Unlike Europe’s storied fashion houses, American brands rarely outlive their founders. The narrative here champions innovation and fresh starts over the preservation of legacy. The question isn’t what we once cherished, but what daring vision comes next?
While some American labels like Carolina Herrera, Oscar de la Renta, and Calvin Klein are attempting to buck this trend under new creative leadership, their long-term impact remains uncertain. Many fear they might follow the path of once-iconic names such as Bill Blass and Geoffrey Beene, fading into obscurity as mere licensed brands.
So, when news broke in early 2025 that Jack McCollough and Lazaro Hernandez, the visionary duo who launched Proenza Schouler post-9/11 from Parsons School of Design, were departing, many assumed it marked the end of the brand.
Despite its rapid rise as a New York Fashion Week favorite, cherished by the Chelsea art scene, Proenza Schouler never fully captured the broader American aesthetic. Being just over two decades old, it hadn’t yet solidified that elusive ‘brand DNA’ so revered in high fashion. With McCollough and Hernandez transitioning to design Loewe in Paris, it felt inevitable that their namesake label, honoring their mothers, would cease operations.
But the story was far from over.
The collection featured suits and separates that, while appearing formal, revealed playful twists.
Then, in June, Proenza Schouler surprised everyone by naming Rachel Scott, a celebrated young New York designer, as its new creative director. Her debut show on Wednesday carried immense weight: not only was she tasked with imbuing the brand with her unique vision, but she also had to demonstrate that a relatively young label could thrive and even surpass its previous relevance under new leadership.
So, did she succeed?
Not completely, yet. Scott clearly demonstrated her suitability for the brand, showcasing an understanding of Proenza’s brief history through her passion for exquisite textiles and powerful, confident designs. However, her collection felt more like an introduction than a definitive statement for the modern woman of the mid-21st century. The true innovations lay in subtle details, perhaps too subtle.
Take, for instance, a deceptively simple sleeveless A-line knit dress, where the seams elegantly spiraled around the body instead of traditional side placement. Or consider the impeccably tailored gray skirt suits, crafted from surprisingly soft yarn that felt like pajamas, yet appeared perfectly buttoned-up. A hidden pop of carnation lining added an unexpected splash of color – a delightful surprise.
Other notable pieces included a peplum jacket paired with trousers made from washed, waxed denim, and bell-bottoms featuring buttons running from ankle to hip, offering adjustable styling. A gingham dress appeared to artfully slide off one shoulder, subtly embracing the upper arm. A recurring theme was a slight asymmetry, with many garments leaning subtly to one side.
Yet, it was the footwear that truly hinted at the exciting potential of a refreshed Proenza. Chic sling-back heels adorned with playful, curling leather fringe exuded a fascinating duality: proper yet wild, completely unpredictable. These were shoes that subtly declared both adherence to convention and a bold intention to defy it.
One can only hope Rachel Scott fully embraces this spirit in her future collections.