Tory Burch is racking up quite the roster of New York City landmarks as runway show venues.
Her latest was the Museum of Modern Art, where she showed her fall 2025 collection Monday night across two floors of the lobby atrium, with wintry views of the Abby Aldrich Rockefeller Sculpture Garden.
“It’s such an iconic place,” Burch said of the striking setting, which joins the Brooklyn Museum, the Whitney Museum, the Gilder Center, Mercer Street and more on the grand Tory tour.
On the runway, the brand continued to execute on its design transformation with another collection that twisted American classics with an uptown-meets-downtown spirit and unexpected color combos.
She dug into sportswear, elevating sweats to chic in brushed Japanese jersey or velour with zippered cuffs over monk strap shoes, and refined zip fleece in needle punched wool.
Knitted mesh — like you’d find on an athletic jersey — was twisted into a great-looking, spiral-cut polo dress in a “Bambi” animal spot pattern, and a puffer made into a city-sophisticated jacket in a featherweight nylon with a body-contoured silhouette and shiny finish.
Functionality has been a pre-occupation for Burch, who has made it a practice over the last few seasons to create pieces that prompt a double take, in a good way, and encourage experimentation.
So knits were embroidered to look like tweed, and outerwear richly textured with sequins or silky filaments for that one offbeat wardrobe hero.
Classic tweed dresses and twin sets were slashed, so they could be worn with the sleeves long, tied or pinned at the neck. And banker stripe shirts flared at the cuff with extra rows of buttons so they could be twisted and cinched tight.
And in addition to “Bambi,” she introduced a new animal to her brand menagerie, a tonal mouse jacquard on a draped dress.
Over the last few seasons Burch has established jersey dresses as a specialty, and they’ve gone from futuristic with orbital hoop skirts, to balletic bubble silhouettes. This time, they were old Hollywood goddess glam, with padded shoulders, draped backs and skirts.
To her growing accessories categories, she added a new Pierce watch, watch band bracelets and cuffs with ring chains attached. Those are modeled after a mega gold and sapphire piece Burch wears herself, dating back to 1870. It has quite a provenance that leads from Napoleon’s wife Empress Eugenie to the dentist who helped spirit her out of France to safety, to the University of Pennsylvania, Burch’s alma mater.
“I’m dying to do fine jewelry,” the designer said, the wheels already turning. You know she will.
