Runway Reckoning: Cathy Horyn vs. Vanessa Friedman on NYFW Fall 2025

“Tory Burch, Carolina Herrera, and Coach are all relatively big names in American fashion, and as the fall collections here limped to a close, they did what successful brands do: They played it safe.” Cathy Horyn’s verdict, sharp as ever, cut through the glamour of New York Fashion Week (February 6-11, 2025) like a hot knife through butter. But while Horyn bemoaned the lack of risk, Vanessa Friedman of The New York Times saw a different story unfolding—a season where pragmatism wasn’t just strategy but survival, the equivalent of designers tightening their grip on the wheel while driving through a storm.

Fashion Week is an endless conversation—every season brings a fresh set of talking points, and every critic brings their own unique take. Some whisper, some pontificate, and then there’s Cathy Horyn. She carves through the noise with a scalpel, leaving no unnecessary flourish unchallenged. On the other side of the spectrum, there’s Vanessa Friedman, effortlessly integrating cultural and economic narratives into her analysis, offering a perspective as precise as it is expansive. 

Two critics, two styles, one mission: making sense of the spectacle that is NYFW.

Horyn doesn’t sugarcoat, and she certainly doesn’t pander. If a collection is uninspired, she’ll say it. If a designer plays it safe, she’ll question why. This season, she set her sights on the American fashion scene, dissecting collections from Tory Burch, Carolina Herrera, and Coach. Her verdict? A cautious nostalgia parade. Tory Burch leaned into pragmatic femininity, Coach dove headfirst into ‘90s throwback territory, and Carolina Herrera attempted a youthful revival. Horyn saw these efforts for what they were: calculated, risk-averse, and, in some cases, frustratingly predictable.

But then came Rachel Scott’s Diotima, which Horyn championed for doing what fashion is supposed to do—push forward. Scott’s collection, rich in historical and cultural depth, explored the representation of Black women in fashion, balancing craftsmanship with conceptual storytelling. Horyn’s review made it clear- a statement was made, and the risk taken wasn’t in vain.

She also turned her gaze toward Calvin Klein’s new creative director, Veronica Leoni. Klein, a brand that practically invented modern minimalism, delivered a debut that Horyn found—well,  a little too minimal. “Buttoned-up” was the phrase she used. Where was the sleek sensuality? Where was the effortless cool? The clothes were clean, yes. Tailored, yes. But they lacked that intangible Calvin Klein energy. Horyn didn’t mince words about it.

Still, she found moments of brilliance elsewhere. Eckhaus Latta’s Fall 2025 collection, a culmination of over a decade of experimentation, felt like a designer duo finally hitting their stride. The fit, the quality, the instinctive way their pieces worked on the street—it all added up. If Horyn praises you, you’ve earned it. And this season, Eckhaus Latta did.

Where Horyn zooms in with the intensity of a jeweler’s loupe, Friedman zooms out, mapping out the bigger picture. She asks the fundamental questions. What do these clothes say about the moment we’re in? What do they mean beyond the runway? Her coverage of Calvin Klein’s reinvention of “sexy” under Veronica Leoni wasn’t just about the hemlines—it was about the brand’s larger identity shift. Leoni’s concept of ‘sexitude’—making people comfortable with their own sensuality—was an interesting one, but Friedman wasn’t entirely convinced it translated.

Her eye for cultural connections also led her to an unexpected theme: David Lynch. According to Friedman, the filmmaker’s eerie, dreamlike aesthetic seemed to be influencing the season in subtle ways. From surreal silhouettes to a play on duality and mystery, she identified a thread that linked multiple designers in ways that might not be immediately obvious to the casual observer.

And that’s where Friedman shines. She reads between the seams. While some critics focus solely on the runway, she places collections in dialogue with art, film, and history, reminding readers that fashion goes beyond seasons and trends—and is irrevocably intertwined with time, place, and perception.

It’s worth noting that Horyn and Friedman don’t just write differently—they publish differently. Horyn’s work for The Cut, a digital-first publication, is quick, sharp, and conversational. There’s an immediacy to her style, a sense that she’s reacting in real time, unfiltered. Friedman, writing for The New York Times, operates within a more structured, legacy-media approach. Her pieces are deliberate, well-researched, and measured.

And without a doubt, the audience matters. The Cut thrives on engaged fashion insiders who want a take—fast, unvarnished, and direct. The New York Times speaks to a broader, perhaps more business-minded readership that appreciates the connection between fashion and global events. Two critics, yet two ways of framing the same conversation.

In my opinion, the best fashion criticism is the see-saw that swings between fact and perspective in a way that makes sense. Both Horyn and Friedman do this exceptionally well. Horyn starts with the clothes, builds context, and delivers an opinion that feels as natural as a gut reaction. Friedman starts with the world, contextualizes the clothes within it, and then offers an informed take. 

It’s the difference between dissecting the moment and narrating the movement.

In a world where fashion content is increasingly dictated by algorithms and influencer sponsorships, critics like Horyn and Friedman serve as a necessary counterbalance. And in doing so, they remind us why fashion criticism still matters.

Referenced Articles:

• “American Designers Are Playing It Safe” by Cathy Horyn (thecut.com)

• “How Do You Decode Calvin’s Minimalism, Today?” by Cathy Horyn (thecut.com)

• “Eckhaus Latta Is Particularly Good This Season” by Cathy Horyn (thecut.com)

• “How Will Calvin Klein Reinvent Sexy?” by Vanessa Friedman (muckrack.com)

• “David Lynch Is an Unexpected Fashion Week Influencer” by Vanessa Friedman (muckrack.com)