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Snoopy in Style NYC. Free. 2 to 26 September. Ten zones. Dolls in other people’s clothes. 25 Little West 12th Street.
Peanuts opened Snoopy in Style NYC on 2 September 2026 at 25 Little West 12th Street in the Meatpacking District. Sixteen thousand square feet. Ten immersive zones. Curated by the Charles M. Schulz Museum and Research Center. Public hours 10 a.m. to 6 p.m. daily through 26 September. Admission is free. The shop is not.
The headline object is a field of one-of-a-kind Snoopy and Woodstock plushes in clothes other people made. Christopher John Rogers, Sandy Liang, LUAR, BODE, Coach, Levi’s, Michael Kors Collection, Madhappy, New York or Nowhere, Kith, GAPStudio by Zac Posen, Willy Chavarria, Tommy Hilfiger, Tory Burch, adidas, Collina Strada, and a longer list on the Peanuts release. Joe Cool’s Listening Lounge puts Vince Guaraldi in a mid-century room. A tennis bay holds Schulz’s friendship with Billie Jean King. Sarah Andelman, who built colette in Paris, runs the shop.
The show sits between New York Fashion Week and the US Open on purpose. Flying Ace, novelist, astronaut, college kid, Joe Cool. The new line on the résumé is muse in a free warehouse on Little West 12th.
Signal. What happened: Peanuts opened a 16,000-square-foot fashion and culture show in Meatpacking. Exact event: Snoopy in Style NYC, 25 Little West 12th Street, New York 10014, 2–26 September 2026, 10 a.m.–6 p.m., free. Source: Peanuts 2 September 2026 rel. Why it matters: a seventy-five-year strip still gets working designers to sew for a dog and a bird. Earlier DRIFT: none on this hang.
A close-up of an show banner that reads “SNOOPY in FASHION” against a black wall, with an out-of-focus background showing a person taking a photo of a display in an exhibition space.
scope
Meatpacking is already a corridor of brand rooms. Sixteen thousand feet is large enough to feel like a store that forgot to charge at the door. Ten zones keep the walk from collapsing into one photo pit. Fashion is the bait. Music, tennis, and Schulz’s New York artifacts are the rest of the map. Without those extra rooms the show would be a vitrine with a queue. With them it is a short afternoon.
Jean Schulz, the widow, came to the 1 September VIP in a Snoopy-print shift she had remade after a house fire took the original. She had worn versions of that dress in Mexico City and Berlin. After the fire she asked for fabric and had the print copied from pictures. Zac Posen, Christopher John Rogers, Colm Dillane, Ashlynn Park, Henry Zankov, Shantell Martin, Peter Som, Sarah Andelman walked the same floor. Charlie Brown theme on the speakers. Gift bags at the door. One guest cried at the sight of the dog. That is an opening, not a seminar.
Melissa Menta, Peanuts senior vice president of global brand and communications, told local cameras the project descends from the 1980s, when Connie Bouchard asked designers to dress Snoopy and his sister Belle. New York retools that program around Snoopy and Woodstock. Paris did a seventy-fifth-birthday edition first. New York added the lounge and the King wall because the calendar offered Fashion Week and the Open in the same fortnight.
Hours can shift for events. The printed window is 10 to 6. No ticket. The shop will take money: Aurora, Chinatown Market, C.O. Bigelow, Courting Tennis, Hotel Olympia, Inciardi Prints, Leblon Delienne, LeSportsac, L/UNIFORM, Pintrill, Sugarfina, Whatever!, and more on the release list. Andelman’s name is the signal that the register is part of the curating. colette trained a generation to treat a shop as a room you remember. This is that habit inside a Peanuts hang.
Interactive photo spots are built in. That is how a free show pays for itself in pictures. The listening lounge is the room that might hold a person longer than a doll vitrine. Guaraldi on vinyl and a DJ booth is a different tempo from a fashion week sidebar. Mid-century chairs. Rare albums. The theme you already know played as if it were new.
Twenty-six days is a short run for sixteen thousand feet. The close date is the fact. After the 26th the dolls go into crates and Meatpacking returns to paying rooms.
who
The Peanuts rel names the 2026 doll makers in a single breath: adidas, American Eagle, AREA, ASHLYN, BODE, Chinatown Market, Christopher John Rogers, Coach, Collina Strada, Daveed Baptiste, GAPStudio designed by Zac Posen, Gelato Pique, Gloria Steinem | Gloria’s Foundation, Hotel Olympia, Jeff Hamilton, Kith, Levi’s, LUAR, L/UNIFORM, Madhappy, Michael Kors Collection, New York or Nowhere, Omega, Public School New York, Robert Wun, Sandy Liang, STAPLE, Tanner Fletcher, threeASFOUR, TIER, Tommy Hilfiger, Tory Burch, Willy Chavarria, ZANKOV.
That is not a small favor list. It is a New York week compressed onto plush. Rogers and Liang and Chavarria and Posen in the same vitrine as Levi’s and Coach is the point. High and high-street on a beagle that already wore both in the strip. Gloria Steinem’s foundation on the list is the political cousin. Omega is the watch. Jeff Hamilton is the jacket guy. threeASFOUR is the experimental house. The list is meant to look slightly too long. It is.
Joe Cool is the alter ego the show leans on for clothes. Sunglasses. Lean against nothing. The listening lounge borrows that posture. Flying Ace is elsewhere in the ten zones, scarf and goggles, the job every child already knows. Novelist on the doghouse. Astronaut. College student. The strip gave him work the way a résumé gives a person work. Fashion is the job this room adds in cloth.
The red-and-black diamond sweater and flame-stitched mock from Schulz’s own closet sit as the strip’s fashion, not the 2026 commission. Charlie Brown’s zigzag. Linus’s blanket. Sally’s dots. Those garments are the characters. The designer dolls are guests.
Woodstock gets dressed too. The pair is the unit. A bird in a tiny tailored look is funnier than another black sweater on the dog. The dolls are one-offs. They are not a drop. You cannot buy the Rogers Snoopy at the register. You can buy a LeSportsac with the face on it. That split (unique object in glass, multiple object at till) is how exhibitions like this stay honest about what is art and what is inventory.
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fin
1990 at the Louvre already put Chanel, Hermès, Dior, Armani, Givenchy on Peanuts. The résumé is not new. New York is a chapter, not an origin. The seventy-fifth-anniversary Paris hang proved the room would fill. Meatpacking is the American answer with tennis and jazz added because the city was already holding those two calendars.
Schulz and King were friends. The US Open running across town makes that wall timely rather than random. Letters, photographs, the kind of personal paper a museum can lend. Silver Snoopy pins from NASA sit in the larger myth: the beagle as a flight-safety honor, not only a comic. The strip ran fifty years in newspapers. The dog collected jobs. Fashion is one more, documented in cloth this month.
Charles M. Schulz Museum in Santa Rosa holds the paper. The Research Center’s name on the New York wall is how an IP show borrows authority instead of inventing it. Peanuts Worldwide hosts. Andelman consults the shop. That split (museum for vitrines, colette graduate for SKUs) is the contemporary version of a character that always lived in both the funny pages and the gift shop.
Sparky was Schulz’s nickname. The zones use it. Visitors who only know the dog still walk through a man’s friendships. That is the shh claim under the designer names. A strip about a failing pitcher and a brilliant dog also held a tennis correspondence and a jazz score that outlived both men in the room.
26 September is the close. Fashion Week will have moved. The Open will be ending. The dolls go back into crates. The free door is the fact that still surprises in this district. Sixteen thousand feet of Snoopy, no ticket, a register at the end if you want a bag. Joe Cool on the résumé again, this time in other people’s seams, on Little West 12th, until the last afternoon of the month.
