New York Fashion Week Delivers Couture Contrasts From Sophistication to Bold Innovation
New York's fashion landscape, while rarely home to traditional couturiers, recently showcased two remarkable talents, Bach Mai and Dauphinette, who presented collections ranging from poised sophistication to punchy innovation. This fresh perspective emerged on a Sunday, contrasting sharply with the morning's display of Scandi minimalism from Cos.
Bach Mai, despite launching his brand in 2019, remains a burgeoning label yet has already garnered attention from A-listers such as Amal Clooney, Kate Beckinsale, and Lucy Liu. Hailing from Texas and raised by Vietnamese immigrant parents, Mai's impressive pedigree includes working with Oscar de la Renta post-Parsons graduation, where he notably contributed to a collection created in collaboration with John Galliano. His journey continued to Paris, where he completed a master's at the Institut Français de la Mode before rejoining Galliano at Maison Margiela.
The cumulative effect of Mai's rich experience is a signature look that epitomizes classic couture infused with a modern twist. His spring/summer 2026 collection, predominantly eveningwear, masterfully blended the pinnacle of couture techniques with an undeniable New York self-assurance. The show opened with an elegantly draped silk georgette slip dress, layered under a degradé gray Prince of Wales evening trench, followed by a chic cream organza suit featuring shorts and a distinctive hacking jacket.
Mai's collection further captivated with a brilliant series of polka dot interpretations. These ranged from whimsical jumbo dot taffeta lab coats to an organza polka dot strapless mini volant dress. A standout moment was the final passage: a sculpted black satin gown where the dots were ingeniously rendered as transparent panels. The designer also frequently revisited the Prince of Wales motif, seen in a bustier gown with corset lacing and a luxurious super plaid velvet jacquard dress. In essence, Mai’s creations are sophisticated attire for discerning adults, a truly admirable demonstration of modernist couture with technical brilliance and an urban edge.
In stark contrast, Dauphinette's runway was populated by warrior women, bold goddesses, and racy nymphs, a powerful reflection of founder Olivia Cheng's intensely creative phase. Cheng, a prominent "recycling raver" in American fashion, immediately articulated her vision with an opening metallic Athena tunic crafted from metallic watch straps. This was followed by a divine Minerva, draped in a semi-disheveled ink blue vintage chiffon dress.
Cheng's penchant for visual puns was evident in pieces like a fish skeleton bra sculpted from vintage suede, metal, and clay. Her inventive spirit escalated with a barely-there gold chain spaghetti dress adorned with hand-painted Ginko leaves, and a mesmerizing mini cocktail dress densely embellished with hundreds of buttons. Dauphinette proudly states that at least 50% of each collection is derived from recycled materials, a commitment vividly apparent in this intimate show, staged within the retro ambiance of the Brass bar at the Ashlyn Hotel. Cheng's technical audacity shone through in a marvelous transparent plastic caban, where each compartment meticulously held its own real seashell.
In her program notes, Cheng candidly remarked, "I will say this – we took three seasons off from NYFW to bring the best version of Dauphinette. I’m calling it couture, but maybe I am just being cocky because we certainly haven’t consulted the bigwigs in Paris." However, from the perspective of a veteran fashion observer with over 35 Paris couture seasons under their belt, Cheng’s claim is entirely justified; her presentation was, without question, couture.
Earlier in the day, the Swedish fashion label Cos presented its spring/summer 2026 collection, embodying "Scandi minimalism" tailored for architects or those who appreciate a subtly fashionable aesthetic without being overtly trendy. Cos has consistently chosen New York for its shows, a fitting choice given the city's ever-evolving skyline and real estate industry, which defines much of its dynamic spirit more than finance or art.
Karin Gustafsson, the accomplished designer behind Cos, displayed her sharp eye for elegantly understated fabrics and precise cuts in a co-ed show where every garment appeared spruce and professional. Her thoughtful selection of felty wools and cottons allowed for the sculptural quality of coats, tops, and tunics. The collection's funnel neck trench coats and grand coats were particularly flattering on men, evoking an image of sophisticated "high-end son-in-laws." The decision to stage the show in Greenpoint, Brooklyn, only to transform the raw red brick space into an antiseptic white box, seemed somewhat incongruous. Yet, this aligns with Cos's philosophy: to create clothes that make a quiet statement, designed for individuals who prefer not to overthink their outfits' narrative. The brand delivers poise without punch, a diametric opposite to the bold expressions of the two American couturiers.
