Scott wasn’t entirely new to us. We had already seen hints of her during last September’s New York Fashion Week, where she held a low-profile advisory role. The same month she was announced as the next chapter for Proenza Schouler, after Jack McCollough and Lazaro Hernandez traded downtown for Paris and Loewe. That alone was enough to crown her the week’s most anticipated arrival.
Scott was quick to note that she had done her homework dissecting the house codes, color, tailoring, craft, and its long-standing dialogue with art. Under the Hernandez and McCollough duo, the label was shaped by a loving commitment to women. Scott picks up that thread, though she pulls it in another direction. “I always felt like there was this separation, like there was this glass between you and this woman that you’d see, and she was impeccable. She was super-perfect. And that idea of perfection is a little bit scary for me,” she tells Vogue. “To the unknowing eye, she is put together, precise, deathly punctual. Those who recognize her sense that there is more to her: The Proenza Schouler woman for Fall 2026 rejects perfection as constraint,” the brand’s Instagram statement claimed.
And it read further, “Today, she was in a rush.” At first, everything looked neat and buttoned-up. Until the crooked buttons, exposed darts, and some asymmetry here and there, made the perfection feel a little offbeat. The collection flirted with silhouettes, squashed middles and marathon legs. Textures ranged from double-faced wools and compact matte viscose, to Donegal knits, silk Habotai, and hand-painted leather. Color came through in twisted yarns and mouliné. Well-known shapes made a comeback, archival Hex Bags in calf hair and cashmere suede, heeled fuzzy soles, leather laces, and exaggerated loafers. Everything still looks like Proenza Schouler, yet just off enough to keep things interesting.
