The most anticipated debut of New York Fashion Week belonged to Rachel Scott, who presented her first full collection for Proenza Schouler on February 11 . After founders Jack McCollough and Lazaro Hernandez departed for Loewe, Scott stepped into one of American fashion’s most significant roles .
Here’s everything you need to know.
The Vision
Scott spent months studying the brand’s archive and sitting with actual customers . Her conclusion? The Proenza woman is evolving.
“She can be a bit more erotic, she can be angry, sometimes she’s not quite so perfect,” Scott explained . In her show notes, she added: “Today, she was in a rush” .
This sense of intentional imperfection ran through the entire collection. Dresses were slightly rumpled. Draping and tucks were deliberately “a little off” .
The Aesthetic
- Silhouettes: “Relaxed and undone,” twisted against traditional ideals of polish . Turtlenecks and blazers buttoned all the way up. Some dresses had waists just below the bra line, creating endless legs .
- Texture as Language: “Even though things will look clean, when you get close, there’s a little something for the woman,” Scott said . This meant chiné weaving, chenille check details on houndstooth, and fringe accents .
- The Orchid Print: A recurring print derived from digitally manipulated photographs of night orchids—organic yet engineered .
- Color Story: Muted creams, grays, taupe, and black, punctuated by “blasts of red and blue” and deep orchid purples .
The Vibe: Disciplined Minimalism & Confidence in House DNA
Rachel Scott faced a delicate task: honoring Proenza Schouler’s founders while making the house her own. Her approach? Measured restraint over radical reinvention.
The collection excelled in polish, proportion, and control—hallmarks of a designer earning trust rather than chasing headlines. But that same caution raised questions. Taste was abundant; risk was not.
There’s something refreshing in Scott’s refusal to posture. No theatrical stunts. No grasping for relevance. Just grounded, elegant clothes. Yet in a fashion moment craving distinct voices, one wonders: when will we see her fingerprint on the house?
Collection Highlights
- Opening Look: A teal sheath dress with an uneven, tactile surface made of double-faced wool with multispeckled yarn .
- Tailoring: Skirt suits, remixed sailor pants with buttons askew, and a houndstooth trench with chenille check details .
- Eveningwear: Floral print dresses with asymmetric handkerchief hems, fringe, and grommets—layered for the modern urban woman .
- Accessories: The Hex bag (from 2016) returned. New bowling bags (mini and maxi), bucket bags in calf hair and suede, and kitten heels with extra-sharp toes .
The Front Row
Fellow designers Christopher John Rogers, Maria Cornejo, Veronica Leoni, and Raul Lopez attended. Also spotted: Yerin Ha (Bridgerton), director Celine Song, and Tommy Dorfman .
Why It Matters
Scott brings fresh momentum—she won the CFDA Award for Womenswear Designer of the Year in 2024, the first Black female designer to do so . Her challenge now is translating the cult appeal of Diotima to an established label .
If this first collection is any indication, the Proenza Schouler woman is in capable hands. Polished yet real. Crafted yet effortless. Beautifully, deliberately imperfect.
