Proenza Schouler was known as the New York City “it-girl” brand in the late 2000s and early 2010s, but what happens when the “clean girl” becomes the new “it-girl”? In the early 2020s, Proenza transitioned from the chic NYC vibe to a cleaner, more refined look, a natural progression with the changes happening worldwide. But when founders Jack McCollough and Lázaro Hernandez stepped down, naming Rachel Scott the new fashion director, I thought the novelty would be re-established. This Fall-Winter 2026 collection was her first solo project for the brand from beginning to end, and the transition between the two creative directions, in a sense, was too seamless. I wanted excitement, and instead got what we have been getting for six years. The collection was beautifully crafted, but I expected something different, something more.
The collection, as stated by Scott in Vogue, was inspired by the idea of the perfect woman who, on this particular day, happens to be running late. Tailored coats and knitted sweaters decorated the runway. This concept of “perfect imperfection” was represented through uneven lapels, lopsided buttons, and exposed darts. Did I notice any of this while watching the collection for the first time? Not really. This main concept could have been pushed further throughout the entirety of the collection. Even though Scott wanted to convey imperfection, she did so in such a subtle way that it looked, at first glance, polished and prim. Something I did, however, find interesting was her way of incorporating eroticism into this persona. She did so for lack of a better expression, in a very proper manner, through small flashes of skin and slits.
Models slowly made their way down the runway, and I immediately noticed the coats and outerwear. The peplum turtle neck jackets with the huge buttons became my favorite piece. The tailored jackets throughout the entirety of this collection blew my mind. I loved the variety in collars and materials used, whilst still keeping a beautiful fit. The fabrics worked perfectly with one another and favored the garments and their look. Silk created beautiful drapery and pleats, whilst the denim kept the structured shape of the jackets. The accessories were also gorgeous, a reference to the house’s previous directors; a continuation of their legacy. My personal favorites: the big leather bags used in the styling for the matching middy skirt and suit jacket set, and the checkered trench coat look. I appreciate the hand-painted tulip motifs, both in shades of black and red. However, the patterns as a whole felt like a spontaneous and unplanned choice. I hated the striped prints they used toward the end. Although I was excited by the idea of bolder elements, the prints felt incohesive when viewed alongside the entire lineup; they reminded me of upholstery fabric. If they were going for a cool, clean girl look, that’s fine, but actually commit to it; don’t just throw patterns towards the end to make it seem “more interesting”.
Proenza Schouler was never dramatic or performative; it has always been chic and tailored, nevertheless pushing the boundaries and inspiring the “NYC it girl”. I don’t hate this clean girl look, I just hoped that now that a new creative director was appointed, some of the original experimentation would be restored. Overall, the collection was underwhelming; the pieces were beautiful, but the overall picture felt lackluster and uninspired. And whilst we got innovation through the “imperfect details” and prints, I still expected more. Clean, polished girls seem to still be dominating the runways, and I’m personally getting bored.
Words by Ariana Sancho
Graphics by Ariana Sancho