Over in New York, no one can deny that it’s been a triumphant start to the fall/winter 2025 season. Starting with Calvin Klein, which returned to the NYFW circuit for the first time in six years. Bolstered by the fact that it was a successful debut for the brand’s first female creative director—Veronica Leoni—the runway was oozing with silhouettes that treaded the fine line between sensual minimalism and considered tailoring. Along the way, other stalwarts of the city came trotting forth; like Catherine Holstein’s Khaite show, infused with the atmospheric, brooding sensibilities of David Lynch’s filmography. Meanwhile Stuart Vevers swung into ‘90s territory for Coach, taking inspiration from its effortlessly cool youth to inform the wardrobe of today’s Gen Z.
Notably, behind every runway is the maestro calling the shots for every other detail in between—think the set design or its accompanying music—as the respective designers lay out the foundation of their spectacular vision prior. Take Khaite’s elevated circular runway erected in the middle of Park Avenue Armory for instance, or the instant buzz around Calvin Klein, established with its front row invitees alone. But if there was one facet of every runway that is almost synonymous with the clothes? It would be the high-octane beauty looks, running the gamut from avant-garde make-up choices to theatrical updos dreamed up for the stage.
For the fall/winter 2025 season in New York, this was enacted in spades. Certain collections were expositions of their own, with the beauty notes upping the dramatics through vivid brights like at Christian Cowan and Sandy Liang. A strong connection to nature was also evident; think the cheetah-inflected markings at Collina Strada or the feathery lashes and painted beaks seen all throughout the Thom Browne show, borrowing from the running bird motif of the house. Here, the most eye-catching beauty details from the New York fall/winter 2025 season.
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Drag make-up at Luar
On the runway, it was all about a reclamation of identity, as in Raul Lopez’s words. The drama was equally evident in the drag-esque beauty beat, from powdery-white lids, heavily-lined peepers and those zhuzhed-up punk hairstyles.
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Old Hollywood glamour at Pamella Roland
Where classic red carpet glamour was all the rage—of pristine, luscious locks and a deep crimson lip lined to precision.
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Animalistic influences at Collina Strada
Girls ruled at Collina Strada, and a sense of unruly came jostling out with animalistic overtones. Notably, cheetah markings were painted on the face and tresses were given a slight spruce, as if to mimic a cat’s ears.
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Soft, pastel lids at Sandy Liang
The childlike nostalgia commonly associated with Sandy Liang strikes a strange sense of in-between this season, like the designer herself who is grappling with her new role as a mother. But her predilection for colour still remains, applied on the eyes in a variety of pastel shades, mired by nude, glossy lips—as if the latter were meant to pare it all back.
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Feathers and beaks at Thom Browne
Two seasons past, it was the raven. The bird motif continued to make its presence known at Thom Browne this time around, with feathery lash extensions, vividly painted beaks and curved talons.
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Luminous skin at Carolina Herrera
Airbrushed to perfection. With dewy, lit-from-within skin, a touch of mauve on the lips and locks effortlessly falling over the shoulders, the Carolina Herrera runway was a masterclass in grace and elegance.
7 / 7
Theatrical wigs at Christian Cowan
Maximalism was the way forward at Christian Cowan; its dramatic shapes and ensembles dialled up with gravity-defying wigs and electric strobes of colour.
