The Fall 2026 Formalwear at NYFW Was for the Brit-lit Fanatics

Marie Antoinette has been dethroned by Queen Victoria. 

Debuting amid a triple-whammy of 19th-century Brit-lit blockbusters — “Frankenstein,” “Dracula” and “Wuthering Heights” — the fall 2026 formalwear collections at New York Fashion Week took a seasonally appropriate turn away from spring’s French Rococo look toward Gothic romance. Not since 2020, when “Bridgerton” debuted on Netflix, has historical fiction been so hot. But unlike Bridgerton-core, the trend this time around felt less ditzy, slotting in better with the stormy moors of Yorkshire than cosmopolitan Mayfair.

Its popularity stems mostly from the films’ leading actresses, method-dressing pros like Mia Goth and Margot Robbie whose wardrobes, both on screen and on tour, will likely be the go-to references this year for all sorts of themed weddings and costume parties. Luckily, NYFW saw a few dresses ideal for such occasions. 

Here are eight trends to know.

Scarlet Fever

“Moody” was the buzzword this season, communicated most clearly in the prominence of gem tones. Even Bach Mai, known for his use of happy hues, dialed them way down. “I couldn’t do an all-black collection, so I wanted to do jewel tones, but with a slight colorblocking in aubergine, in burgundy, in berry,” he explained ahead of his dînatoire-style presentation. While emerald and sapphire popped up in almost every collection, overwhelmingly red reigned. Markarian’s Alexandra O’Neill offered a capsule holiday edit exclusively in ruby, while Bibhu Mohapatra’s gowns came in claret tones, which the designer matched to wilted flowers left by Tibetan monks as temple offerings. And Reem Acra? “My red is really more brick,” she joked.

Caped Crusaders

A trail of mystery always follows a woman in a cape, key to the storytelling in “Wuthering Heights” and “Frankenstein,” though they’re most often associated with “Dracula.” The sheer wisps at Bibhu Mohapatra, Cucculelli Shaheen and Pamella Roland, however, were hardly as menacing. For a novel take, Reem Acra offered a cape-caftan hybrid in slate jersey as well as removable caplets, which would come in handy for drafty venues. But if warmth is what you’re after, the cape-de-résistance came from furrier Dennis Basso, whose hooded cloak was made entirely of sable. “You don’t need to check it,” he said. “A jacket like that, you take it to the table.”

Symbolic Embellishments

Following Prince Albert’s death, Queen Victoria made mourning jewelry de rigeur among British courtiers. She herself favored jet black beads, not unlike those that dangled from sheaths and crisp white shirts at Lela Rose. In the Victorian period, deceased loved ones were often immortalized in baubles and trinkets containing their hair. Although not exactly the same, Bach Mai wove together long silk strands of black fringe on a dress, coat and skirt for a look that felt similarly haunting. On a lighter note, Bibhu Mohapatra embellished ballgowns with rain drops and fireflies, signs of rebirth in his native India, and Cucculelli Shaheen used bullion compass roses to represent star-crossed lovers.

Portrait Necklines

As covered-up as the Victorian era was, stylish women of the day titillated male suitors with portrait necklines. After a trip to Antarctica, it’s only natural that Pamella Roland would return with a love for cold-shoulders, spraying those in her collection with icy crystals. “Portrait-necks create a flattering line across the bust, frame the decolletage effortlessly, and offer the perfect canvas for a statement necklace,” she said. Bibhu Mohapatra and Alexandra O’Neill would agree, finding off-the-shoulder dresses to be the perfect compromise for women who love to show off their collarbone, but are self-conscious of their upper-arms. Meanwhile, Dennis Basso cut a tweed skirt suit with a wide folded-over lapel, bringing the saucy neckline to tailoring. “It’s revealing, but not revealing,” he winked.

Historical Sleeves

Piggybacking off the last trend, many designers accented their portrait-necks with historical sleeves. Although not a full Renaissance sleeve, Lela Rose slit into those on a few of her cocktail dresses, allowing subtle movement without veering too far into costume territory. More dramatic was Markarian’s black and blue sequin cape jacket with gauntlet sleeves that nearly reached the floor. Meanwhile, Cucculelli Shaheen introduced three detachable sleeve shapes — fluted, bishop and drop-shoulder — for mix-and-match styling opportunities.

Velvet

A hit across the board at NYFW, velvet was particularly popular with formalwear designers, who drew on its legacy as an elite status symbol. “Velvet brings that sense of richness and depth that feels so right as we move toward the holidays,” said Lela Rose, who draped the material across taffeta dresses and tailored it into evening suits. Velvet tuxes fit for a dandy like Heathcliff also walked the runway at Cuculelli Shaheen and Pamella Roland. Meanwhile, Dennis Basso proved velvet can look luxe at any price, showing a stretch-velvet pajama set with lace sleeves from his QVC line next to a mainline gown with similar detailing.

Gilded Age

In addition to velvet, brocade added to the textile richness of the season, but unlike its light-absorbing counterpart, it gleamed, mostly in gold-flecked patterns. That was especially true at Dennis Basso, where brocade dresses were displayed underneath spotlights at the Columbus Citizen foundation, feeling right at home in the Gilded Age mansion’s foyer. Over at The Pierre hotel, golden brocade looks opened and closed Bibhu Mohapatra’s show, which felt equally regal. Ditto for Reem Acra. But the most youthful proposition came from Alexandra O’Neill at Markarian in the form of gold brocade HotPants paired to a knit twin set.

Birds of a Feather

One of the more surprising trends this week was the prominence of Victorian collars. Designers paid extra special attention to the area just below the chin, flourishing it with plumes like Lela Rose and Reem Acra. Birds, a Gothic literature leitmotif, also reared their beaks at Bibhu Mohapatra, whose ghostly white gowns in macramé lace resembled feathers framing the jaw. Elsewhere, Dennis Basso achieved a similar effect using lace, this time in black dotted with sequins and, of course, ostrich feathers.