What lies ahead for the fashion class of 2026? The journey isn’t without challenges: traditional retail remains cautious, and AI is making waves in the luxury sector. However, for the graduates of the Fashion Institute of Technology (FIT), the focus is on engaging in adaptive dialogues rather than resisting change. “We are not sitting on the sidelines as the industry is happening,” stated Jason S. Schupbach, who took over as FIT president four months ago. “We’re going to go through the transformation with the industry at the same time.”
This approach is reflected in dynamic business courses and efforts to integrate AI into education and the creative process in meaningful ways. “[AI] creates new jobs, other jobs go away—that’s all typical, but we want to be part of the conversation,” Schupbach explained. Yet, he emphasized that it is the students’ craftsmanship, not an algorithm, that ultimately brings designs to life on the runway.
Despite the subdued color schemes in many of the nearly 80 designs showcased last night, hope was a recurring theme in the students’ work. A sense of sophistication was also evident, exemplified by the delicate silk chiffon scalloping by Hye Ji Jo and the “hunchback” tailored coat by Naïma Naas, which revealed a dramatic red ruffled back. This steampunk aesthetic captures the retrofuturistic vibe currently influencing the creative industry, as seen in Meruert Tolegen’s Rococo revival and Colleen Allen’s subtly Victorian-inspired gowns. Tyler Mervine, who won the school’s Critic Award, explored the enduring nature of human memory and creativity with his charcoal coat featuring an infinite draped loop, drawing inspiration from Gabriel García Márquez’s novel Chronicle of a Death Foretold. While AI is emerging in luxury fashion houses globally, it has yet to craft Mervine’s fringed corset.
The event took on a lighter tone during a children’s clothing segment, where the usual bass-heavy music was replaced by The Jackson 5’s “ABC,” symbolizing hope for a new generation of designers, photographers, and stylists. This brightness extended into the knitwear segment—a notoriously challenging discipline, as some students humorously noted. The knitwear designers, including Critic Award recipients Beatrice Xuan Mak and Rachel Marino, highlighted the material’s lightness, contrasting with the heavy global issues of today. Mak’s work celebrated the vibrant spirit of her homeland, Malaysia, while Marino’s creations featured felted bulbous sculptures.
The evening was organized in collaboration with Macy’s. Marina Malkhasian, whose pleated garments evoked the warmth of her childhood in Russia before the conflict, emerged as the winner. Her designs will be produced and sold in select Macy’s stores next spring. At Macy’s Herald Square flagship, last year’s winner’s collection sold out on its first night, signaling a continued appreciation for young designers and their tangible artistry.
