Wiederhoeft, Kallmeyer, Presley Oldham and Frederick Anderson

The four designers who walked the runway during the final two days of New York Fashion Week demonstrated their diverse talent and brand vision.

Jackson Wiederhoeft is a storyteller, as evidenced by the experience of watching one of his shows, which are equal parts performance art and catwalk. To that end, for his spring/summer 2025 show, the designer — whose motto is “ABC” aka “always wear a corset,” thanks to his signature brand — entertained his audience with an interpretive dance at the center of his square-style runway that featured a ballerina in a white, shell-encrusted princess gown made of tulle that vibrated as she moved.

She was greeted by male and female dancers in black tracksuits that showed off the casual side of the collection, who helped her up from a chair. In a dramatic moment, a freight elevator to close the show, a group of at least a dozen models appeared in identical white dresses with stylized corsets and large veils. It was a clever way to show that the designer offered a wide range of sizes.

After surrounding the protagonist and dropping flowers at her feet, they paired off and lifted each other's veils. Without explanation, no one could guess how this related to the collection, but it was still a sight to behold.

Wiederhoeft has built a brand around her impeccable corsets and has a thriving bridal business that forms the foundation of her brand. So for her ready-to-wear show, her design exercise is to expand the way corsets are worn. This season, she imagined it in fleece with a white tank top and short tracksuit bottoms, wrapped it in wire fencing and presented several styles, such as the Ophelia dress, with a Belle Epoque feel.

However, the designer needs to exercise other design muscles than the cinched bustier. Looser styles therefore complement the corsetry and round out the offerings. This season, they ranged from crystal-embellished hoodies, a trompe l'oeil-print viscose dress that gave the appearance of being a layered dress, and a stunning white Grecian-style dress, the Narcissus dress with a slightly cinched waist (the corset was underneath and not visible) proved that Wiederhoeft is not one to limit herself to just one idea.

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South African Daniella Kallmeyer is fast becoming “the fashion designer for fashion people”, in the vein of Rachel Scott of Diotima and before her Catherine Holstein of Khaite.

Since its launch in 2012, it has garnered a following of savvy archetypes who appreciate its subtle and detailed approach to dressing.

On Wednesday morning, the final day of NYFW, Kallmeyer, who began her career at Luca Luca, premiered a runway show for the first time for her brand. It’s refreshing to see a designer who first built a brand and then staged a runway, a common approach before the digital age.

For this collection, the designer’s modus operandi is based on basic pieces elevated through fit and fabrics that don’t prove too delicate for the tasks of rolling up her sleeves. Thus, the spring collection offered plenty for women like SNL star and A-list New York actress Chloe Fineman, actresses Louisa Jacobson and Grace Gummer, Jenna Lyons, former US soccer star Ashlyn Harris, tennis legend Rennae Stubbs and author and fashion journalist Laura Brown.

A Stellar New York Culture KOLs made sense when it came to clothes that would make a statement without overwhelming the wearer. For starters, despite the warm-weather season, there were plenty of black styles that city girls were craving: long dresses draped in front and back for day and night, fitted jackets over chiffon skirts, and breezy cotton separates to build a wardrobe. Distressed tan denim over a jean jacket and oversized jeans championed a new neutral tone.

Kallmeyer is adept at adding texture in just the right places: a wide, cream-coloured ribbed sweater over a satin skirt, or fringe on a knitted tunic dress worn over trousers. A draped, open-back blouse style is sure to be a house favourite. The show notes simply read: “I think if a girl wants to be a legend, she should be a legend.”

While she may have been attempting to define the Kallmeyer woman, it would also apply to the designer herself.

Presley Oldham

Even fashion has its share of Nepo babies. For Presley Oldham, it’s more a question of hereditary creative talent than a design career handed to her on a silver platter. The nephew of 90s designer Todd Oldham has made a name for himself since 2020, when he presented necklaces of baroque and freshwater pearls, often strung like rosaries in gender-inclusive, sizing styles.

Oldham’s proposals were in high demand as the “new face of pearls” and for their artisanal, non-mass-produced nature. Much of Oldham’s work is made using recycled pearls and metals. His presence in the industry is increasing with the cast of cool kids he calls his tribe: this season, he collaborated with fellow designer Henry Zankov of Zankov on styles for the knitwear designer’s presentation. He also debuted footwear, working with Mariano and the Portuguese Footwear Association (APICCAPS).

For spring 2025, Oldham was ready to expand his universe and showcase his bejeweled creations on models in tailored clothing. (He has dabbled in one-off styles, as seen in the archive section of his website.)

The styles helped tell the story of the jewellery, which alluded to the rebirth of nature and the mood of Botticelli's “The Birth of Venus.” Oldham imagined pearl headdresses and played with larger stone proportions than usual in previous seasons. A highlight of the collection were the intricate beaded floral creations, lush and abundant, which made their way into bralettes, dungarees and a plunging neckline on a sheer dress. According to Oldham, who spoke to FashionNetwork.com after the show, they were created by her grandmother, Linda Oldham, making it a true family affair.

Frederick Anderson

Society ladies adore Frederick Anderson. And he adores them. With his eponymous collection, the designer aims to ensure that his lady is prepared for any social engagement she has on her agenda. That's why Anderson's offerings are true prêt-à-porter, with daytime ensembles and evening looks.

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This season, Anderson took his lady to North Africa, reinterpreting cultural motifs into elegant, seductive and practical offerings. The designer explained in the show notes that looking at countries in the region, from Morocco to Egypt, was “an exercise in understanding my own relationship to being considered African-American.”

In Anderson’s hands, the designer threw out all rural African stereotypes and instead gave them a modern take. He selected French influences to pair with robes and kaftans, but also drew references from nature, such as abstract prints of giraffes, zebras and cheetahs.

A striped fabric jumpsuit combines ancient craftsmanship with a modern twist. A super-cool beaded chain top was paired with a side-slit harem skirt; another version in gold chain paired with an embroidered tulle skirt accentuated the craftsmanship. Anderson leaned into slinky-sexy territory with a raw-edged leather slip dress, a black satin and lace slip dress, and sheer lace that will presumably be lined during production. For girls looking for a safari-style “glamping” look, Anderson is your style guide.