In a space where thoughts are echoed and repeated, a common saying is that New York Fashion Week is “dead.” While some American designers continue taking their talents abroad, the next generation held down the fort at home this season.

Meruert Tolegen is a beacon of the American experience, having emigrated from Kazakhstan and spending her remaining formative years in San Francisco. When I arrived at her Fall/Winter 2026 showcase, the dimly lit, almost ominous room was illuminated only by her garments. Evolving from previous collections, Tolegen noted that of all the 15 looks she presented, “each one represented a specific silhouette… each speaking its own language.” This collection stood out for its use of sculpture. Think garments made out of hair and hand-knit appliques. While these techniques are not brand new, Tolegen’s take on tailoring and corsetry feels like a personal folk-tale, each page of her storybook provoking thought.

“I think New York Fashion Week is becoming more fun, too, with new designers debuting or doing something quirky and interesting every season,” Tolegen tells Teen Vogue. “I think it’s becoming more fun.”

The beauty of today’s NYFW is that younger designers have room for less filtered ideas to grace the runway. However, the common thread among these designers is the hope that these free thoughts can lead to financial success. “At the end of the day, it has to survive, it has to live on its own, as a business, not only a creative venture,” Tolegen says.

Hailing from Lake Placid, New York, Andrew Curwen’s latest “Nocturnal Conditions” collection explores the cross sections between the romanticized elements of fashion and reality. His long time friend and breakout designer Jane Wade lent her studio to Curwen post show, so he’d have more space to craft how he wanted to present his story. He describes his collection as a statement on “internal darkness” and “being able to identify the different characters that exist within that space that’s in all of us, as well.”

Characterized by ornate corsetry, one-of-a-kind fabric treatments and steel boning, at first glance, you’d never know that the looks consisted of deadstock fabric, thrifted appliques, and a nod to his old family crest. It’s no secret that fashion can be the source of many consumerist behaviors, however, Curwen says, “it’s kind of a waste, you know, when people buy something they never use. I used to be like that. Now, I want to use everything. There is beauty in something that can be worn.”