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Add Texture to GoogleOn September 15, 2026, around 9:00 a.m., a fleet of buses left Lispenard Street in Lower Manhattan and began a northbound journey. On board were hundreds of fashion professionals, accustomed to the metronomic pace of city fashion shows, who embarked on a nearly two-hour journey to Mountainville, in Orange County. Their destination: the Storm King Art Center, an open-air sculpture park spanning approximately 200 hectares, chosen by Hillary Taymour to unveil Collina Strada’s Spring-Summer 2027 collection. Titled “Detour,” this fashion show marked a logistical and symbolic turning point, standing out as the first fashion event ever held in the history of this Hudson Valley institution.
An immersion in monumental art and pop culture
The experience began well before the first model stepped onto the makeshift runway. To set the tone for the journey, the designer tapped into a sense of playful nostalgia by having packets of Pokémon cards handed out to guests—a nod to one of her personal passions. Once on site, the reception was organized around refreshment stations offering kombucha and “Golden Matcha,” providing a stark contrast to the usual hustle and bustle of Midtown. The setting itself called for a contemplative approach: the 33 models from the collection walked the lawn, winding their way among major works from the park’s permanent collection. The models could be seen moving in the shadow of imposing structures such as Tal Streeter’s *Endless Column* (1968), Alexander Liberman’s *Adonai* (1970–1971), and Alexander Calder’s monumental arch, *The Arch* (1975).
The number of guests in attendance varies depending on the source: while the brand’s partner, LAYERED, reports 300 people, other estimates put the attendance at around 400 spectators. The audience enjoyed a festive finale highlighted by a surprise performance by singer Carly Rae Jepsen. Wearing a custom-made creation by Collina Strada, she led the models in a celebratory dance, transforming the sculptural landscape into a scene of spontaneous life.
Stylistic Anachronism and Material Commitment
The “Detour” collection explores a dialogue between different eras, blending medieval romanticism—whose influence is rooted in the aesthetic of the film *A Knight’s Tale*—with Victorian codes and grunge accents. This temporal fusion manifests in sculptural silhouettes where Y2K influences meet more classic volumes. Textile research, a cornerstone of the brand’s identity, focused on the use of deadstock for fleece and poplin. Organza crafted to resemble feathers, recycled sequins, satin printed with chrysanthemums, and moiré fabric came together to create a collection where texture takes precedence over minimalist design.
The runway show also served as a platform for several collaborations. In the footwear category, the designer presented the Chuck Taylor Plié, the result of a partnership with Converse. This model features a split sole inspired by dance slippers, an asymmetrical square toe, and frayed edges. While the price has not yet been revealed, it is set to launch worldwide on December 3, 2026. At the same time, gorpcore-inspired sandals adorned with ruffles were unveiled in collaboration with KEEN. Beyond apparel, Hillary Taymour is expanding her brand into interior design with the Swedish company LAYERED. This capsule collection includes four styles of hand-tufted wool rugs and two sofa designs, marking a strategic diversification into luxury furniture.
A Logistical Rift at Fashion Week
Despite the event’s artistic nature, the decision to relocate the show two hours away from Manhattan caused a clear divide within the industry. For some critics and buyers, the time commitment was deemed excessive, even absurd. With a round-trip commute of four to five hours, the journey took up an entire day, forcing some industry professionals to cancel other strategic meetings or presentations in downtown New York.
Conversely, supporters of this getaway saw it as a necessary editorial break. In a schedule that is often overloaded and confined to sterile spaces, the initiative was seen as an invitation to slow down and physically engage with nature—a literal embodiment of the concept of “touching the grass.” This “detour” was therefore not merely geographical but was intended as a response to the productivity-driven constraints of the fashion industry, even at the risk of being misunderstood by some of its key players. This divide highlights the growing tension between the traditional fashion industry’s demand for profitability and the desire of certain fashion houses to offer immersive experiences outside the norm.