At its third and final show at New York Fashion Week, the Global Fashion Collective turned The Glasshouse in Hell’s Kitchen into a playground of imagination, featuring collections from four international labels: Alex S. Yu, ruikodou, NOLO and Eduardo Ramos. Each designer brought their own vision to the runway Friday night, showcasing a variety of styles from childlike costumes to edgy streetwear.

Alex S. Yu

Starting the show was Alex S. Yu’s Spring/Summer 2026 collection “Mezzo Melancholies.” The Vancouver-based brand, which positions itself as being “for the everydaydreamer,” explores the intersection of reality and fantasy. The show opened with child models sporting pastel plaid and denim pieces with a bow-print. Styled with lace socks, white sneakers and pigtails, the outfits gave a polished edge to school-age nostalgia.

As the collection transitioned from designs for children to adults, it maintained its playful back-to-school energy. One look consisted of a cocktail-length dress in a green plaid print, made more whimsical by asymmetrical ruffles along the skirt. The dress, styled with knee-length white socks, showcased a whimsical and elevated take on a preppy schoolgirl outfit.

The collection also showcased the flowy tulle designs Yu is most known for, layered with bold prints and metallic fabric. The final outfit featured a frilly white tulle overskirt over a silver mock-neck gown, topped by a white veil that gave it a bridal quality. The outfit was a fitting finale for the collection and its vision of bringing dreamlike elements to the everyday.

ruikodou

As cheery orchestral Christmas music played down the runway, Japanese label ruikodou showcased its collection of vibrant clothes radiating childlike joy. Founded by designer Ruiko, the brand aims to bring practical comfort to the charm of stage costumes, aligning with the brand’s theme of “Everyday is a party.” 

The collection was composed of playful poncho-like garments that looked straight out of Eric Carle’s “The Very Hungry Caterpillar,” with its simple color-blocking and imagery. The cheerful costumes included a watermelon slice, a yellow taxi and a ladybug. One look was covered in a myriad of cartoonish animals from the Chinese zodiac, which a model swished around like a cape. 

Ruikodou’s designs also highlighted Japanese cultural symbols, like geishas and koinobori, or fish-shaped flags typically hung on Children’s Day. The body of an A-line dress was composed of three fishes with detailed fabric scales, their tails extending out on one side. As the model lifted one arm, the fish tails swung around, the way actual konibori would in the wind. Each garment’s high-quality construction allows ruikodou’s designs to look elegant, while still being quirky and fun.

NOLO

Next to hit the runway was Luis Corrales’ Sonora-based label NOLO, which showcased its latest line of streetwear. Like Alex S. Yu, NOLO opened its collection with kidswear, as a few child models donned boxy industrial jackets and shorts in dramatic, dark colors. As the collection transitioned to its clothing for adults, one model wore a simple silver tee with the words “be an icon” written in red. This was paired with low-waisted pants, which had the same words subtly embroidered at the hem, and a cap that read “DREAM OF MEXICANICATION” — a subversive message celebrating the brand’s roots.

Despite the edgier aesthetics of the streetwear, the collection maintained a streak of playfulness. NOLO’s final outfit consisted of pants made out of a net-like fabric and a jacket that mimicked grass, spray-painted with “MEX,” “USA” and “CAN” and “2026”— an obvious reference to a soccer pitch and the upcoming FIFA World Cup. The piece typifies how NOLO’s bold statement pieces merge identity with sportive, witty messaging.

Eduardo Ramos

The final designer featured on the runway was Eduardo Ramos, who showcased his SS26 collection “Persona.” Ramos’ designs utilized dramatic black and white lace, juxtaposed with sturdier fabrics like leather and denim. Each model wore a lace mask that completely covered their heads, leaving only their frizzy ponytails poking through. Altogether, this created an unsettling, doll-like appearance. 

One outfit featured a large Elizabethan collar and corset made of denim that framed the model’s obscured head. This was layered over a frilly white dress with lace at the cuffs and hem, showing an interesting tension between delicacy and severity.