreverent take on romance.” The 86-year-old designer made a brief appearance at the close of the show to a standing ovation.
Photo: Ralph Lauren
Christian Siriano built his show around an obscure 18th-century French fairy tale, “The Story of the Queen of the Flowery Isles,” and staged its arc quite literally. The collection opened entirely in black, laser-cut faux leather trenches, gowns, and structured pieces. The story itself starts dark, but ends in a soft, dream-like floral world, and that’s exactly the arc the collection followed. By the second half, black disappeared in favor of hand-embroidered tapestries and florals exaggerated to Marie Antoinette proportions, with the show closing on a trio of sculpted, three-dimensional bodices paired with dramatic drop-waist circle skirts cut from vintage tapestry fabric Siriano had reproduced himself. Menswear got real space within that arc too, sharp, theatrical tailoring in laced trousers, dramatic lapel jackets worn shirtless, reptile-print vests, and cropped, formfitting cuts.
Photo: Christian Siriano
Magda Butrym’s first-ever New York runway show doubled as the launch of her first NYC flagship in SoHo, and the collection, titled Natalia, softened her usual sculptural glamour with sheer silk, lingerie details, and delicate aprons inspired by her own grandmother. The name was a nod to Polish artist Natalia LL, whose work explored female identity and autonomy, themes Butrym said resonated with her own brand’s history of growing independently, outside the major luxury conglomerates. Wallpaper florals, crochet trim, and bedroom-white lingerie-style slips ran underneath broad-shouldered leather outerwear, a tension the designer described as her own “Slavic Marilyn.”
Photo: Magda Butrym
Sandy Liang framed the collection as “sporty, but through the lens of me, who hasn’t actually played real sports,” staging it in front of a literal pastel castle. Fresh off a Cou Cou Intimates collaboration, satin and nylon bras did double duty as tops, paired with satin and sequined skirts, while sporty jackets, pullovers, and practical accessories kept the look from tipping too far into overtly girlish territory. The brand’s usual playfulness still came through in leather mules finished with little ears and bright satin bags dotted with tiny exterior pockets, alongside bunny shoes and a bum bag stuffed with compartments.
Photo: Sandy Liang
Conner Ives framed his New York debut as a tale of two cities, New York, where he grew up, and London, where he’s built his career since graduating from Central Saint Martins in 2020. For the occasion, he took over The Grill, an old-school, glamorous steakhouse once favored by the see-and-be-seen crowd. His signature silhouettes, piano-shawl fringe and Chinese embroidery, ran alongside embellished denim, skirts pieced together from old pleated silk scarves, and bright turquoise matador capri trousers. Some looks were finished with napkins repurposed as headscarves, others with a furry trim or a fluorescent stole. The season’s outerwear got shortened and trimmed in fur, including a standout Art Deco-style robe on Lila Moss worn over ribbed red capri trousers. In his own show notes, Ives summed himself up simply as “a flamboyant kid who loves to put on a good show,” and the collection delivered exactly that.
Photo: Conner Ives
Titled “Yard Sale Liberation,” the show took over two floors above Canal Street with a message about community built entirely from upcycled and secondhand materials. Underwear cut from picnic blankets, soft quilted corsets, and wire mesh butterfly shapes turned discarded objects into genuinely wearable pieces, with Bikini Kill cited as a major inspiration.
Photo: Nelson Huang (1,5), Colin Savercool (2,6), Olivea (3), Natasha Peterson (4)
Christian Cowan’s real inspiration this season was a rougher, undone take on Old Hollywood glamour, less a tribute to its polish than to how miserable the studio system actually made its icons. Vintage fabrics from the 1920s through the 1950s ran throughout. That undone lingerie-as-outerwear mood carried through the rest of the show too: sheer skirts with visible underwear, garters, and nighties worn as everyday or party dresses, balanced against more demure counterpoints like trench coats layered over slips and basques reworked as belts, plus amethyst cat-eye nails and deconstructed, ribbon-like hairstyles backstage.
Photo: Saemi (1,3,4), Christian Cowan (2,5,6)
Laura Kim and Fernando Garcia’s first Monse-only show since leaving Oscar de la Renta was staged in a glass penthouse above the former Domino Sugar Refinery, built entirely around the image of a “broken” tulip. Hand-dyed petals, ruffled hems, and feathers ran through sequin gowns, lace, and the label’s signature stripes, exposing the flower’s construction rather than simply printing it on.
Photo: First View
Tommy Hilfiger returned to the Plaza Hotel, where he lived in a penthouse with his family for a decade, for a collection he called “Plaza Prep.” Gigi Hadid opened the show in a beige blazer, striped silk shirt, bucket hat, and oversized red trousers, while Romeo Beckham closed it in a cropped tartan jacket, knit tie, and Bermuda shorts. Classic collegiate pieces got remixed through new proportions and brash, deliberately excessive layering, shrunken and oversized polos, tartan blazers, chino short-shorts, and button-downs worn seemingly backwards, all in the brand’s signature red, white, and blue alongside brighter yellow and green. Footwear leaned hard into the archive too, penny loafers, boat shoes, leather pool slides, and a revived ’90s skate sneaker, while oversized totes and patterned bucket hats rounded out the accessories, before the whole thing closed with a live performance from Slayyyter.
Photo: Tommy Hilfiger
Grace Ling’s “Oddities” collection blended witchy romance with sharp, structured suiting, a pinstripe waistcoat cut with razor-sharp cutouts and an oxblood cape-sleeve peplum blazer among the standouts. The accessories carried just as much personality: silver wilted-petal brooches, a talon cigarette holder, and a batwing fan added scorpion and fang-and-claw details to an otherwise office-ready lineup.
Photo: Grace Ling
Raúl Lopez drew on 15th- and 16th-century references for Luar this season, monumental shoulders, breeches, aged lace, and ostrich feathers reworked into something entirely modern. Among the standout pairings was a cream jacket set against a gray ribbon tie, a small, unexpectedly elegant detail in a collection otherwise built on drama and proportion.
Photo: Camila Falquez (2,3,6), Ik Aldama (1,4), Luar
