AWGE Fall 2026: Bring It Home
A few days before New York Fashion Week began, it was announced that AWGE, A$AP Rocky’s brand that has shown in Paris the past two seasons, was throwing a surprise show, upending the calendar for the week with a show that felt deliberately grounded — less about spectacle, more about his point of view.
“Me being from here, I felt like it was appropriate,” he said postshow of the homecoming. His sense of home anchored a collection that sprawled both genders, blurring categories while making a statement.
The offering moved fluidly between sharp tailoring, preppy staples, pragmatic workwear, and sports, often colliding it all in a way that felt distinctly Rocky — precise but a little unruly. Plaids surfaced repeatedly — some evoking a “Clueless”-era schoolgirl primness — only to be subverted with fur trims, exaggerated proportions, or unexpected fabric clashes.
Meanwhile, tailoring leaned latex-slick and slightly confrontational with a few ideas, while others went pure oversize workwear. Sporty touches were abundant: a range of leather racing coats and cropped jerseys from Puma, a brand he regularly collaborates with, and eyewear from Ray-Ban, where he is creative director. Each was a clear commercial through-line without dulling the collection’s edge.
He noted that he understands what men want, but with womenswear he often seeks out a female for perspective. Maybe his partner Rihanna helps — she did sit in the front row beaming and was there relatively early for her, in full AWGE next to A$AP Nast.
The show broke the fourth wall, bringing guests behind the scenes with makeup stations on the runway. The multihyphenate wanted the audience to “see us getting ready, see the imperfections” of models pausing at glam stations while a live feed projected a behind-the-scenes look at the lineup around the walls of the massive former bank space.
Accessories did much of the heavy lifting. Oversize bags — intentionally impractical in scale — signaled fashion as attitude rather than utility. Others had a message with “We heart our country,” with a broken heart emoji, while fur baby pouches and a massive leather baby carriage underscored Rocky’s interest in everyday objects reframed as fashion statements, presenting fatherhood as visible, styled and normalized.
“I thought it was cool to kind of put men in positions, pushing strollers. It’s not really too far-fetched when you think about involved parents or fathers. I just wanted to put it under a different scope and show urban people doing it, swagging it up,” he said.
The result was a show that felt expansive and exciting, rather than edited down — messy in places, yes, but also sincere and teaming with identity, community, and the lived reality of how people dress, move and care for one another. In returning to New York, Rocky didn’t just come home — he re-centered his fashion conversation around culture.
