COACH INTRODUCES FALL 2025 COLLECTION WITH RUNWAY SHOW AT THE PARK AVENUE ARMORY
NEW YORK, Feb. 10, 2025 /PRNewswire/ -- Coach debuted its Fall 2025 collection with a runway show held at the historic Park Avenue Armory in New York City's Upper East Side. The latest evolution of Creative Director Stuart Vevers' vision of American classics as interpreted by today's generation, the presentation underscored Coach's continued commitment to redefining heritage pieces and championing self-expression and community.
"My vision for Fall was to ground the collection in all the things that make Coach so distinct as a fashion house: our heritage materials and palette, our commitment to repurposing and "re-loving" secondhand garments through craft, and our belief in the power of community and self-expression," said Vevers. "There's a clear, cohesive idea here in terms of materials, silhouette and styling, and that comes from knowing who we are and what we stand for."
Inspired by the appeal of found and love-worn pieces that reflect the personality of the wearer, Fall 2025 is defined by a consistent silhouette anchored in oversized pants in denim, moleskin and suiting fabric and balanced by relatively shrunken T-shirts, sweatshirts, knits and jackets. The color palette hews closely to classic Coach tones of rich tan and slightly faded black, with added color coming from the materials themselves: mélange jersey, light-wash denim, and pops of novelty in leopard print, metallic knits and beading.
Outerwear featured a collection of cropped and shrunken bomber jackets, some made from repurposed garments, as well as floor-dusting trench coats in shearling and leather, duffle coats, peacoats and a faux leopard fur coat. There were a variety of argyle and Lurex knits, as well as tailoring elements in blazers and vests with cropped and skewed proportions. Inspired by the relaxed day dresses of the 1920s, the collection included dresses in shift, tank and drop-pleated styles, as well as a selection of dresses made from vintage negligees and vintage beaded gowns. More comforting, cozy elements of the collection included washed and worn-in T-shirts, sweatshirts and hoodies, and fuzzy footwear designed to recall love-worn children's slippers. Every look was grounded by a pair of skate-inspired, ultra-baggy pants, which pooled at the ankle for an effect both casual and elegant. All of the jeans in the presentation were crafted from repurposed secondhand denim, an American heritage material the house continues to explore and evolve through the lens of sustainability.
In leathergoods, the Fall 2025 collection marked the runway debut of the Twin Pocket Bag, inspired by a Coach archive piece from 1968. The collection also featured the return of the Brooklyn and Empire bags, now in more playful and compact proportions. All three bags were rendered in vegetable tanned leather, in a new house treatment called Loved Leather, and in shearling, with some featuring a hand-painted graffiti treatment. While most bags appeared in classic Coach colors like toffee, chestnut and maple, the Bleecker Bucket Bag, another new archive-inspired style, added a pop of color, while the Times Square Tabby, created using the elements of beaded vintage satin bags, added some shine.
For its second season, the Soho Sneaker was a fixture on the runway in a curation of new finishes including Loved Leather, silver suede and leopard print. Conceived as a canvas for self-expression, the Soho Sneaker is designed so that every scuff, color choice and customization can help reflect the personality of the wearer, and is accompanied by a selection of charms, including poms-poms, jeweled bows and small shearling stuffed animals, lovingly made by hand and full of character. Footwear also featured stuffed animal slippers with the same playful inspiration, as well as block-heeled loafers, a buckle boot and kitten-heel sandals. Looks were completed with playful toolbox-inspired jewelry in the shape of screwdrivers and wingnuts, personalized nameplate necklaces and brightly colored statement sunglasses.
Guests at the show were ushered through the entryway of the Park Avenue Armory and into the historic Drill Hall, which had been transformed into an intimate, evocative space through atmospheric lighting and printed fabric surrounds designed to recreate a dreamlike industrial interior. The models circulated throughout the space while in the center of the room Brooklyn-based indie pop band Nation of Language provided a live soundtrack to the show, featuring their original song "A Word & a Wave."
DOWNLOAD LINKS:RUNWAY IMAGES (Isidore Montag)RUNWAY DETAILS (Isidore Montag)
FRONT ROW / ARRIVALS (BFA IMAGES)FIRST LOOKS (BFA IMAGES)BEAUTY (BFA IMAGES)
RUNWAY VIDEO (B LIVE)
COLLECTION NOTES
SHOW CREDITS:
STYLIST: OLIVIER RIZZOSET DESIGNER: STEFAN BECKMANMUSIC: FABRIZIO MORETTIMUSICIANS: NATION OF LANGUAGECASTING: ASHLEY BROKAWHAIR: GUIDOMAKEUP: DAME PAT MCGRATHNAILS: NAOMI YASUDALIGHTING DESIGN: NICK GRAY, RENEGADE DESIGNLIGHTING PRODUCTION: 4WALLAUDIO: ADI WORLDWIDEVIDEO: B LIVEPHOTOGRAPHY: ISIDORE MONTAGEXECUTIVE PRODUCTION, FASHION SERVICES & MEDIA RELATIONS: KCD
About CoachCoach is a global fashion house founded in New York in 1941. Inspired by the vision of Creative Director Stuart Vevers and the inclusive and courageous spirit of its hometown, the brand makes beautiful things, craft to last—for you to be yourself in.
Coach is a Tapestry, Inc. brand. Tapestry is publicly listed on the New York Stock Exchange under the ticker TPR.
SOCIAL MEDIA: @Coach; #CoachNY #CoachFall25
CONTACT:
Amanda Garcia Santana, Global Head of PR and Talent Relationsagarciasantana@coach.com
Brooke Hudson, Director, Global Brand Communicationsbhudson@coach.com
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Atlantic
3 hours ago
- Atlantic
When Mick Jagger Met the King of Zydeco
The story I'd heard was that Mick Jagger bought his first Clifton Chenier record in the late 1960s, at a store in New York's Greenwich Village. But when we talked this spring, Jagger told me he didn't do his record shopping in the Village. It would have been Colony Records in Midtown, he said, 'the biggest record store in New York, and it had the best selection.' Jagger was in his 20s, not far removed from a suburban-London boyhood spent steeping in the American blues. I pictured him eagerly leafing through Chess Records LPs and J&M 45s until he came across a chocolate-brown 12-inch record—Chenier's 1967 album Bon Ton Roulet! On the cover, a young Chenier holds a 25-pound accordion the length of his torso, a big, mischievous smile on his face. Bon Ton Roulet! is a classic zydeco album showcasing the Creole dance music of Southwest Louisiana, which blends traditional French music, Caribbean rhythms, and American R&B. This was different from the Delta and Chicago blues that Jagger and his Rolling Stones bandmates had grown up with and emulated on their own records. Although sometimes taking the form of slower French waltzes, zydeco is more up-tempo—it's party music—and features the accordion and the rubboard, a washboard hooked over the shoulders and hung across the body like a vest. Until he discovered zydeco, Jagger recalled, 'I'd never heard the accordion in the blues before.' Chenier was born in 1925 in Opelousas, Louisiana, the son of a sharecropper and accordion player named Joseph Chenier, who taught his son the basics of the instrument. Clifton's older brother, Cleveland, played the washboard and later the rubboard. Clifton had commissioned an early prototype of the rubboard in the 1940s from a metalworker in Port Arthur, Texas, where he illustrated his vision by drawing the design in the dirt, creating one of a handful of instruments native to the United States and forever changing the percussive sound of Creole music. Within a few years, the brothers were performing at impromptu house dances in Louisiana living rooms. They'd begin playing on the porch until a crowd assembled, then go inside, pushing furniture against the walls to create a makeshift dance hall. Eventually, they worked their way through the chitlin circuit, a network of venues for Black performers and audiences. They played Louisiana dance halls where the ceilings hung so low that Cleveland could push his left hand flat to the ceiling to stretch his back out without ever breaking the rhythm of what he was playing with his right. Influenced by rock-and-roll pioneers such as Fats Domino, Chenier incorporated new elements into his music. As he told one interviewer, 'I put a little rock into this French music.' With the help of Lightnin' Hopkins, a cousin by marriage, Chenier signed a deal with Arhoolie Records. By the late '60s, he and his band were regularly playing tours that stretched across the country, despite the insistence from segregationist promoters that zydeco was a Black sound for Black audiences. He started playing churches and festivals on the East and West Coasts, where people who'd never heard the word zydeco were awestruck by Chenier: He'd often arrive onstage in a cape and a velvet crown with bulky costume jewels set in its arches. Chenier came to be known as the King of Zydeco. He toured Europe; won a Grammy for his 1982 album, I'm Here! ; performed at Carnegie Hall and in Ronald Reagan's White House; won a National Heritage Fellowship from the National Endowment for the Arts. He died in 1987, at age 62. This fall, the Smithsonian's preservation-focused Folkways Recordings will release the definitive collection of Chenier's work: a sprawling box set, 67 tracks in all. And in June, to mark the centennial of Chenier's birth, the Louisiana-based Valcour Records released a compilation on which musicians who were inspired by Chenier contributed covers of his songs. These include the blues artist Taj Mahal, the singer-songwriter Lucinda Williams, the folk troubadour Steve Earle, and the rock band the Rolling Stones. In 1978, Jagger met Chenier, thanks to a musician and visual artist named Richard Landry. Landry grew up on a pecan farm in Cecilia, Louisiana, not far from Opelousas. In 1969, he moved to New York and met Philip Glass, becoming a founding member of the Philip Glass Ensemble, in which he played saxophone. To pay the bills between performances, the two men also started a plumbing business. Eventually, the ensemble was booking enough gigs that they gave up plumbing. Landry also embarked on a successful visual-art career, photographing contemporaries such as Richard Serra and William S. Burroughs and premiering his work at the Leo Castelli Gallery. He still got back to Louisiana, though, and he'd occasionally sit in with Chenier and his band. (After Landry proved his chops the first time they played together, Chenier affectionately described him as 'that white boy from Cecilia who can play the zydeco.') Landry became a kind of cultural conduit—a link between the avant-garde scene of the North and the Cajun and Creole cultures of the South. From the July 1987 issue: Cajun and Creole bands are conserving native music Landry is an old friend; we met more than a decade ago in New Orleans. Sitting in his apartment in Lafayette recently, he told me the story of the night he introduced Jagger to Chenier. As Landry remembers it, he first met Jagger at a Los Angeles house party following a Philip Glass Ensemble performance at the Whisky a Go Go. The next night, as luck would have it, he saw Jagger again, this time out at a restaurant, and they got to talking. At some point in the conversation, 'Jagger goes, 'Your accent. Where are you from?' I said, 'I'm from South Louisiana.' He blurts out, 'Clifton Chenier, the best band I ever heard, and I'd like to hear him again.' ' 'Dude, you're in luck,' he told Jagger. Chenier was playing a show at a high school in Watts the following night. Landry called Chenier: 'Cliff, I'm bringing Mick Jagger tomorrow night.' Chenier responded, 'Who's that?' 'He's with the Rolling Stones,' Landry tried to explain. 'Oh yeah. That magazine. They did an article on me.' It seems the Rolling Stones had yet to make an impression on Chenier, but his music had clearly influenced the band, and not just Jagger. The previous year, Rolling Stone had published a feature on the Stones' guitarist Ronnie Wood. In one scene, Wood and Keith Richards convene a 3 a.m. jam session at the New York studios of Atlantic Records. On equipment borrowed from Bruce Springsteen, they play 'Don't You Lie to Me'—first the Chuck Berry version, then 'Clifton Chenier's Zydeco interpretation,' as the article described it. Chenier was in Los Angeles playing what had become an annual show for the Creole community living in the city. The stage was set at the Verbum Dei Jesuit High School gymnasium, by the edge of the basketball court. Jagger was struck by the audience. 'They weren't dressing as other people of their age group,' he told me. 'The fashion was completely different. And of course, the dancing was different than you'd normally see in a big city.' The band was already performing by the time he and Landry arrived. When they walked in, one woman squinted in Jagger's direction, pausing in a moment of possible recognition, before changing her mind and turning away. Chenier was at center stage, thick gold rings lining his fingers as they moved across the black and white keys of his accordion, his name embossed in bold block type on its side. Cleveland stood beside him on the rubboard. Robert St. Julien was set up in the back behind a three-piece drum kit—just a bass drum, a snare, and a single cymbal, cracked from the hole in the center out to the very edge. Jagger took it all in, watching the crowd dance a two-step and thinking, ' Oh God, I'm going to have to dance. How am I going to do this dance that they're all doing? ' he recalled. 'But I managed somehow to fake it.' At intermission, a cluster of fans, speaking in excited bursts of Creole French, started moving toward the stage, holding out papers to be autographed. Landry and Jagger were standing nearby. Jagger braced himself, assuming that some of the fans might descend on him. But the crowd moved quickly past them, pressing toward Clifton and Cleveland Chenier. Before the night was over, Jagger himself had the chance to meet Clifton, but only said a quick hello. 'I just didn't want to hassle him or anything,' he told me. 'And I was just enjoying myself being one of the audience.' The next time Mick Jagger and Richard Landry crossed paths was May 3, 2024: the day after the Rolling Stones performed at the New Orleans Jazz & Heritage Festival. During their set, the Stones had asked the accordion player Dwayne Dopsie, a son of another zydeco artist, Rockin' Dopsie, to accompany the band on 'Let It Bleed.' A meal was set up at Antoine's, in the French Quarter, by a mutual friend, the musician and producer C. C. Adcock. Adcock had been working on plans for the Clifton Chenier centennial record for months and was well aware of Jagger's affection for zydeco. He waited until the meal was over, when everyone was saying their goodbyes, to mention the project to Jagger. 'And without hesitation,' Landry recalled, 'Mick said, 'I want to sing something.' ' As the final addition to the album lineup, the Stones were the last to choose which of Chenier's songs to record. Looking at the track listing, Jagger noticed that 'Zydeco Sont Pas Salé' hadn't been taken. 'Isn't that, like, the one?' Adcock recalls him saying. 'The one the whole genre is named after? If the Stones are gonna do one, shouldn't we do the one ?' The word zydeco is widely believed to have originated in the French phrase les haricots sont pas salés, which translates to 'The snap beans aren't salty.' Zydeco, according to this theory, is a Creole French pronunciation of les haricots. (The lyrical fragment likely comes from juré, the call-and-response music of Louisiana that predates zydeco; it shows up as early as 1934, on a recording of the singer Wilbur Shaw made in New Iberia, Louisiana.) Many interpretations of the phrase have been offered over the years. The most straightforward is that it's a metaphorical way of saying 'Times are tough.' When money ran short, people couldn't afford the salt meat that was traditionally cooked with snap beans to season them. The Stones' version of 'Zydeco Sont Pas Salé' opens with St. Julien, Chenier's longtime drummer, playing a backbeat with brushes. He's 77 now, no longer the young man Jagger saw in Watts in 1978. 'I quit playing music about 10 years ago, to tell the truth,' he said when we spoke this spring, but you wouldn't know it by how he sounds on the track. Keith Richards's guitar part, guttural and revving, meets St. Julien in the intro and builds steadily. The melody is introduced by the accordionist Steve Riley, of the Mamou Playboys, who told me he'd tried to 'play it like Clifton—you know, free-form, just from feel.' It's strange that it doesn't feel stranger when Jagger breaks into his vocal, sung in Creole French. His imitation of Chenier is at once spot-on yet unmistakably Jagger. From the May 1971 issue: Mick Jagger shoots birds I asked him how he'd honed his French pronunciation. 'I've actually tried to write songs in Cajun French before,' he said. 'But I've never really gotten anywhere.' To get 'Zydeco Sont Pas Salé' right, he became a student of the song. 'You just listen to what's been done before you,' he told me. 'See how they pronounce it, you know? I mean, yeah, of course it's different. And West Indian English is different from what they speak in London. I tried to do a job and I tried to do it in the way it was traditionally done—it would sound a bit silly in perfect French.' Zydeco united musical traditions from around the globe to become a defining sound for one of the most distinct cultures in America. Chenier, the accordionist in the velvet crown, then introduced zydeco to the world, influencing artists across genres. When I asked Jagger why, at age 81, he had decided to make this recording, he said, 'I think the music deserves to be known and the music deserves to be heard.' If the song helps new listeners discover Chenier—to have something like the experience Jagger had when he first dropped the needle on Bon Ton Roulet! —that would be a welcome result. But Jagger stressed that this wasn't the primary reason he'd covered 'Zydeco Sont Pas Salé.' Singing to St. Julien's beat, Jagger the rock star once again becomes Jagger the Clifton Chenier fan. 'My main thing is just that I personally like it. You know what I mean? That's my attraction,' he said. 'I think that I just did this for the love of it, really.'
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