Cynthia Erivo, photo courtesy of Getty Images for ABT

Acclaimed British stage and screen artist Cynthia Erivo was honored at American Ballet Theater’s 2026 Fall Gala on Thursday, October 29, at the David H. Koch Theater at Lincoln Center. Erivo was honored for her extraordinary artistry, her cross-disciplinary excellence in the performing arts, and her work spanning theater, music, and film.

Grand Gala Chair Sloan Lindemann Barnett and Roger Barnett photo courtesy Getty Images for ABT

Grand Chairs Sloan Lindemann Barnett and Violet Barnett; Emily Blavatnik and Laila Blavatnik; and Julia Koch and Mary Julia Koch led the Gala, three mother-and-daughter pairs joining together in support of American Ballet Theatre and its artists.

In a spirited nod to the Halloween season, Angels and Demons served as this year’s theme, bringing fantasy, mystery, and playful mischief to ABT’s flagship annual benefit, which raises vital funds to support company productions, new commissions, dancer training, and community engagement programs.

Erivo’s bold, dynamic stage presence, fashion-forward style, and mastery of dramatic and supernatural roles—such as Elphaba in the upcoming Wicked film adaptation and her recent West End run in Dracula—perfectly mirrored the evening’s dark, fantastical narrative.

Margaux Gisele DeAllen, Honoree Cynthia Erivo, Debbie Allen, Susan Jaffe, Barry Hugson, photo Getty Images for ABT

During Welcoming Remarks, ABT’s Artistic Director Susan Jaffe noted that Erivo brings a rare combination of artistry, emotional honesty, and fearless imagination to every role—qualities deeply valued and cultivated in professional ballet. Executive Director Barry Hughson emphasized the importance of supporting the arts, especially now.

Debbie Allen presented Cynthia with her award. She recalled their first meeting at the Kennedy Center Honors in December 2016. Erivo sang “The Impossible Dream” during a segment honoring President John F. Kennedy, and her powerhouse vocals earned a standing ovation from President Barack Obama, First Lady Michelle Obama, and the audience of honored guests. The moment became even more iconic when Aretha Franklin was spotted singing along in the audience.

“Art to me is akin to oxygen. We need it to live; it teaches us to love. I am proud to stand here to accept this award because I know the ABT feels the same.” – Cynthia Erivo

Cynthia recalled the first time she attended an ABT performance in May, 2016. She marveled at how much her adventurous life has changed over the past 10 years and reflected on how meaningful this award is.

Curated by Artistic Director Susan Jaffe, the one-night-only program featured classic and contemporary excerpts that explored the celestial and devilish theme through dance. ABT Principal Dancers Thomas Foster and James Whiteside hosted the evening; one wore a halo, the other devil’s horns.

An excerpt from Alexi Ratmansky’s Whipped Cream, photo by Marilyn Kirschner

Frederick Ashton choreographed three works, including the company premiere of Dance of the Blessed Spirits, danced by Daniel Camargo; pas de deux from The Dream, with Catherine Hurlin and Isaac Hernández; and Sylvia, with Christine Shevchenko and Calvin Royal III.

An excerpt from Agnes de Mille’s Three Virgins and a Devil Photo by Marilyn Kirschner

Then came the demons, or at least the mischief. The program also included excerpts from Alexei Ratmansky’s Whipped Cream, the confectionery fever dream in which a sugar-sick boy hallucinates his way through a pastry shop; from La Sylphide, staged after Bournonville, with Hee Seo and Joo Won Ahn; and from Enrique Martinez’s Coppélia, with Skylar Brandt and Roman Zhurbin.

The program closed with Herman Cornejo and Léa Fleytoux in Fokine’s Le Specter de la Rose; Agnes de Mille’s comic Three Virgins and a Devil, with Jake Roxander, Devon Teuscher, SunMi Park, Sierra Armstrong and Tyler Maloney; and, inevitably, the Act III pas de deux from Swan Lake, danced by Chloe Misseldine and Aran Bell.

Sai De Silva, Tina Leung, Sara Hoover, photo courtesy of Getty Images for ABT

Gala guests who enjoyed the beautiful performance, black-tie dinner, and dancing on the Promenade of the David H. Koch Theater included Katie Holmes & Jason Bard Yarmosky, Anh Duong, Athena Calderone, Charlotte Groeneveld, Coco Kopelman, Elizabeth Segerstrom, Elizabeth Sulcer, Gucci Westman, Isabella Boylston, Lilah Ramzi, Lizzie Asher, Michael Kors & Lance LePere, Misty Copeland, Muffie Potter Aston, Natalie De’Banco, Nicky Hilton Rothschild, Phillip Lim, Sai De Silva, Joshua Kamei, Kimberly Pirtle, and Sarah Hoover, among others.

Natalie De’Banco, Nicky Hilton Rothschild, Elizabeth Sulcer photo courtesy of Getty Images for ABT

The dress code was “Festive Black Tie,” and I was eager to see how guests would interpret the angels-and-demons theme. There was plenty of angelic white, plus plenty of black and white. Cynthia, who wore a black tailored floral-appliqued coat dress and crisp white shirt fresh off the Erdem 2027 runway, gets my vote as most creative. I always love tailoring in a sea of gowns.

Marilyn Kirschner, Irina Dvorovenko, former ABT Principal Ballerina

Naturally, there was a smattering of devilish red, though I was surprised I did not see more. Former ABT Ballet Prima Ballerina Irina Dvorovenko and I were among the handful who went all out with color.

Black-clad guests, Photo by Marilyn Kirschner

There is no question that New York black ruled the night. Does that mean the demons have won? Regardless, no matter how you look at it, everyone enjoyed a devilishly good time!

COMMENTS ?

1. 

   FROM: American fashion designer Ralph Rucci: A major home run! How extraordinary this young lady is, and along with her…

1. 

   FROM: American fashion designer Ralph Rucci: A major home run! How extraordinary this young lady is, and along with her…

2. 

   test comment

The post The ABT Fall Gala Honors Cynthia Erivo appeared first on lookonline.

Vanessa Friedman and Diane Von Furstenberg, Photo by Slaven Vlasic, Getty Images for Fashion Institute of Technology

On Thursday, October 22nd, the Couture Council at FIT honored Diane Von Furstenberg, designer, entrepreneur, and philanthropist, with its prestigious Couture Council Fashion Award. The annual fundraising luncheon, held at Gotham Hall, was co- chaired by board member Anne Baker, jewelry designer at Anne Baker Collection, and Alida Boer, CEO and founder of Nolé Care and Marias.

Dr. Valerie Steele, Diane Von Furstenberg, Jason S. Schupbach, President of FIT, Photo by Laurel Marcus

About 350 attended, including cultural icons from fashion, art, philanthropy, and business. Among them: Jason Schupbach, FIT president; Dr. Valerie Steele, director and chief curator, MFIT; Sharon Jacob, Vice Chair, Couture Council Board of Directors; Linda Fargo; Fern Mallis, Bethann Hardison, Constance White, Candice Bushnell, Martha Stewart, Fabiola Beracasa,  Ken Downing, Hal Rubenstein, Cathy Prounis, and philanthropist Joan Hornig.

Marilyn Kirschner, Narciso Rodriguez and Sharon Jacob, Photo by Laurel Marcus

And of course, there were numerous American fashion designers: Henry Zankov, new artistic director of Diane Von Furstenberg, Daniella Kallmeyer, Jonathan Cohen, Nicole Miller, Zane Li, the young designer who just won the CFDA/Vogue Fashion Fund Award, Kokin, Marisol Deluna, Narciso Rodriguez, a past Couture Council honoree in 2018, and artist Ruben Toledo, whose late wife Isabel was a Couture Council honoree in 2008.

A guest and lunch Co-Chair Alida Boer twinning in dresses by Diane Von Furstenberg, Photo by Laurel Marcus

While there is no dress code, guests at the Couture Council lunches traditionally wear something by the designer or in keeping with the designer’s aesthetic. Unsurprisingly, many women wore a printed DVF design (Valerie Steele, who usually wears all black, was almost unrecognizable lol), and, of course, several women wore one of Diane’s iconic wrap dresses.

Still, even Diane would admit it doesn’t universally fit everyone. So the best way to honor Diane is to remember her motto: “Be the woman you want to be.” In other words, dress for the best version of yourself.

Ralph Rucci was the first Couture Council honoree in 2006. Calling this event unlike any other in its 20-year history (I’ve attended every one) is an understatement. For one thing, this lunch moved later into the fall season than past iterations, which traditionally kicked off or aligned closely with the start of New York Fashion Week.

“The Room” photo by Laurel Marcus

For the past 16 years, the preferred venue was Lincoln Center’s David H. Koch Theater. Past locations include The Rainbow Room and Cipriani 42nd Street. This year, the venue headed to the historic Gotham Hall at 37th and Broadway, a 9,200-square-foot, column-free ballroom with 70-foot soaring ceilings, Corinthian columns, and a massive 3,000-square-foot stained-glass skylight dome.

The Couture Council had established a distinct pattern of honoring younger, actively working creative directors (the majority of whom were men) who head major contemporary fashion houses, or traditional, high-fashion avant-garde or European couturiers.

By selecting Von Furstenberg, the Council broke this streak and pivoted back to celebrating lifetime legacy influence and structural fashion history rather than current runway collections. The timing aligned perfectly with a broader revival for the Diane Von Furstenberg brand. Just one and a half months ago, DVF made a major return to NYFW under new artistic director Henry Zankov.

“There are a lot of words I could use to describe today’s honoree. We call her a designer, entrepreneur, feminist, activist, philanthropist, mother, grandmother, daughter, friend, and mentor. But I prefer the term ‘force of nature,’ which I know is three words. But that’s the point! It is impossible to reduce her to just one.” – Vanessa Friedman, Fashion Director and Chief Fashion Critic, The New York Times

Cat O’Neill, Sharon Jacob, Julie Lanning, Photo by Marilyn Kirschner

Vanessa Friedman presented the award to Diane during a divine fall lunch (roasted winter squash and burrata, Montauk tilefish and chanterelles with grilled corn and barley risotto).  Tables featured runners crafted by FIT Menswear students from an archival DVF Ikat print first used in 1983. The walls featured imagery from throughout Diane’s career.

Vanessa Friedman, Photo by Laurel Marcus

FYI, Vanessa was not wearing DVF but looked cool in a vintage Dries Van Noten jacket. New York Times editors and reporters cannot borrow designer clothes because the paper’s strict ethics policy bars staff from accepting gifts, discounts, or other benefits of value from individuals or organizations they cover or might cover.

If you haven’t noticed lol, Vanessa isn’t one to gush automatically, but as she points out, Diane’s very existence is nothing short of remarkable. Diane’s mother, Lily Halfin, was a holocaust survivor who weighed only 49 pounds when she was liberated from Ravensbrück concentration camp (was in Auschwitz prior) and was told she would never have a child of her own. Friedman cannot help but be impressed by Diane’s Newsweek Magazine cover, scored at age 29 in 1976.

Diane Von Furstenberg, Photo by Marilyn Kirschner

Equally extraordinary to Friedman is that Diane not only changed the way women dress, but also changed the look of the city, revitalizing the Meatpacking District, playing a major role in creating The Highline, and funding Little Island (Pier 55) with her husband, Barry Diller.  Known as the “godmother” of the Statue of Liberty, Diane chaired the fundraising campaign that raised $100 million to build the 26,000-square-foot Statue of Liberty Museum on Liberty Island, which officially opened in May 2019.

Vanessa finds Diane most remarkable because she seems superhuman, yet is willing to show her human side in an image-obsessed industry. And, of course, that Diane never stops. On the eve of Von Furstenberg’s 80th birthday (December 31st), she took on a new project: Save Venice, “just a little side gig” Friedman joked.

“It was a whole new generation who came to love the wrap dress. All my life, I wanted to be the woman in charge, and then I became a woman in charge of a little dress. I have confidence that many, many generations of women wore the wrap dress while also becoming women in charge.” – Diane Von Furstenberg

Von Furstenberg ended the luncheon with an emotional, informative, and entertaining talk that felt more like watching the documentary about her life, “Woman in Charge,” than an acceptance speech. Past honorees have often made theirs short and sweet. This wasn’t short, but it was sweet. If anyone is entitled to do so, it is Diane, who leads a charmed life and knows she is fortunate and blessed.  “Many people think that when you become a princess, like I did when I married Egon Von Furstenberg in July 1969, that it’s the end of the fairytale. It’s only the beginning.”

Diane’s resilience and life philosophy—that “fear is not an option”—are heavily influenced by her mother Lily, her longtime and only muse, though nowadays she also considers Venice, Italy, her muse. Female empowerment and becoming that “woman in charge” have always been Diane’s main messages, but as she ages, she has found that kindness matters most.  At the end, she urged everyone to do one thing every day: connect one person with another who can change their life. “We all have a magic wand. I advise you to use your magic wand.”

The post “It’s a Wrap”: The Couture Council Honors Diane Von Furstenberg! appeared first on lookonline.

Celine Spring 2027 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression

The Spring Summer 2027 collections mark a decisive pivot away from sterile quiet luxury and rigid minimalism toward expressive, textured personality and a more lived-in, expressive, and practical approach to dressing. The season’s dominant mood is “Miximalism”. It is an eclectic approach where abundant, expressive details are anchored by minimalist discipline.

Chanel Spring 2027 Ready-to-Wear Photo by Cha Gonzales for CNN

Matthieu Blazy’s Chanel exists in a deliberately nuanced middle ground, neither strictly minimalist nor maximalist. Blazy’s Chanel collections feature vibrant color palettes (such as poppy red, powder pink, and botanical green), wild prints, and embellished accessories that appeal to maximalist tastes. Yet structural control and ease ground them.

Christian Dior Spring 2027 Ready-to-Wear, Photo by Giovanni Giannoni for WWD

Jonathan Anderson’s vision for Christian Dior is not the strict opposite of minimalism, but rather a deliberate rejection of “quiet luxury” and corporate minimalism. Instead of opting for either pure minimalism or pure maximalism, Anderson operates in a conceptual middle ground that fashion critics often describe as a “minimalist-maximalist” dualism or a “revolution in restraint.”

Celine Spring 2027 Ready-to-Wear Photo by Alessandro Lucioni courtesy of Celine

Celine’s Spring/Summer 2027 collection—designed by creative director Michael Rider—was one of the standout shows of Paris Fashion Week because it championed wearable, spontaneous, and unpretentious real clothes at a time when much of the industry felt weighed down by heavy concepts or rigid theatricality.

While the collection relied on foundational staples, it was elevated by unexpected bursts of character. Rider focused on “emotional dressing” and spontaneous styling. The pieces imposed no mental or physical burden on the wearer, feeling deeply intuitive and wearable. Instead of rigid, over-complicated styling, the runway championed clothes that don’t try too hard.

Tom Ford Spring 2027 Ready-to-Wear Photo by Giovanni Giannoni for WWD

Haider Ackermann’s work for Tom Ford is best described as poetic and architectural minimalism rather than bare, ascetic minimalism. Rather than relying on heavy embellishment, tension is created through silhouette, bare skin, and exact millimeter-level construction.

Courreges Spring 2027 Ready-to-Wear Photo by Acielle for StyleDuMonde

While the house of Courreges and its previous creative director, Nicolas Di Felice, were deeply associated with a strict, monochromatic, and rave-inflected “Space Age minimalism,” the Spring 2027 debut of new creative director Drew Henry, who previously trained under Phoebe Philo, actively broke away from that aesthetic.

Still, you can find elements of intellectual minimalism in the colleon’s structural anchors: clean geometric lines, fluid jumpsuits, and lean tunics that nod to his minimalist background while exploring a looser, more eccentric future.

Jil Sander Spring 2027 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com

Houses like Hermes and Jil Sander proved that minimal doesn’t mean colorless. Jil Sander maintained razor-sharp, precise silhouettes but jolted them to life using unexpected color combinations like butter yellow, saturated pink, and flashes of Yves Klein blue.

Jil Sander Spring 2027 Photo, thecut.com

Moreover, Jil Sander Creative Director Simone Bellotti explicitly leaned into “twisted basics” and purposeful “dressing mishaps” centered on deliberate imperfection, disruption, and vulnerability. The problem with some of these designs is that you run the risk of being mistaken for someone in dire need of a good tailor and a new set of eyeglasses, because the result can look ill-fitting and plain strange.

The Row Spring 2027 Ready-to-Wear Photo courtesy The Row

Famously the poster child for hyper minimalism, The Row pivoted sharply toward “modern bohemia,” introducing fringe, crochet, and intricate, opulent textures.  Rather than clean, seamless austerity, the collection introduced antique-looking lace fragments, vintage-style doilies, tapestry ribbons, crochet halter tops, and raw-edged, lived-in textures that felt like personal, hand-assembled heirlooms.

Miu Miu Spring 2027 Ready-to-Wear, photo by Giovanni Giannoni for WWD

Miu Miu’s Spring/Summer 2027 collection (“Here and Now”) is neither purely minimal nor maximal; instead, it lives in an intentional clash between minimalist sportswear and maximalist or embellished evening elements. Miuccia takes ordinary, everyday athleisure and street clothes and elevates them through intentional friction and contrast.

As they say, variety is the spice of life. Strict adherence to one aesthetic can eventually feel restrictive or monotonous. While minimalism offers clean lines, function, and quiet luxury, staying in that lane for too long can cause style fatigue. Saturated hues, sequins, rich textures, and dramatic silhouettes add an emotional lift and turn everyday dressing into high-energy play.

Dries Van Noten Photo by Acielle for StyleDuMonde

Since taking over as creative director, Julian Klausner has not only preserved Dries Van Noten’s signature penchant for artful eccentricity; he has actively doubled down on its maximalist inclination and gloriously excessive vision.

Saint Laurent photo courtesy Saint Laurent

The Saint Laurent Spring 2027 Ready-to-Wear show serves as a spectacular, unapologetic antidote to spare minimalism.  Creative Director Anthony Vaccarello used his milestone 10th-anniversary presentation to create a lavish sensory spectacle played out almost entirely in gold.

Chloe Spring 2027 Ready-to-Wear, photo courtesy of Chloe

Meanwhile, fashion’s biggest unsubstantiated rumor is that Anthony is leaving Saint Laurent and Chloe’s Creative Director, Chemena Kamali, a former Vaccarello protege, will succeed him.  

It was hard not to notice several Saint Laurent-isms in Chemena’s Chloe Spring collection: the predominance of black, white, and tan, the safari-esque jackets, and some notable “le smoking” iterations: two white pantsuits and a black tuxedo jumpsuit. Are they just coincidental?

On Friday morning, it was confirmed that Anthony Vaccarello is stepping down after 10 years at Saint Laurent and a new creative director will soon be announced. Chemena Kamali is widely expected to succeed him.

The post Marilyn’s Fashion Notes: The New Minimalism appeared first on lookonline.

Coco Chanel and Boy Capel, 1936 Photo: Pinterest

2026 unquestionably belongs to Chanel. The iconic house is undergoing one of the most closely watched creative renaissances in modern fashion history under its new creative director.

Matthieu Blazy is driving intense fashion buzz, but reviews remain mixed. Many fashion enthusiasts, myself included, still miss Karl Lagerfeld’s street-inspired energy at Chanel.

Karl Lagerfeld’s Hip Hop collection for Chanel, Fall 1991 Photo courtesy Chanel

Karl understood that true style often bubbles up from the sidewalk, and he loved subverting classic luxury with gritty, urban energy. Lagerfeld blended ultra-luxury with street and consumer culture, creating cultural moments that haven’t quite been replicated since.

The bottom line is that creative directors may shape Chanel’s modern narrative, but the brand’s core identity remains anchored in the legacy of Coco “Gabrielle” Chanel, whose 143rd birthday was celebrated on August 19th. Trends, designers, and fashion houses come and go, but the Chanel Mystique lives on.

Celine by Michael Rider, Photo Instagram

The pure Chanel aesthetic, defined by Chanel’s core principles of functional elegance, structural freedom, and gender-blurring utility, remains a powerful influence on modern designers. It is more relevant now than ever, because contemporary life demands function over performative fashion, and consumers are fatigued by over-hyped, logo-heavy fast trends.

Co Collections Pre-Fall 2026, Photo by @cecilebortoletti

The greatest fashion innovations in history, like Chanel’s jersey knits, moved the needle precisely because they liberated women daily, and we continue to see vestiges in many collections.

As fashion moves towards quiet luxury, functional capsule wardrobes, and fluid tailoring, Coco’s founding philosophy prioritizing comfort, movement, and effortless chic over restrictive trends is exactly what modern consumers are looking for.

Phoeobe Philo’s boyish ease, Photo phoebphilo.com

Buying into the “Chanel Mystique” is a highly effective remedy for wardrobe fatigue because it shifts one’s relationship with fashion from chasing fleeting trends to embracing a predictable, high-utility uniform.

“The more I learn about fashion, the less interested I am in looking like I know fashion.” – Wiktoria Frankowska, Warsaw-based fashion designer/creative director.

Vienna based Stylist Laura Veszpremi, Photo Instagram

Many women prefer a chic, timeless look that transcends fashion, over chasing fast-moving trends. They want style that feels easy, clean, and classic, and they want to achieve it with minimal fuss and without spending a fortune.

Because Coco’s design philosophy was rooted in simplicity, comfort, and minimal color palettes, reproducing her iconic look does not require a luxury budget. Ironically, Coco herself pioneered the use of budget-friendly, everyday materials like wool jersey and actively championed costume jewelry made from fake pearls and glass, allowing women to layer accessories without spending a fortune.

Danish fashion editor, creative directot Pernille Teisbaek Photo Instagram

Elements of Chanel’s aesthetic appear across every category and price point. Sometimes, all you need is a cap-toe pump or ballet flat. They don’t need to be Chanel, and they don’t need to be expensive.

Chanel Fall 2026 Ready-to-Wear Photo by Dominique Maitre Photo WWD

Some argue that Chanel’s founding principles matter more today because they prioritize strict utility, austere minimalism, and real-world wearability over the high-concept storytelling and maximalism driving current creative director Matthieu Blazy.

Chanel Fall 2026 Ready-to-Wear Photo by Dominique Maitre for WWD

Purists argue his approach veers away from the stark, liberating functionalism that made Chanel a revolutionary voice. I disagree. Matthieu addresses both sides equally well. That said, there are times Blazy’s shift at Chanel is an eclectic, high-craft spectacle rather than the ultra-minimalist, silent luxury uniform that defines The Row.

Mary-Kate and Ashley Olsen unquestionably share structural and philosophical similarities with the original early 20th-century Chanel aesthetic, rooted in radical minimalism, menswear tailoring, and uncompromised utility. These pillars define The Row today.

The Row Fall 2026 Ready to Wear Photo courtesy of The Row

Chanel revolutionized women’s fashion by adapting elements of the male wardrobe. The Row draws on Savile Row menswear tailoring, from which the brand takes its name, to create structured coats, oversized blazers, and trousers.

The Row Fall 2026 Ready-to-Wear Photo Courtesy of The Row

Like Coco, the Olsens use design through subtraction, removing visible hardware and trendy details to let the construction speak for itself. The Row and Coco share a minimalist, timeless palette built heavily on black, white, ivory, and restrained neutrals like beige, gray, and navy.

The Row Fall 2026 Ready to Wear Collection Photo courtesy of The Row

To this day, Coco’s strict reliance on black and white as the ultimate canvas for absolute harmony remains the safest, most sophisticated color strategy for anyone building a versatile wardrobe.

Sacai Fall 2026 Ready-to-Wear Phot Courtesy of Sacai

Improving on black and white in fashion is impossible because these two shades form a complete visual code. They create maximum contrast and clean lines, and designers struggle to add new ideas without weakening that power.

Innovation in fashion is exciting, but the ultimate challenge is making something both groundbreaking and highly functional for a woman’s daily life. True high design serves the wearer, empowering her to move through her day effortlessly. Progress shouldn’t mean leaving women behind.

The post Marilyn’s Fashion Notes: The Enduring Relevance of the Chanel Mystique appeared first on lookonline.

The Uniform du Jour, photo Instagram

In France, the transition from summer to fall is celebrated. They even have a word for it: “la rentree,” which literally translates to “the return”. It describes the nationwide return to work, school, and normal routines in September after the long summer holiday,

Indeed, September feels like the start of a brand-new year; there’s a magical sense of new beginnings and fresh starts. My idea of a perfect transitional uniform also has a French accent. Pairing a tailored jacket with well-worn jeans is a classic hallmark of effortless French style, known as chic décontracté.

Celine Spring 2026 Ready-to-Wear, photo courtesy of Celine

It serves as a versatile transitional outfit for the shift from summer to fall, adapting easily to changing temperatures and various daily activities. By mixing the formal and the casual, nothing appears too strict or overly contrived. This was exemplified by Michael Rider, who prominently featured tailored pieces and denim/jeans in his debut Celine collection.

The Universal Uniform, photo Instagram

The world is practically in blue jeans, as denim has become a universal, global wardrobe staple. A tailored black or navy blazer (or tweed jacket) and blue jeans are a fail-safe, reliable uniform, a smart-casual staple relied upon worldwide for its effortless balance of polish and comfort.

Christian Dior Fall 2026 Ready-to-Wear, Photo by Giovanni Giannoni for WWD

Since taking over the creative helm at Christian Dior, Jonathan Anderson has repeatedly relied on well-worn, faded denim to counterbalance his luxurious, couture-like jackets for guys and gals. Of course, nothing is more French than Chanel.

Chanel jackets and jeans, photo Instagram

Pairing a Chanel jacket with jeans is more popular than wearing the full suit because it balances high-end luxury with everyday comfort, avoids looking too formal or dated, and creates a high-low fashion contrast. It’s the oldest styling trick in the book, but as the world becomes increasingly casual, this way of dressing resonates with many people.

Vogue November, 1998

Speaking of styling tricks, you can get away with anything over-the-top and extravagantly embroidered or gilded when it’s downplayed with jeans. Case in point: Anna Wintour’s inaugural cover for Vogue, November, 1998, featuring an elaborate Christian Lacroix jacket with Guess stone-washed jeans.

Marc Jacobs wearing a Chanel leopard-printed jacket and bag, Celine jeans, photo on Instagram

Many women and men on both sides of the Atlantic have been sharing images of themselves wearing their favorite Chanel tweed jackets with denim; the paler and the wider, the better. Marc Jacobs frequently posts photos of himself on Instagram wearing one of his beloved Chanel tweed jackets, often paired with jeans. Marc’s latest acquisition is the much-sought-after leopard-print jacket with a matching bag from the New York-inspired Métiers d’Art collection.

Prices range from $8,450 to $14,800 for jackets and $8,400 to $9,200 for leopard-motif or pony-hair flap bags, depending on the exact style and fabric.

The ever-chic fashion Icon Ines de la Fressange, photo on Instagram

French model and Karl Lagerfeld muse Ines de la Fressange started the trend of wearing Chanel jackets with jeans in the mid-1980s. The iconic face and first exclusive muse for Chanel, starting in 1983 (she now serves as Global Ambassador for Roger Vivier), Ines shocked high society by pairing luxury tweed jackets with casual blue jeans and white T-shirts. Lagerfeld supported this high-low mix on the runway and in real life, pairing the jacket with denim in his mid-1980s collections.

Polo Ralph Lauren Spring 2025 Ready-to-Wear, photo courtesy of Ralph Lauren

Ralph Lauren famously pioneered and popularized the rugged, preppy blending of tweed blazers or tuxedo jackets with worn-in denim. That said, Giorgio Armani is widely credited as the first major designer to systematically pair well-tailored jackets with jeans. Armani remains the absolute pioneer for fundamentally restructuring the tailored jacket to make that subversion possible in high fashion.

When Armani launched his namesake brand in 1975, his new tailored jackets were as lightweight and comfortable as a shirt; they possessed a natural nonchalance. Armani deliberately styled these luxurious jackets with casual T-shirts and denim jeans. This styling choice challenged conventional dress codes and essentially invented the modern “smart-casual” look.

Thom Browne jacket paired with denim selvage jeans from the new collection, photo courtesy thombrowne.com

As they say, if you can’t beat them, join them. Thom Browne recently introduced the brand’s first-ever collection of signature tailoring crafted from raw and stone-washed indigo selvage denim. Woven in Japan, the pieces blend workwear durability with high-end structural design.

A first for Thom Browne, signature tailoring crafted in raw selvage denim, photo courtesy thombrowne.com

The denim brings a new ease to Thom Browne’s precise tailoring without losing the house codes. That tension between structure and casualness makes the collection feel especially fresh. It’s a look that is very sporty and very all-American. Since we are celebrating our nation’s 250th anniversary, I suspect we will see a lot of it during New York Fashion Week in September.

LATEST COMMENTS

1. 

   FROM: American fashion designer Ralph Rucci: A major home run! How extraordinary this young lady is, and along with her…

2. 

   test comment

The post Marilyn’s Fashion Notes: The Universal Uniform appeared first on lookonline.

A design by Stella Jean features a silk scarf from her new scarf collection, Instagram

A shared love of soccer unified billions, but the World Cup’s true cultural impact is its massive global opportunity for cross-cultural exchange. Fans are encouraged to celebrate their differences, share human experiences, and foster cultural humility by challenging stereotypes.

When cultures merge, clothing becomes a medium for cultural dialogue and a way for wearers to celebrate heritage, community affiliation, and evolving global identities. Beyond streetwear, “arrival fashion” has turned airport tarmacs into runways for cultural expression.

“I desired to change the image and perception of my country through my art, to showcase and promote Congolese culture [and] artisanal skills.” – Alvin Mak, the Paris-based Congolese designer who created the leopard-embellished suits and leopard bags worn by the Congolese national team for its arrival in Houston.

Fashion helps us find beauty in other cultures by serving as a wearable, visual language. Because clothing transcends simple utility, it acts as a bridge for cultural diplomacy, allowing us to appreciate the craftsmanship, history, and values of a society without needing words.

DR Congo national soccer team outfit designed by Alvin J Mak, photo by JmakxParis

The Democratic Republic of Congo (DR Congo) national soccer team, nicknamed “Les Léopards,” made headlines by arriving in Houston, Texas, for the 2026 FIFA World Cup wearing custom leopard-print suits. The team did not win the World Cup, but they won the World Cup of Fashion!

To celebrate Haiti’s return to the World Cup after 52 years, Italian-Haitian designer Stella Jean launched the “L’Haitiana” collection, shop-stellajean.com

To celebrate Haiti’s historic return to the FIFA World Cup after 52 years, Italian-Haitian designer Stella Jean launched the “L’Haitiana” collection. This capsule reimagines the Haitian national soccer jersey as luxury streetwear, featuring vibrant polo jerseys, T-shirts, and contemporary silhouettes.

The collection blends Caribbean identity with athletic utility, incorporating the number 26 in honor of the 2026 World Cup. These pieces are more than sportswear; they support educational initiatives in Haiti through the nonprofit Prodev Foundation.

A Stella Jean design featuring a scarf from her new silk scarf capsule collection, photo stellajean.it

I have always admired Stella Jean’s work and her ability to blend classic Italian tailoring with vibrant, multicultural aesthetics. Moreover, Stella is a vocal advocate for ethical fashion and diversity, widely known as the first Black Afro-descendant member of the prestigious Italian Fashion Chamber (Camera Nazionale della Moda Italiana).

The jacket from resort 2026, made of recycled coffee sacks, was first shown in 2013, photo on Instagram

Among the standouts from recent Stella Jean collections are a jacket made of recycled coffee sacks from the resort 2026 collection that was first shown on the 2013 runway, a hand-painted and embroidered structured bodice made of repurposed material, and an organic jute piece that is hand-painted and embroidered.

Stella Jean hand-woven Bhutanese skirt, photo by stellajean.it

Stella, who created the striking, hand-painted opening ceremony uniforms for Haiti’s delegation at the Milano Cortina 2026 Winter Olympics, recently launched a signature silk scarf collection known as Étendards de Soie (Silk Standards). It is the designer’s first curated line of silk foulards. The collection acts as “cartography, tracing a tapestry of nations,” entirely crafted in Italy.

Cross-cultural influences are the lifeblood of fashion. By fusing different textile techniques, silhouettes, and historical narratives, the industry breaks geographical barriers to create fresh, hybrid aesthetics that reflect our increasingly interconnected global society.

Designers constantly borrow from traditional craftsmanship- such as African prints, Japanese kimono cuts, or Indian embroidery- to invent modern silhouettes. Without this exchange, trends would quickly become repetitive and lack depth. By pulling inspiration from distant geographies, historical eras, or subcultures, designers and wearers transform clothing into a narrative tool that breaks free from everyday monotony. Think of it as a psychological vacation.

YSL 1976 Ballet Russes Collection, photo YSL

In the 1960’s and 70s, Yves Saint Laurent revolutionized high fashion by frequently drawing inspiration from global, multicultural, and indigenous aesthetics. His most famous ethnically and culturally inspired collections masterfully blended traditional folkloric techniques—such as raffia beadwork, elaborate patchwork, and traditional silk brocades—with modern Parisian haute couture.

Dries Van Noten, Getty Images

Ethnic touches and global folklore are foundational to the aesthetic of Dries Van Noten. Rather than directly appropriating a single traditional aesthetic, Dries Van Noten wove diverse cultural elements—like African beadwork, Indian embroidery, Japanese kimonos, and Indonesian batiks—together with Western tailoring.

Dries Van Noten Fall 2026 Ready-to-Wear, photo by Daniele Oberrauch for gorunway.com

Since taking the design helm in 2025, Julian Klausner has maintained the brand’s heritage of meticulous embroidery and bold color palettes while modernizing the aesthetic.

Gabriela Hearst Jemme color block leather coat, gabrielahearst

Gabriela Hearst frequently incorporates ethnic and cultural touches into her collections. Drawing deeply on her Uruguayan heritage, her designs regularly feature Latin American-inspired elements, Andean craftsmanship, and indigenous motifs.

Altuzarra Resort 2018 Photo courtesy of Altuzarra

Raised in Paris to a Chinese-American mother and a French-Basque father, Joseph Altuzarra’s design vocabulary is heavily influenced by this multicultural upbringing. Altuzarra extensively incorporates cross-cultural mixes into his work, often blending the traditional structured artisanal history of French fashion with the pragmatism and effortless ease of American sportswear.

Altuzarra Fall 2026 Ready-to-Wear, Photo by Isadore Montag courtesy of Altuzarra

For fall 2026, Altuzarra channels a charged Spanish sensibility through a wardrobe built on tension, emotion, and precision, looking at the stark realism of Diego Velázquez and the heightened cinematic intensity of Pedro Almodóvar.

Look for Spain to be a growing fashion influence in 2026, driven by major global conglomerates, high-profile cultural runway shows, and a massive surge in sports-marketing visibility thanks in large part to Spain becoming the first-ever nation to hold the men’s and women’s World Cup titles simultaneously.

Ole!

The post Fashion Notes: The Universal Language of Fashion appeared first on lookonline.

Ralph Lauren 50th Anniversary Show, Fall 2018 ready-to-wear, photo by Yannis Vlamos for Indigital.tv

The Couture Council of The Museum at FIT typically announces its annual honoree for the Artistry in Fashion Award in late spring or summer. Their 2026 honoree has not yet been announced. Balmain’s Olivier Rousteing (just named creative director of Paco Rabanne) received the award on September 3, 2025.

In 2006, Ralph Rucci became the first designer to receive this prestigious accolade, and only 7 other Americans have been so honored: Isabel Toledo, Narcisco Rodriguez, Carolina Herrera, Oscar de la Renta, Thom Browne, Michael Kors, and Wes Gordon.

“I am the product of the American dream, and the flag is its symbol. Its preservation is imperative so that those who succeed us will understand the ideals on which the United States was founded. The Star-Spangled Banner was an inspiration to Francis Scott Key, for me, and now—for future generations.” — Ralph Lauren.

Ralph Lauren, Photo by Instagram

As 2026 marks the United States’ Semiquincentennial, the 250th anniversary of the signing of the Declaration of Independence, it’s only fitting that the 2026 honoree be an American designer. In my opinion, Ralph Lauren is the most deserving recipient of this award because he stands as an unmatched visionary who redefined the modern American lifestyle.

The World of Ralph Lauren Instagram

Ralph has consistently elevated classic silhouettes through expert tailoring and cinematic world-building, cementing his enduring influence on global style. He doesn’t just design clothes; he weaves together the aesthetics of the Ivy League, the rugged American West, and Hollywood glamour into a single cohesive brand. Over nearly six decades, Ralph’s impact in shaping the global perception of American style remains unparalleled.

Rick Owens, Photo by Danielle Levitt for Owensport

If not Ralph, who else? The Couture Council Award for Artistry in Fashion honors designers whose creativity, vision, and couture-level craftsmanship align with the preservation of fashion as an art. Among the strongest contenders are Rick Owens, Daniel Roseberry, Norma Kamali, Zac Posen and Rachel Scott.

Rick Owens Spring 2026 Ready-to-Wear Photo by Acielle for Style du Monde

Today’s most artistic American designers blend traditional craftsmanship with avant-garde sculpture. Leading the pack is Rick Owens, the California-born, Paris-based director of the eponymous brand, known for monumental, futuristic, architectural garments.

Schiaparelli Fall 2026 Couture Photo by Acielle for Style Du Monde

Texas-born Daniel Roseberry spent 11 years at Thom Browne, ultimately serving as the brand’s design director for men’s and women’s collections. In 2019, Daniel left to become the artistic director at Schiaparelli, where he’s taken the fashion world by storm with his surrealist designs.

Norma Kamali Resort 2027 Photo courtesy of Norma Kamali

Let’s not forget about Norma Kamali. As an FIT alumna (Class of 1965), Norma fundamentally shaped and revolutionized American fashion and fashion history. Her transformative contributions raised fashion to an art form by treating the human body as a canvas and sculpting garments to celebrate its movement.

Zac Posen working on his custom Gap Studio look inspired by the Wing Victory of Samothrace, worn by Kendall Jenner at the 2026 Met Gala

I can’t leave out Zac Posen. Zac has influenced American fashion by resurrecting Old Hollywood glamour, elevating structural craftsmanship through his eponymous label, and pioneering “fashiontainment”. Today, as Creative Director of Gap Inc., he is applying his couture eye to everyday heritage brands, democratizing high-end design for the mass market.

There are many ways to define American fashion. In America: A Lexicon of Fashion, the Costume Institute’s landmark 2021–2022 exhibition at The Metropolitan Museum of Art, describes it as an ever-evolving, democratic, and deeply pluralistic expression. Rather than relying on a single aesthetic, it operates on a “quilt” analogy—weaving together diverse individual voices, functional sportswear, and cultural moments to reflect the American lived experience.

Diotima Fall 2025 Photo by @zorasicher

The emerging New York-based label Diotima, founded by Jamaican-born designer Rachel Scott, elevates fashion to an art form by treating garments as wearable archives. Her collections elevate centuries-old Caribbean craft into high luxury and serve as a medium for cultural storytelling, diasporic history, and political resistance.

There’s no question that it would be both cool and appropriate for this award to go to a fashion designer who is a self-described Black, queer immigrant woman, born and raised in Jamaica, who later relocated to the United States to build her career.

Bonnie Cashin in 1966, www.shutterstock.com

If it were up to me, I would give the award posthumously to Bonnie Cashin (September 28, 1908 – February 3, 2000). Known as one of the “Mothers of American Sportswear”, Bonnie was a pioneering force whose genius lay in an anti-fashion, problem-solving approach, creating modular, comfortable, and movement-friendly clothing that abandoned the restrictive European silhouettes of the mid-20th century.

Mannequin wearing Bonnie Cashin’s green mohair poncho and dogleash skirt designed for Sills and Co. Photo Instagram

By blending utilitarian design, fine art principles, and cultural history, she treated clothing as a refined, functional art form. Her masterpieces are preserved in museum collections, including those of The Metropolitan Museum of Art.

Dr. Stephanie Lake and daughter Odette at home with her Bonnie Cashin Archives, Photo courtesy of Dr. Stephanie Lake

I can never get over the modern brilliance of Bonnie, whose treasured archives rest solely in Dr. Stephanie Lake’s hands. Dr. Lake is at once the foremost scholar on Bonnie Cashin’s life and career, her appointed biographer, heir, and the steward of the Cashin legacy she inherited upon the designer’s death in 2000. That stewardship makes her the rightful guardian of Bonnie’s enduring legacy.

The post The 2026 Artistry in Fashion Honoree? appeared first on lookonline.

Balenciaga Fall 2026 Couture, photo by fashionweekdaily

Even before couture week officially got underway in Paris, cries of “He’s back!” echoed following Olivier Theyskens’ co-ed spring 2027 ready-to-wear show for Boloria, praised for its neo-Gothic romanticism and fluid tailoring without over-the-top gimmicks. “He’s back!” is how I initially felt looking at Pierpaolo Piccioli’s couture debut for Balenciaga, which marked the same return-to-form feeling.

“Pierpaolo Piccioli’s debut for Balenciaga couture was remarkably intelligent. What impressed me was the restraint. Piccioli’s instinct is emotion, but here he channeled it through construction rather than sentimentality.” – Maria Kublin, daughter of fashion photographer Tom Kublin and co-author, ‘Balenciaga-Kublin: A Fashion Record’.

Balenciaga Fall 2026 Couture, photo by Danielle Oberrauch for gorunway.com

But then I thought, back where? I quickly realized what I liked—the designs that showed the most restraint—was very much, if not exactly, like Pierpaolo’s work at Valentino. Feathers, continuing as a major theme across the fall 2026 couture runways in Paris, add a playful, tactile element to this collection. A little goes a long way.

Balenciaga Fall 2026 Couture, photo by fashionweekdaily.com

While I felt there was a bit too much Demna in Piccioli’s first Balenciaga outings, this couture show played to PP’s strengths, particularly his mastery of color, his way with sportswear, and his endorsement of pants. PP is still finding his way, but there is no question that Pierpaolo Piccioli and Cristóbal Balenciaga are a match made in fashion heaven, couturiers bound by a shared devotion to sculptural volume, architectural purity, and the elevation of craftsmanship.

Iris van Herpen Fall 2026 Couture, photo by fashionweekdaily.com.

While “modern couture” might sound like a paradox due to the traditional roots of handmade, bespoke fashion, it is not an oxymoron. Today’s industry embraces modern couture by marrying centuries-old Parisian craftsmanship with innovative technology, size inclusivity, and contemporary, highly wearable designs. At Paris Couture Week for Fall/Winter 2026–2027, the most interesting development was the blurring of the line between fashion and hard science.

Iris Van Herpen stole the show with a collection that practically functioned as a particle accelerator. She basically trapped plasma between two layers of fabric, supercharged it with a particle accelerator, froze it, and then put it on the runway.

Schiaparelli Fall 2026 Couture, photo by Acielle for Style du Monde

The Schiaparelli Fall 2026 Couture collection, “The Abyss,” is a surreal, avant-garde triumph, featuring creative director Daniel Roseberry’s use of unconventional materials to explore artificial intelligence and the digital age. At Jean Paul Gaultier, the standout was Duran Lantink’s boundary-pushing debut as the brand’s new creative director.

Jean Paul Gaultier Fall 2026 Couture, photo courtesy of Jean Paul Gaultier

Duran fused 18th-century French royalty with sci-fi futurism. He subverted traditional couture constraints by reimagining the iconic house codes through experimental silhouettes, glitch-inspired motifs, and advanced technologies. Jonathan Anderson is unquestionably a defining force of modern haute couture.

Christian Dior Fall 2026 Couture, photo by anothermagazine.com

Known for his artistic, sculptural approach, Anderson designs unconventional, thought-provoking pieces that function as wearable art. At the Dior Fall 2026 Haute Couture show at the Musée Rodin, he fused architectural sculpture and delicate natural elements, marking Anderson’s triumphant sophomore couture collection.

Christian Dior Fall 2026 Couture, photo by Acielle for Style du Monde

With his gender-fluid aesthetic, surrealist wit, and championing of contemporary craft, Anderson has masterfully recalibrated Christian Dior, delivering a textural wonderland and a modern twist on maison archetypes, including great iterations of the softened bar jacket.

Christian Dior Fall 2026 Couture, photo by Filippo Fior for gorunway.com

Assuredly, not everything works, but I applaud Anderson’s pure, unadulterated quirkiness, creativity, and ingenuity. Is it just me, or were there a number of pieces at Dior that looked more Chanel than Chanel? There are still many who argue that under Matthieu Blazy, Chanel does not look like Chanel. Ask 10 people what they think, and you will get 10 different responses.

Chanel Fall 2026 Couture, photo by Isadore Montag for gorunway.com

I do think that Blazy’s Chanel couture collection, rich with nature-inspired motifs and whimsical touches, needs to be seen up close to be appreciated. While I applaud the workmanship and relaxed silhouettes, I can’t help but feel that many of the designs are a bit dowdy and unflattering. I’m just not a fan of all the floral prints or the drop-waist 1920s Roaring Twenties aesthetic, which Blazy has shown a distinct affinity for. I loved the Chanel Subway collection a lot more!

Fendi Fall 2026 Couture, photo by Paolo Lanzi for gorunway.com

For her Fendi Couture debut, Creative Director Maria Grazia Chiuri focused on flowing, minimalist glamour evoking a sense of freedom. She eschewed rigid corsetry in favor of fluid, weightless silhouettes (kimono coats, caftans, satin suits, satin slips, sheer lace), played out almost entirely in black, ecru, and parchment.

“Minimalism is not a lack of something. It’s simply the perfect amount of something”. Nicholas Burroughs

It was stripped back, pared down, and simplified. Some argue it was too much so. While it read more like a resort collection than haute couture, it was like a breath of fresh air: a couture palate cleanser.

Alexis Mabille Fall 2026 Couture, photo by Salvatore Dragone for gorunway.com

Why does everything have to be so overdone in couture? Every house is different. Not everything has to scream. Minimalism, a certain refined austerity in haute couture, is the new black. Actually, black is the new black. It’s never looked better.

Standing Ground Couture Fall 2026, photo by Umberto Fratini for gorunway.com

Nobody knows this better than American couturier Ralph Rucci. While Ralph did not show in Paris this season, I can’t help but see Rucci’s enormous influence on many runways. I saw vestiges in the designs of Alexis Mabille and the sculptural, minimalist designs of Irish designer Michael Stewart in his Paris debut for Standing Ground.

Marisa Berenson wearing Schiaparelli, Instagram photo

In my previous column, I extolled the virtues of shirt dressing. Some of the best-dressed and chicest showgoers looked cool and chic wearing some form of shirt. That includes Tilda Swinton and Ines de la Fressange in Chanel, and Elsa Schiaparelli’s granddaughter, Marisa Berenson, in a Schiaparelli black silk shirtdress with a dramatic hem, attached to her hand with a gold chain.

While most of us will never be able to afford haute couture, the simplest way to look like you’re wearing expensive haute couture is to select something in black with a defined shape and silhouette. Add a touch of white, gold, or color. Or add nothing at all. You cannot go wrong.

end

The post Marilyn’s Fashion Notes: Paris Couture Week appeared first on lookonline.

Pucci Summer 2026, Photo by @timelkaim

Whimsy serves as a much-needed emotional antidote to hustle culture, burnout, and an increasingly heavy news cycle. By embracing intentional optimism and curiosity, people are using playfulness to romanticize their daily routines, boost everyday resilience, and rediscover the joy of simply being.

MME. FRENCH Necktie Garden Dress, $425, mmemink.com

Trompe l’oeil is inherently whimsical. By using optical illusions to create playful fictions—this art form invites viewers into a fun, imaginative world where reality and fantasy blur. Witty and whimsical accessories perfectly capture summer’s carefree, playful spirit. They combat the monotony of warm-weather minimalism by injecting instant personality, vibrant color, and joyful nostalgia into basic outfits.

MME. GIGI Fringe Clutch Grand in Clementine, $500, mmemink.com

Just looking at the MME. Gigi Fringe Clutch puts a smile on my face. It’s like summer in a handbag! What’s there not to love? The playful fringe, the capacious size, the cool shape, and that color! Even before the NY Knicks won, orange, Frank Sinatra’s favorite hue, was dubbed, the color of the moment. I’ve always adored it.

“Too much good taste can be boring. A little bit of bad taste is like a nice splash of paprika: healthy, hearty and something we all need.” – Diana Vreeland

Rahya Jewelry Lone Star, Lucky Horseshoe, Marlin Bolos, $68, Rahyajewelrydesign.com

Rahya Blackwell launched her namesake line, Rahya Jewelry Design, an ode to dopamine dressing, in 2011 after earning her BFA in Metals and Jewelry from the Savannah College of Art and Design (SCAD).

Rahya Jewelry Eagle, Goldfish Bolos, $68, rahyajewelrydesign.com

Originally from New Orleans, Blackwell works from her home studio, deeply drawing on the organic and vintage aesthetics to create her imaginative, deliciously colorful collections—everything from statement earrings and clever renditions of the iconic squash blossom necklace to her signature bolo ties adorned with goldfish, marlins, crawfish, tigers, elephants, alligators, stars, pirates, crowns, clovers, bows, lotus flowers, orchids, horned frogs (I kid you not) and more.

Chanel Spring 2026 Ready-to-Wear Photo Courtesy of Chanel

Oh, and yes, ranging from $86 – $148, the price is right! “Betcha you can’t have just one!”    You certainly cannot have just one button down shirt, the most versatile, essential item of clothing one can own. It’s hardly surprising that the humble (and not so humble) button down, is making news again with the announcement that Chanel has purchased Charvet, the historic French shirt maker.

“Shirting can be the centerpiece to an entire look and also the most elegant and trustworthy supporter of a look” – Sarah Clary, New York City-based stylist and creative director.

Marc Jacobs Spring 2027 Ready-to-Wear Photo by Huy Luong

I’ve always thought that a button down shirt, regardless of the color or fabric, when paired with well-cut trousers, creates a modern, polished alternative to a suit or a cocktail dress. Marc Jacobs proved this point with his spring 2027 ready-to-wear collection. Marc’s versions, made of colorful PVC, vinyl, and cellophane like synthetics, are anything but garden variety.

Backstage at the Marc Jacobs Spring 2027 Ready-to-Wear Collection Photo by Nina Westervelt for WWDCapture

Marc’s show also touched on another theme that I personally love and one that is hard to ignore: Fashion is getting all choked up! The neck is a crucial focal point in fashion because it acts as the immediate visual bridge between your face and your outfit. Neck scarves and chokers are surging in popularity because they provide a high-impact, low-effort way to instantly elevate basic outfits.

Dylanlex Hadley 11 crystal choker, $625, dylanlex.com

By drawing the eye upward, these accessories frame the face, offering a touch of sophisticated drama without the bulk of traditional, oversized jewelry or heavy winter layering.

Emilio Pucci designed by Camille Miceli, Photo by @jonathanfrantini

Marc Jacobs and Emilio Pucci have more in common than meets the eye. They share a deep historical connection through the luxury conglomerate LVMH (WHP Global acquired Marc Jacobs earlier this year), as well as a mutual influence on the career of fashion designer Camille Miceli, Pucci’s artistic director. Miceli spent a foundational decade of her career working directly under Marc Jacobs as his muse and a key creative collaborator at Louis Vuitton.

Lot 166, two Pucci 60’s printed jersey dresses, thefashionauctioneer.com

There is almost nothing that says summer better than Pucci. Inspired by global travel and nature, Emilio Pucci’s prints borrowed heavily from mid-century modern art. Their bold, joyful color blocking feels perfectly aligned with today’s dopamine dressing trends.

Pucci button-down shirts, made of silk or cotton (especially the ones from the 60’s and 70’s), are highly coveted as part of an effortless, glamorous holiday wardrobe and they continue to be highly collectible.

Lot 131 1960’s Pucci silk shirt and matching handbag, thefashionauctioneer.com

One exceptional version, printed in shades of pink and offered with a matching handbag, is part of an online auction mounted by Lucy Bishop, The Fashion Auctioneer. “Exceptional Fashion: Featuring the Pucci Collection of Fiona Spear”, June 25 – July 14th, Spear was dubbed “Pucci’s biggest fan” by Vogue.

Lot 141 Emilio Pucci by Julio Espada, thefashionauctioneer.com

Included are jersey dresses, cotton and velvet separates, printed bikinis, sunglasses, a rare umbrella, scarves, sleepwear, and several terry cloth cover-ups including one especially fabulous maxi version designed by Julio Espada for spring 2002.

Latest Comments

1. 

   FROM: American fashion designer Ralph Rucci: A major home run! How extraordinary this young lady is, and along with her…

The post Marilyn’s Fashion Notes: Summer 2026 appeared first on lookonline.

Rachel Crespin, photo by Avedon, back cover Sam Shahid’s tribute book.

Legendary fashion editor Rachel Crespin passed away at 100 on April 4. On Wednesday evening, about 30 guests gathered to honor Rachel and her long life at a memorial masterminded and organized by John Calcagno. John met Ray at Calvin Klein, then worked with her when she became a consultant for Ralph Lauren, and they became great friends.

Sara Diorazio on the terrace, 23 Beekman Place

The memorial was held at Rachel’s fabulous apartment, complete with a stunning garden within the Paul Rudolph Townhouse at 23 Beekman Place. The building is an architectural masterpiece and a designated New York City landmark. It is designed by fabled modernist architect Paul Rudolph, who transformed the 1860s townhouse by adding a remarkable steel-and-glass cantilevered penthouse that serves as a highly personal masterpiece of spatial complexity, light, and modern design.

Jeffrey Banks, Sam Shahid, Jeannette Chang, Andrea Quinn Robinson, Marilyn Kirschner

Considering Rachel’s enormous influence, it is not surprising that the guest list felt like a “Who’s Who” of fashion and design. Among the notable attendees, all with a deeply personal connection to Ray, were longtime cosmetics industry executive and former Vogue beauty editor Andrea Quinn Robinson, couturier Ralph Rucci, designer and author Jeffrey Banks, Vogue legend Tonne Goodman, and entrepreneur Gigi Mortimer, CEO of EyeJust and Ray’s assistant at Vogue in the 80s.

John Calcagno, Tonne Goodman, Photo by Marilyn Kirschner

Also in attendance were Sara Diorazio, an artist and former assistant to Ray; Taki Wise, co-founder of the renowned Staley-Wise Gallery in New York City; and renowned art director Sam Shahid, who created a beautiful keepsake book for every guest at the celebration.

Inside Sam Shahid’s tribute to Ray Crespin

When Sam became the creative director of Calvin Klein’s in-house advertising agency in the early 1980s, he helped turn the brand into the internationally recognized name it remains today, with campaigns remembered for their clean yet sensational visuals.

Ralph Rucci, Wendy Goodman, Jeanette Chang, Photo by Marilyn Kirschner

For me, the gathering was a reunion with my Harper’s Bazaar family. There was Wendy Goodman, now Design Editor of New York Magazine, who arrived at Bazaar in 1973 under Carrie Donovan and served as Anna Wintour’s assistant.

John Calcagno speaking to guests, photo by Marilyn Kirschner

It was great to see former Bazaar editor Dorothy Schefer Faux, who was also a senior editor at Vogue and co-founder of gloss.com. And then there’s Jeanette Chang, who has the distinction of being Harper’s Bazaar’s first female publisher and vice president and now serves as International Editions Publisher at CR Book.  

“Ray was a great, loyal friend with a wonderful sense of humor. She was always full of brilliant ideas, really creative, and incredibly funny up until her last days. She was unstoppable!” – John Calcagno.

From left, Gigi Mortimer, Ralph Rucci, Wendy Goodman, photo by Marilyn Kirschner

Guests toasted Rachel with a glass or two of champagne in the glorious garden before moving inside to hear short personal remembrances from John Calcagno, Jeffrey Banks, and Andrea Quinn Robinson. Gigi Mortimer credited Ray with her sense of style and taste and joked that while her maiden name was Newhard, Ray called her Newhouse; hence, she was treated very well at Vogue. I recollect my time as Ray’s assistant at Bazaar in 1971.

Rachel’s Men, inside Sam Shahid’s tribute book

Perhaps most touching was Andrea reciting favorite passages from Ray’s books, with white notepaper marking the spot. Ray was a voracious reader, surrounded by her beloved books until the end.

Rachel Crespin portrait by Scavullo, in Sam Shahid’s tribute book

In addition to Sam’s beautiful tribute, all guests could take a departing gift: one of Rachel’s books, left in a pile on the townhouse’s doorstep. I walked away with “Great American Short Stories… from Hawthorne to Hemingway,” which I plan to sink my teeth into during the summer!

LATEST COMMENTS:

1. 

   FROM: American fashion designer Ralph Rucci: A major home run! How extraordinary this young lady is, and along with her…

2. 

   test comment

3. 

   Marilyn, You look absolutely fabulous! And this Elsa Schiaparelli bag !!!! We have met a few times at different events.…

The post Rachel Crespin Memorial: Toasting an Extraordinary Cosmopolitan Life appeared first on lookonline.