Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

The significant spotlight on women fashion designers today is driven by a shift toward functional, practical, empathetic design thatprioritizes the female experience over the historically male-dominated “male gaze” in fashion.

As the industry moves toward sustainability, inclusivity, and wearable, everyday fashion, women designers are increasingly recognized for creating clothing that empowers, offers comfort, and reflects modern life, rather than just producing spectacles for the runway.

Sharon Wauchob Spring 2026 Ready-to-Wear, Photo by James Cochrane

There are many women fashion designers – Miuccia Prada, Phoebe Philo, Khaite’s Catherine Holstein, Victoria Beckham, Stella McCartney, Maria Grazia Chiuri, Chemena Kamali at Chloé, Sarah Burton, Grace Wales Bonner, etc. – who get their lion’s share ofpublicity. In Milan, I look forward to seeing what Maria does at Fendi and what Meryll Rogge does at Marni. But others manage to stay under the radar, even though they should be more celebrated.

One such designer is Sharon Wauchob. “Sharon Wauchob’s second coming began several years ago, but it’s only now, as selected retailers and the kind of woman who relieson on one’s opinion but her own are noticing, that the secret is starting to come out of the bag.” – Laird Borrelli-Persson, Vogue.com.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

The Irish-born designer, known for her sophisticated, modern yet romantic, textile-driven designs, has often spoken about the intersection of craftsmanship, femininity, and the practicalities of the fashion industry. Her collections are often driven by personal desire, creating pieces she genuinely wants to wear.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

Both personally and professionally, Sharon identifies deeply with her role as a female designer, viewing her perspective as a vital component of her approach to fashion. The 56-year-old Irish-born designer approaches fashion in an almost artistic, creative way. She brings an unpredictable, unconventional edge to the world of contemporary luxury while developing a constantly evolving vision of femininity – an attribute which consistently draws a loyal and growing following.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

Understated but always with an edge, Sharon’s womenswear is undeniably alluring and luxurious, as much for its exquisite fabrics and detailing. Her design aesthetic is heavily rooted in a dark, moody palette, often described as an “all-ebony affair,” but she also frequently uses black, white, and neutral tones, incorporating muted colors, metallics, and deliberate color injections into her collections.

Sharon Wauchob, photo courtesy of the designer

Sharon Wauchob graduated with honors from Central Saint Martins College of Arts and Design in London. Shortly after graduating, she moved to Paris, where she worked for Koji Tatsuno. Worked as an in-house designer at Louis Vuitton from 1997 -2003.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Waucho

In 1998, Wauchob decided to launch a fashion label under her own name. Since 2023, Sharon has shown her collections alongside Paris Fashion Week and London Fashion Week. It has been almost a decade since Wauchob moved from Paris to London and abandoned the runway. While this Paris-trained designer is no newcomer, a surge in new customers and retail support proves she’s back on the rise.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchoh

Wauchob’s Fall 2026 Ready-to-Wear collection is described as a “reawakening “of her brand, blending delicate textures with structured form. It is an expertly tailored, intellectual approach to modern, romantic femininity that emphasizes high-level patternmaking and craftsmanship over decoration, crafting clothes that both empower and bolster the modern woman.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

It is a well-balanced collection; neither severely minimal nor ridiculously over-the-top. Wauchob blurs the line between masculine and feminine, day and evening, “the boudoir and the boulevard”. There is an easy, relatable elegance with a focus on seasonless, day-to-night versatility.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

I especially love Sharon’s use of feathers, which are flying all over the runways. It’s not about special occasion clothes as much as it is about treating every day like a special occasion.

Sharon Wauchob Fall 2026 Ready-to-Wear, Photo by James Cochrane, Courtesy of Sharon Wauchob

Net-a-Porter is the primary online retailer for Wauchob’s collections, and Lane Crawford is a major stockist for the brand. Farfetch also carries a selection of Sharon Wauchob dresses and clothing, as do a number of high-end international boutiques like Liberty of London, L’Eclaireur in Paris, and Galleria in Seoul.

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Ruben Toledo with Dustin Pittman celebrating his 2026 Markopoulos Award, photo by Thomas Iannaccone

The continuous, sudden changes in fashion and body language are two constant themes in Ruben Toledo’s surrealistic drawings and paintings, which are often inspired by a Latin flavor but are also closely connected to American pop culture.

“Since Isabel and I met at the age of 13, our creative process has been shaped by each other. We each imagined the other. This began our creative tennis game, which lasted 50 years, symbiotically creating a visual vocabulary along the way.” – Ruben Toledo

Isabel and Ruben Toledo, photo by coveteur.com

It was never her work or his work; it’s always been their work, says Ruben of Isabel, and he continues in that spirit. All the women in Ruben’s artwork personify his late wife’s fierce, courageous spirit of individuality and fearless love for humanity.

Fashion Ink blot Isabel Toledo Infanta Coat for Visionaire,1992

It’s impossible not to see vestiges of Isabel in his latest exhibition. “Los Caprichos de Toledo”—Works on Paper by Ruben Toledo on view at the National Arts Club (NAC), January 6 – Feb. 25, 2026, coincides with Toledo’s prestigious National Art Club (NAC) Medal of Honor given to him on March 21, 2025.

A text written by Visionaire’s Cecilia Dean – photo by Marilyn Kirschner

The exhibition highlights Toledo’s work from the 1980s and 1990s, including his famous ink blot illustrations and early satirical drawings for Details Magazine. Toledo’s ink blots, originally created for Visionaire magazine’s “Black Issue” in 1992 (at a time when the creative community was devastated by the AIDS crisis), are a celebrated intersection of fashion illustration and psychological projection.

Fashion Ink blot Fendi Coat for Visionaire, 1992

Toledo transformed the runway designs of top designers into amorphous, Rorschach-style ink blots to capture the mood of the early 90s, blending high fashion with a dark, poetic sensibility.

Some works are paired with Francisco Goya’s Los Caprichos prints, referencing the 18th-century Spanish artist’s innovative suite of 80 etchings that delivered a blistering satirical critique of Spanish society at the turn of the 19th century.

According to Ruben, these satirical cartoons, “celebrate the delicious and deliriousness of our shared darkly tinted Spaniard humor—the appreciation of satire /irony and the healing natural chaos of beauty.”

Concetta Ann Bencivenga, NAC Executive Director, Robert Yahner, NAC Curator, and Ruben Toledo, photo by Marilyn Kirschner

On Monday, February 10th, as part of their student mentoring program, FGI hosted a private tour of the exhibition for LIM College students and FGI members. There was an introduction by the National Art Club’s curator, Robert Yahner, who originally conceived of the exhibition after meeting Ruben. 6

FYI, The National Arts Club has an outstanding collection of works on paper, including a complete seventh edition of Francisco Goya’s renowned Los Caprichos series.

“In my latest exhibition, ‘Los Caprichos de Toledo, I wanted to invite my audience to enter the sensitive space between reality and their own interpretation of it by using fashion design as the connective tissue. I wanted to penetrate their soul by touching their emotions.” – Ruben Toledo

Ruben writes on the wall of his exhibition, a photo on Instagram

The always entertaining and animated Toledo, who painstakingly created the hand-lettered wall text for the exhibition (prompting Cecelia Dean to call him “crazy”), walked us through the creative process and added personal insights.

Ruben’s Rorschack inspired ink blots – photo by Marilyn Kirschner

He spoke about his Rorschach-style ink blots and their connection to Goya’s “marvelously dark” 18th century etchings, and The Museum at FIT’s “Dress, Dreams, and Desire: Fashion and Psychoanalysis”, the first major exhibition to explore the deep connection between fashion and psychoanalytic theory that ran from September 10, 2025, to January 4, 2026.

Art to the Rescue, Illustration by Ruben Toledo & photo of it by Marilyn Kirschner

Ruben spoke about the connection between art and fashion. For Toledo, art is communication, and fashion is the most instinctive and democratic of all the communicators because we all participate in it, whether we realize it or not. “We all wear clothes daily and project a persona, even if we are trying to be invisible or project that we don’t care about fashion or style. Art is life and life is art.”

Second from left, Fern Mallis, FGI President Maryanne Grisz, Marilyn Kirschner, at the private tour with Ruben

He spoke at great length about Isabel, their early years in NY, and how they decided to pursue fashion. Ruben’s artistic journey is always intertwined with the legacy of his late wife, his forever “partner in crime and in love”.

When I asked Ruben how Isabel’s passing has impacted his creative process, he said that if anything, he’s working much deeper than before, focusing more intensely on everything he does, trying to share more, trying to squeeze every bit of knowledge, intuition, and instinct from the life experience they shared.

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Veronica Leoni Photo by Giovanni Giannoni for WWD

Veronica Leoni’s debut for the relaunch of the Calvin Klein Collection (Fall 2025) marked a return to the runway for the high-end Calvin Klein line, aiming for a future-focused, non-nostalgic approach, even while referencing the past.

It received mixed reviews, balancing praise for its modern interpretation of the brand’s archives with criticism for lacking the signature, overt sensuality. While some hailed her “Monumental Minimalism” as an astute, sophisticated, and wearable revival, others felt it was too buttoned-up, incoherent, or amateurish, lacking the necessary sex appeal.

Supporters appreciated Leoni’s ability to blend 1990s nostalgia with a “nerdy sexy” aesthetic, showcasing strong tailoring, oversized trenches, and nods to the brand’s heritage, such as CK One-inspired accessories. It was seen as a promising, commercial, and grown-up take on minimalism.

“It’s been a while since I’ve watched a creative with so much experience under her belt fumble the ball to this extreme. Make no mistake, the Calvin job is a tough one.” -Martin Lerma, Creative Director and Author, No Sale Substack

“There’s no way the mixed (and that’s being kind) response to Leoni’s first show didn’t cause internal turmoil. The company president who hired Leoni left- or was likely pushed out- in May, and I anticipate more personnel changes to come. And the first person who should be up for dismissal is Leoni.” – Martin Lerma, Creative Director and Author,  No Sale Substack.

Calvin Klein Collection Fall 2026 and Spring 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

Detractors found the collection, especially in the second show, to be at times poorly constructed (student-level), with stiff, uninspired, confusing, disjointed designs. Critics like Cathy Horyn noted a lack of “languor” and overt sexiness that have historically been associated with the brand.

Before Friday’s show, the success of Leone’s tenure was still being debated, with some questioning whether the at times polarizing and “incoherent” pieces could truly revive the brand’s once-iconic status.

Calvin Klein Fall 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

Almost every day, we read about a creative director being hired or fired.  I can practically guarantee that Veronica Leoni will be the next departure you hear about, and it won’t be of her own volition. There is absolutely, positively no way Leoni can keep her job after the disastrous Fall 2026 Calvin Klein Collection, presented on Friday at noon.

Fall and winter are such great seasons for fashion. There is so much for designers to sink their teeth into in terms of texture, fabrication, and layering. How is it possible that someone can screw it up so badly?  It actually makes me mad.

Calvin Klein Collection Fall 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

I was hoping Veronica Leoni would redeem herself this season, but she hit a new low, if that’s possible. There was something off about almost every single piece. There were no diapers, but the clothes were ill-fitting, with shoulders that were too broad.

Calvin Klein Collection Fall 2026 Ready-to-Wear, Photo by Spotlight Launchmetrics for The Impression

Collars are ridiculously oversized. Proportions are way off. Colors and patterns are sad, lackluster. It looks frumpy.  Sleeveless suits anyone? The finale looked like someone haphazardly removed a curtain from a window. The scratchy, annoying soundtrack didn’t help.

Calvin Klein has a rich history and is so much more deserving than this. They need a designer who can honor the house’s legacy while advancing it. Calvin fundamentally redefined American fashion through a combination of minimalism, calculated scandal, and groundbreaking lifestyle-based advertising, beginning with its founding in 1968.

Calvin Klein Collection Fall 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression

The brand, launched by Calvin Klein and Barry K. Schwartz, transformed basic items—like denim and underwear—into high-fashion, status symbols, creating a lasting, cultural legacy.  Moreover, its heritage is also deeply rooted in its New York City beginnings in the city’s garment center.

Martin Lerma, known on Substack as @nosale, is a NYC-based Creative Director, Editor, and Image Researcher. He curates content focused on fashion history, archival photography, and industry commentary, having previously worked with brands like The Row, Vogue Italia, and Ralph Lauren.

Calvin Klein fall 2026 Collection, Photo by Isadore Montag for Gorunway.com

Following Leoni’s second show for Calvin Klein, spring 2025, in September, he titled his Substack article, “VERONICA LEONI IS UNDERSERVING OF THE CALVIN KLEIN LEGACY.”  I couldn’t say it any better.

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Christian Dior Spring 2026 Couture, Photo by Launchmetrics Spotlight for The Impression

This Paris Couture Week will be remembered as the most polarizing in recent memory due to a clash between traditional, opulent couture expectations and experimental, often chaotic designs, alongside a broader industry pivot away from “soft luxury.”

The tension between artistic expression and commercial viability in a challenging economic climate has made this season particularly contentious, with many differing opinions, especially regarding Matthieu Blazy and Jonathan Anderson, who are tasked with revitalizing major heritage houses (Chanel and Dior, respectively) during a period of significant industry reset.

The sheer volume of opinions stems from the fact that they are steering fashion into a new era, and not everyone agrees on whether they prefer the new direction. The central conflict lies in whether a designer should strictly uphold a house’s legacy or aggressively reinterpret it for a new era.

 Fans of the new direction argue that Blazy and Anderson are restoring integrity to luxury by focusing on quality. Critics of the new direction (or those who prefer the previous era) may feel that these designers are too intellectual or quiet, and that they miss the fun, “instant-hit” fashion of previous, more logo-driven, celebrity-focused designers. Everyone seems to have an opinion, whether or not they are qualified.

 The overall sentiment is that Dior, under Anderson’s tutelage, is moving in a positive, more creative, and unburdened direction, successfully balancing its immense heritage with modern, wearable, and romantic fashion, grounded in its roots.  

Anderson has stopped overintellectualizing, resulting in a lighter, more confident, and less rigid collection than in previous seasons. Yet, his designs are often viewed as either genius, avant-garde art, or confusing, impractical buffets of ideas.

Christian Dior Spring 2026 Couture, Photo by Salvatore Dragone for Gorunway.com

While the massive, 63-piece, ambitious Dior show occasionally felt as if it were still finding its single, defining line among its strong parts, the overall, first-rate collection impressed and convinced observers. A beautiful, dreamlike flower fantasy, this was my hands-down favorite show of the season.

Christian Dior Spring 2026 Couture, Photo by Salvatore Dragone for Gorunway.com

I thought it was a breath of fresh air; bold, inventive, eclectic, quirky, surprising, and visually stunning. I love the sculptural silhouettes, the sense of spontaneity and freedom Anderson exudes, his irreverent use of casual sportswear mixed in with haute couture, the color mixes, and the great styling tricks.

Christian Dior Spring 2026 Couture, Photo by Spotlight Launchmetrics for The Impression

Not many of us can afford haute couture, but we can all use tips on how to enliven a simple black coat, add visual interest to hefty tweeds, or elevate a thick knit cable sweater. All you really need this season is a pair of humongous headphone-sized flower earrings, an oversized corsage, or some fancy footwear.

Taking over at Chanel brings immense scrutiny. Some critics feel Matthieu Blazy successfully brings a “childlike wonder” and modernity to the house, while others struggle to reconcile his design language with Chanel’s traditional, glamorous codes.

Chanel Spring 2026 Couture, Photo by Filippo Fior for Gorunway.com

The show, set in a “whimsical mushroom field,” was lauded as a confident reinterpretation, marking a new orbit for the brand. Blazy received largely positive, rave reviews for his refined, wearable, and modern interpretation of Chanel’s house codes, although some deemed it too safe or quiet.

Chanel Spring 2026 Couture, Photo by Filippo Fior for Gorunway.com

I appreciate the featherweight tweeds, the craftsmanship, artistry, subtle elegance over overt spectacle, Blazy’s refusal to wallow in nostalgia, and his use of mature models with natural hair and makeup, but I was often a bit underwhelmed. In fact, this was probably my least favorite of Blazy’s past three collections for Chanel.

Chanel Spring 2026 Couture, Photo by Filippo Fior for Gorunway.com

Moreover, I found it a bit too sheer; many of the silhouettes were droopy and unflattering for mature women who would benefit from more coverage and structure. 

The Valentino Spring 2026 Haute Couture show, moving away from the traditional, theatrical, and open runway experience,  was generally seen as a profoundly emotional, somber, and reflective tribute to the late founder, Valentino Garavani, following his passing. At the same time, it was somewhat claustrophobic.

Valentino Spring 2026 Couture, Photo by Alessandro Lucioni for Gorunway.com

The collection, characterized by theatricality, high drama, glitter, and romantic silhouettes, blended Alessandro Michele’s signature maximalism with the house’s heritage, creating a peepshow experience that drew both admiration and critical scrutiny.  It often looked too costume-y, old-fashioned, and outdated.  Alessandro is at his best when he uses restraint.

Gaurav Gupta Spring 2026 Couture, Photo by Danielle Oberrauch for Gorunway.com

Gaurav Gupta’s collection, “The Divine Androgyne,” was highly regarded for its avant-garde craftsmanship, featuring a show-stopping opening look that illuminated the runway with bioluminescent elements. The collection focused on wearable art with sculptural, fluid silhouettes that explored cosmic duality and gender-fluid themes, including reptilian embroidery and temple-statue corsetry.

I think we can all agree that Schiaparelli’s Daniel Roseberry pushed the boundaries of fashion as art, delivering a highly emotional, technically masterful, and visually dramatic spectacle.

Schiaparelli Spring 2026 Couture, Photo by Acielle for Style Du Monde

Titled “The Agony and the Ecstasy,” the collection was marked by a raw, instinctive approach, with many viewing it as a highlight of Paris Couture Week that anchored itself in intense, dark glamour.

The appearance of Anna Wintour and Lauren Sánchez at shows like Schiaparelli and their joint lunch at The Ritz is a major hot-button topic that almost overshadows the shows themselves.

Lauren Sanchez arriving at Dior, Photo Getty Images

Wintour is heavily championing Sánchez as a new, influential figure in the fashion world. This represents the formal, high-profile integration of tech-billionaire influence into the highest echelon of fashion, overriding traditional elite fashion gatekeeping. 

As of early 2026, rumors persist that Jeff Bezos and Lauren Sánchez are acquiring Condé Nast, potentially as a wedding gift or to expand their cultural influence, with speculation that Anna Wintour is involved in a deal. These claims remain unconfirmed, and the Newhouse family, which owns the company, has historically denied that the company is for sale.

Critics argue this allows the billionaire couple to “buy cultural legitimacy” and fashion influence, and the backlash is amplified by their prominent, fashion-focused presence at Paris Fashion Week. Ugh! It almost makes me want to stop buying on Amazon, which is hard because, darn, they have everything and deliver so damn quickly!

Nonetheless, Sánchez’s conspicuous presence, often styled (by Law Roach) with high-end brands, has drawn primarily sharp criticism, with many observers (moi included) arguing that her style lacks class and that she often looks cheap and tacky. 

Truman Capote once remarked, “Babe Paley never had an unchic day in her life.” In my opinion, Lauren Sanchez never had a chic day in her life.

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All photos courtesy Distinctive Assets

Distinctive Assets, the LA-based marketing company founded by Lash Fary, is celebrating 26 years as the Recording Academy’s exclusive talent gifting partner. They will once again be producing the Presenter and Performer Gift Bags for the 2026 Grammy Awards, as well as creating the Grammy Gift Lounge, filled with thank-you gifts for some of the biggest names in music.

“It is always a privilege to be even a small part of celebrating Music’s Biggest Night®,” says Fary. “After all these years, it’s gratifying to see that what we do is still enjoyed so immensely by so many. The appeal is real, and our mission remains quite simple: to deliver fabulous gifts while embracing inclusivity and philanthropy.”

With Valentine’s Day right around the corner, you can draw some inspiration from this carefully curated collection of swag to find the right gift for that special someone in your life.

Minky Couture

Minky Couture blanket

Living up to its name, this blanket really is like a cozy, comfortable hug. The original HUGS blanket is made of extra-plush, stretchy, luxurious fabric that is machine-washable.

Minky Couture’s founder, Sandi Hendry, continues her dream to “blanket the world” by donating thousands of blankets each year to individuals, families, hospitals, and other organizations in need.

https://www.softminkyblankets.com/ Prices start at $129.00

Blooms by Maison d’Emilie

Blooms by Maison d’Emilie

Add a touch of sophistication to your Valentine’s Day with Maison d’Emilie’s signature floral arrangements and bouquets. They source their flowers directly from Ecuador, Colombia, and the Netherlands. They can also create custom designs. Nationwide delivery is available.

https://bloomsbymaisondemilie.com

Good Girl Chocolate

Good Girl Chocolates

Dr. Tabatha Carr created Good Girl Chocolate so she could indulge in chocolate that was free of all the ‘junk,’ such as gluten, soy, and processed sugar. Treat yourself to The Heart Bundle, which includes assorted chocolates in flavors like Fudge Cupcake and Cookie Dough, plus four individual bars.

https://goodgirlchocolate.com/ $69.95

CB Grey

CB Grey 45 CM Custom Silk Scarf

The silk scarves and accessories from this Atlanta-based brand feature bold, hand-drawn designs by founder Courtney Buchanan. Each of her pieces is designed to make the wearer feel as unique and powerful as the designs themselves

Now through February 7th, every CB Grey order will include a Love Note for Later envelope witha Valentine surprise inside.

https://shopcbgrey.com/collections

CHC-Luxury Natural Candles

CHC Luxury Candles

What is more romantic than the soft glow of candlelight? These 100% natural, eco-friendly candles are hand-poured in beeswax and have a long burn time. The pink candle from their Love Collection will fill your room with a rose scent.

https://www.heartmadecandles.com/ $30.00

Marleylilly

Monogrammed Tote Bag

For a Valentine’s getaway, this Monogrammed Extra Large Tote Bag can hold everything from shoes to cosmetics. The roomy, canvas carryall has six open pockets and one large, interior zipper pocket. It comes in a variety of solid colors and prints.

https://marleylilly.com/ $39.99

Amos Sweets

AMOS SWEETS – Product Shot (TastySounds Flavor Mix)

Combine music and a sweet candy treat, and you get the TastySounds Musical Lollipop. Bone conduction technology lets you hear a built-in song when you put the candy in your mouth. Each flavor features a different song.

https://www.amossweets.com/ $35.99

Hasbro Games

HASBRO Monopoly Deal KPop Demon Hunters

This is the perfect way to pass the time on a snowy evening and delight a K-pop Demon Huntersfan. The Monopoly Deal: K-pop Demon Hunters card game is fast-paced fun for kids (8+) and adults who love the popular Netflix film.

shophasbro.com MSRP: $7.80

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Valentino Garavani in his Rome apartment, 1970, Photo by Horst P. Horst

In 2025 we saw the loss of many icons: Redford, Hackman, Keaton (film); Ozzy Osborne, Brian Wilson (music); Jane Goodall (primatology); Armani (fashion design); Diane Keaton, Jacqueline de Ribes (style). Diane Keaton embodied eclectic individuality, while Jacqueline de Ribes personified chic. Marking another turn, the new year began with the passing of “The Sheik of Chic,” Valentino Garavini, on January 20 at the age of 93.

“In the end, if we simply let chic be chic rather than forcing it on every single thing we do, we might rediscover its meaning a bit – and be able to enjoy it now and again for the intangible, wry, can’t-quite-put-your-finger-on-it phenomenon that it is.” – Lauren O’Neill, British Vogue

Jacqueline de Ribes, 1955, portrait by Richard Avedon

Historically, “Chic” signified a specific, understated style—think of the little black dress. Today, the term is applied so broadly—from food to gardening—that it has become a meaningless catchall, losing touch with genuine taste and subjective beauty. Occasionally, it is even politicized as a conservative vs. progressive aesthetic. As a result, some declare the word is “dead” due to its ubiquity.

Following O’Neill’s observation, many fashion writers and critics argue that “Chic” has lost its essence. Overuse—particularly on social media—has diluted its meaning, making it a vague term for anything merely trendy, rather than the effortless elegance that once set chic apart. This overextension raises the central question: Does chic still mean anything distinctive?

This perspective is echoed by Róisín Lanigan in her article, “The Death of Chic,” 9/30/22, i-D Magazine, which begins with the astute thought, “If everything is chic, chic becomes meaningless.” Lauren O’Neill also decrees, “RIP ‘Chic’, The Word Has Finally Lost All Meaning,” British Vogue, May 2025.

In response to this semantic drift, Vogue suggests alternatives like “swank,” “jazzy,” “swish,” “trendy,” “elegant,” “sophisticated,” or, embracing internet culture, “core.” Yet none make the cut. With this in mind, it’s time to reassess.

“There is no substitute for the word “Chic.” Elegant is the closest, but “Chic” is even more ineffable than elegant, and there is more dash and mystique to chic than there is to elegant. “Chic” isn’t banal, the way “cool” can be. And chic isn’t common, or disposable like “trendy.” Glamorous can have a touch of vulgarity to it. “Chic” never does.” – Amy Fine Collins

Deeda Blair at home in Manhattan wearing Ralph Rucci, Photo by Julia Hetta

For everyone who calls chic outdated, my argument is this: there is no other word that so concisely describes icons like Babe Paley (who, according to Truman Capote, never had an “unchic day in her life”), Gloria Guinness, Tina Chow, Audrey Hepburn, Jacqueline Kennedy, Elsa Peretti, Valentino Garavani, Jacqueline de Ribes, Deeda Blair, Ines de la Fressange, Amy Fine Collins, or Tonne Goodman. I maintain that “chic,”both as a concept and a word, remains essential, distinctive, and relevant today.

Tonne Goodman attends the 2026 Winter Show Opening Night Party, Photo by Marilyn Kirschner

I spotted Tonne at the 2026 Winter Show Opening Party on Thursday evening. Among a crowd of overdressed guests, Tonne stood out in her signature uniform: crisp white jeans, black loafers, a black turtleneck, red scarf, and a perfectly cut black peacoat by Dries Van Noten. To me, that is chic.

Rory Gevis surrounded by her artwork with Elsa, Photo by @jezzhil

Capote once wrote in his notebook, “Mrs P. had only one fault. She was perfect; otherwise she was perfect.” While these qualities endure, it is clear that times have changed, and there is now space for a broader, more democratic interpretation of chic in line with today’s rules.

Building on this idea, I believe that perfection is highly overrated. I quite like it when something is a bit off just to make it interesting, personal, and individual. And yes, there is room for weirdness; just not TOO weird. Chic has largely become a synonym for “well-dressedness” or “a bit fancy,” but I see it quite differently.

RR-331 Fall 2019 Haute Couture, vogue.com

I always think of Ralph Rucci, who decreed that a woman wearing a piece of wood around her neck is more dramatic than diamonds—yes, and it’s also far more chic! Similarly, using a beautiful piece of sculpture for a handbag is far chicer than something with identifiable logos.

Celine Spring 2026 Ad Campaign, Photo by Zoë Ghertner

All of this raises a fundamental question: In these days of casual dress, “athleisure” wear, “normcore,” and anything-goes style, does the concept of chic still have any relevance? Is it still something to aspire to, and does anyone still care? My answer is a resounding “Yes”!If there IS such a thing as chic, what is it? “I know it when I see it.”

When I spot an image that evokes the word “chic,” (Madame Gres, Yves Saint Laurent’s iconic Le Smoking, Michael Rider’s Celine, impeccable tailoring, the combination of black and white instantly come to mind), there ARE always certain specific qualities.

For me, chic is timeless. While silhouettes and details may change, the basic design elements remain the same across decades. Chic is cohesive. The overall effect is that of a pleasing whole; the various bits don’t fight or compete with each other.

Tina Chow in 1983 Chanel Couture by Karl Lagerfeld, Photograph by Arthur Elgort for Vogue 1984

“Chic” is simple, polished. But it doesn’t have to be. There are no hard-and-fast rules. Not everyone who embraces minimalism is chic, and not everyone who piles it on isn’t. Tina Chow in Chanel by Karl Lagerfeld proves my point. It’s so much about attitude, carriage, posture, and confidence, not just the clothes worn.

“Chic” is elegant. Though not necessarily expensive. (While quality helps, I’ve seen women who look absolutely chic in men’s Hanes tee shirts. It’s all about how you wear it.) Chic is light-handed, even witty at times. Adding a touch of individuality, something personal, surprising, or unexpected, is very chic.

Emily Blunt wearing Louis Vuitton at the 2026 Golden Globe Awards, Photo by Getty Images

“Chic” is about leaving something to the imagination. For example, Emily Blunt exemplified chic at the Golden Globes, standing apart from those whose looks tried too hard. Some choices—like Teyana Taylor’s jeweled bow detail—detract from a chic impression, highlighting the importance of restraint and subtlety.

Amy Fine Collins wearing vintage Lacroix, Isaac Mizrahi necklace, vintage Lanvin cuff, Portrait by @alexihay for @tabletmag

“Chic” is authentic and appropriate to the situation and the person wearing it. Chic is comfortable, both physically and emotionally. You can’t be chic if you are hobbling or teetering.

The bottom line: not everyone finds chic appealing, and that’s fine—one can have great, enviable style without being chic. Some may view chic as boring, restrictive, or outmoded. I say chacun à son goût; this diversity in taste is what makes the world more interesting.

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Chanel Pre-Fall 2026 Photo by Filippo Fior for Gorunway.com

I adored the Chanel Pre-Fall 2026 Métiers d’Art Collection: the energy, spirit, eclecticism, perfect proportions, exquisite artistry, and the blend of chic French heritage with gritty New York glamour, making it a standout showcase of creativity.

Interestingly, the one outfit that really stood out for me, was the least Chanel-looking in the collection. It consisted of a simple black cashmere sweater, well-cut black trousers, and a red cashmere scarf tied at the hip. I loved it because of its dramatic simplicity, reminiscent of Halston.

Diana Vreeland, image sourced from Pinterest

But there was something else. I had the distinct feeling I had seen that outfit somewhere before. I connected the dots almost immediately. Of course, Diana Vreeland! Who else could make something so seemingly simple look so highly impactful? I found the photo and the similarity was uncanny.

The only difference between the two is that the Chanel model is wearing a turban and she does not have horn bracelets or pearl earrings, but everything else, the attitude and the ease, is almost the same.

Left: Diana Vreeland at home, 550 Park Avenue, 1979, Photo by Jonathan Becker Right: Chanel Pre-Fall 2026 Photo by Masato Onada for WWD.

Similarly, a relatively simple black long-sleeved dress, worn with tall red boots punctuated with white, reminds me of an iconic image of DV wearing a similar style, accessorized with her favorite pair of Roger Vivier red python boots and her ever-present KJL ivory tooth necklace.

Chanel Fall 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

Diana Vreeland famously loved leopard print, even as an accent, with her most iconic quotes being, “I’ve never met a leopard print I didn’t like,” and her dramatic, “A world without leopards, well, who would want to live in it?”

There is no question that Vreeland has been an inspiration to many designers over the decades. While the term “obsession” might be strong, Blazy’s reference to Vreeland is clearly documented. In fact, Matthieu considers Vreeland, along with Martha Graham and Halston, among “the Deities” who contributed to his fantasy of New York City when he was young.

Matthieu’s first collection for Chanel was noted to have Vreeland’s “spirit echoed in every silhouette, every gesture, every flourish”. Vreeland, known for her love of vibrant colors, once commissioned a special red velvet Chanel suit, as the typical versions were black, which aligns with Blazy’s “wacky” side and love of unconventional colors.

Chanel Fall 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

For daytime, Vreeland relied on a uniform , heavily based on easy sweater dressing in neutral colors. Some of the more stripped-down, less theatrical pieces in this collection made more of a statement and tapped into DV’s minimal side.

Bottega Veneta Spring 2024 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com.

Let’s not forget that Matthieu named his spring 2024 Bottega Veneta collection “The Eye Has to Travel” as a tribute to Vreeland and to represent the collection’s philosophical concept of travel. The phrase, coined by Vreeland, inspired a collection that is not about specific places but about the transformative, philosophical journey of travel and what one becomes after it.

The clothing itself was an expression of this, taking the audience on a visual journey through its innovative, bold designs, like a “map legend” of textiles and techniques.

Diana Vreeland at home, 550 Park Avenue, 1979, Photo by Jonathan Becker

Vreeland’s style is known for a bold, dramatic, and maximalist approach that balanced opulent, often exotic accessories with simple, elegant clothing featuring her signature red accents. Her looks expressed her personality and vision, a mix of luxury, theatricality, and a sense of fun. Comfort was always key.

Diana Vreeland, 1942, Photo by Louise Dahl-Wolfe

Diana famously said, “The Eye Has To Travel”. One’s eye needn’t travel too far to connect the dots between Blazy and Vreeland.

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Sharon and Bill Jacob, photo by Marilyn Kirschner

In 2013, Sharon and Bill Jacob began hosting an Annual Holiday Luncheon at the Loeb Boathouse in Central Park. It was an intimate gathering that brought together a small but influential group in support of healthcare and education in Burundi, a rural town in East Africa. 

This event has continued to grow in size and commitment. It now raises support for the Kigutu Hospital and Women’s Health Pavilion, an 85,000-square-foot hospital in the mountains of Kigutu that opened in June 2023.

Explorer’s Club’s festive atmosphere, photo by Marilyn Kirschner

On Wednesday evening, the Jacob family hosted a fundraiser at the iconic Explorers Club. The event, attended by an eclectic group of more than 130 Manhattanites, supports Village Health Works (VHW) and its ongoing projects like Kigutu Hospital, ensuring donors see how their contributions make a difference in Burundi’s healthcare and community programs.

Cool entertainment – photo by Marilyn Kirschner

The evening, full of festive cheer, showcased how Village Health Works unites a community of supporters, inspiring pride and a sense of belonging while celebrating the holiday season and supporting a vital cause that helps many mothers, children, and families in Burundi receive life-saving care and education. 

“When I first agreed to host an event for Village Health Works, I did not realize that 12 years later it would become a permanent December fixture, and I wouldn’t have it any other way. Tonight is about compassion for community and the belief that doing even a little good in this world comes back 100-fold.” — Sharon Jacob, Board Member, Village Health Works

Sharon Jacob holding a picture of her and husband Bill, photo by Marilyn Kirschner

Sharon never misses an opportunity to be festively dressed for any occasion. She uses her personal story to advocate for the importance of VHW’s work, particularly for maternal and emergency health services in Burundi. Jacob attended the opening of the Kigutu Hospital and Women’s Health Pavilion in June 2023, signifying her deep commitment to the organization’s growth. 

Thanks to the dedication of the Jacobs and the generosity of supporters, VHW continues its vital work, providing essential services and hope to those in Burundi, reinforcing trust and confidence in the organization’s ongoing efforts.

Erin Lazard and Kokin, photo by Marilyn Kirschner

Among those present were influential supporters like VHW Founder and CEO Deogratias Niyizonkiza, whose leadership inspires admiration, and others like Mark Gilbertson, Theory CEO Andrew Rosen, renowned milliner Kokin, literary agent and vintage collector Meredith Bernstein, stylist Erin Lazard, Jill Sand, and Dr. Valerie Steele, director and chief curator of The Museum at the Fashion Institute of Technology.

Sharon Jacob center, Valerie Steele right, photo by Marilyn Kirschner

I couldn’t help but remark to Valerie that the last time I saw her was in September, at the FIT Couture Council Luncheon honoring Balmain’s Creative Director, Olivier Rousteing. In November, it was announced that Rousteing was leaving Balmain and the company would be shifting gears—yet another sign of the continual upheaval in fashion.

As we looked around the Explorer Club’s gorgeous library as we sip cocktails, Valerie mentioned that the club was a perfect venue for a reception for the Museum at FIT’s exhibition, “Expedition: Fashion from The Extreme,” September 15, 2017 – January 6, 2018, curated by Patricia Mears, Deputy Director, Museum at the Fashion Institute of Technology who is planning to retire beginning in 2026! Good luck Patricia!

“In these challenging and troubled times, it’s very easy to forget, but it’s important to remember, that the world is filled with truly kind and compassionate human beings, and so many of them are here tonight, and I want to give you an applause and a big hug.” — Deogratias Niyizonkiza,  CEO and Founder, Village Health Works.

Mark Gilbertson and guest, photo by Marilyn Kirschner

Following the cocktail hour (artful hors d’oeuvres included the tiniest sliders I’ve ever seen), there was a slideshow, and personal remarks were made by Sharon and Bill Jacob, along with VHW CEO Deogratias Niyizonkiza (better known as “Deo”) and Megan Newman. 

Dr. Barry Weintraub, photo by Marilyn Kirschner

Bill Jacob paid tribute to Dr. Barry Weintraub, who unexpectedly passed away last month. The prominent New York-based plastic surgeon generously donated a much-needed electric skin dermatome to Kigutu Hospital in Burundi to improve the care of skin grafts for patients.

Sharon Jacob, Megan Newman, Deogratias Niyizonkiza, Bill Jacob, Jill Sand, photo by Marilyn Kirschner

Burundi has no running water or electricity, and most people live in huts. Fire hazards are common, and many children suffer severe burns. Bill announced they are placing a plaque (gifted to Barry’s partner, Jill Sand) in the hospital in Kiguto, in Barry’s honor, thanks to his generosity.

Megan Newman, a dedicated VHW board member, admitted she is feeling more than a little despondent about our country’s pullback in providing aid to the neediest among us and it’s turning its back on the most destitute countries. She wanted to step in and fill in that gap. 

With so much positive energy and so many incredible clinicians at the hospital, VHW provides the community with the kind of wraparound care we all deserve, which is why Ms. Newman loves the organization and is very involved.

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Left: Diane Keaton as Annie Hall, photo from Pinterest. Right: Coach Spring 2026 Collection

Diane’s enduring influence is rooted in her fearless individualism, authenticity, and bold departure from the traditional celebrity glamour. Instead, she embraced individuality and comfort, a commitment that set her apart from other Hollywood stars who often conformed to the red carpet norm.

Designers like Ralph Lauren, Thom Browne, and Phoebe Philo have acknowledged Diane’s enormous impact. Keaton’s style has inspired new generations who embrace her “effortlessly cool” aesthetic and vintage-inspired looks.

News of her untimely passing came just days after “Fashion Month” officially ended in Paris. It’s impossible to look back and not see Diane’s incomparable imprint.

I could easily imagine her wearing many of the best designs. If nothing else, they bear Keaton’s inimitable seal of approval. Keaton famously wore both tailored and oversized clothing, often blending the two styles in a way that defined her unique look.

Left: Diane Keaton suited up. Right: Tambutto Atelier courtesy Tambutto.com

Beginning with Keaton’s role in the 1977 film Annie Hall and remaining consistent throughout her life, Keaton was known for her androgynous, menswear-inspired aesthetic, comprised of oversized blazers, vests, ties, and turtlenecks worn in a relaxed and eclectic way. 

Elements of Diane’s style featured a relaxed, slouchy fit. She frequently wore men’s blazers and other jackets that were intentionally too big, creating a boxy and comfortable silhouette. Keaton’s use of ties was another key element of her androgynous, menswear-inspired look. 

This has Diane’s name written all over it, Ralph Lauren Spring 2026 collection, photo Courtesy of Ralph Lauren

Diane was a trailblazer, breaking from the fashion norms of her time. She fearlessly incorporated ties into her looks, and many of the costumes from the film were straight from her own closet, cementing her unique and influential fashion sense. 

Left: Diane Keaton in a signature monotone look. Right: Calvin Klein 2026 Collection, photo courtesy Calvin Klein

As Keaton’s style evolved over her career, her color choices shifted along with it. Even as Diane embraced black and white, Keaton’s style continued to incorporate a variety of neutrals.

Left: Diane Keaton and Jack Nicholson in “Something’s Gotta Give.” Right: Spring 2026 Collection by Theory

Keaton’s effortlessly chic look in “Something’s Gotta Give” (2003)—with its reliance on a white, ecru, and sand color scheme—became iconic for its comfortable, “coastal grandma” chic. 

Keaton was famously known for her red carpet tuxedo style, which became a signature part of her androgynous, menswear-inspired fashion. Her confident and unconventional approach defied traditional red carpet glamour, emphasizing individuality and often featuring a preference for a black-and-white color palette and the use of bold accessories.

Left: Diane Keaton at the Film Society of Lincoln Center, Right: Malan Breton, Spring 2026 Collection photo by LaunchMetrics Spotlight for The Impression

Crisp white shirts, especially with French cuffs, were a staple of Keaton’s style, worn both with formal menswear and casual high-waisted jeans. Diane often completed her look with a crisp white shirt underneath a jacket.

Left: Diane Keaton in her favorite pair of wide-legged jeans, Right: Givenchy Spring 2026 Collection, photo courtesy Givenchy

Diane had a deep love for wide-legged jeans, which she has worn consistently throughout her career. Keaton has often spoken about their versatility and her personal satisfaction with the style, stating that she’s received more compliments on a specific pair of wide-leg jeans than anything else. 

Left: Diane at the 2008 Infinity Awards, photo by Getty Images. Right: Dries Van Noten Spring 2026 Collection photo credit Paolo Lanzi for Runway,com

An exuberance defined Diane’s style, so it was not surprising that she gravitated to polka dots. She loved polka dots and featured them in many of her iconic looks. She once called them “the wonder of the world” and incorporated them into her signature style through accessories like ties and scarves, as well as skirts and dresses.

The post Spring 2026:  What Would Diane Keaton Wear? appeared first on lookonline.

Women’s Committee President Tracey Huff, Sharon Jacob, Judy Hart Angelo, photo by Marilyn Kirschner

Fall officially commenced on September 22, 2025, with the autumnal equinox, but it really felt like the season had finally arrived on Thursday, October 9. It was a glorious day with clear blue skies, and a noticeable chill was in the air.

It could not have been a more ideal setting for the Women’s Committee of the Central Park Conservancy’s annual Fall luncheon, one of the city’s most anticipated philanthropic traditions of the season.

AnaFlavia Leibowitz, Cedric Claude, photo by Yvonne Tnt, Matt Borkowski for BFA.com

The event, attended by more than 500 guests (mainly women), raised a record-breaking $490,000 in crucial funds for the Park’s maintenance, management, and restoration. The afternoon was generously sponsored by South Flagler House, a waterfront residence in South Florida by Related Ross.

“The Fall Luncheon is a reflection of what makes Central Park so special—community, generosity, and a deep appreciation for beauty,” – Betsy Smith, President of the Central Park Conservancy.

Atmosphere, photo by Marilyn Kirschner

Among the distinguished guests were Central Park Conservancy President Betsy Smith, Women’s Committee President Tracey Huff, event Co-Chair Lucinda Bhavsar, and past Co-Chairs Gillian Miniter, Fe Fendi, Sharon Jacob, Jenny Price, Stephanie Hessler, Rankia Cohen, Bonnie Comley, and Margo Nederlander.

Melissa Crandall, Jane Oberle, Mimi Crawford, Kat Dines, Heather McAuliffe, Charlotte Snyder, Kate Lauprete, Sevda Kleinman, Grace Jachmich, Marisa van Bokhorst, photo by Yvonne TntMatt Borkowski

The Women’s Committee, now 1,000 members strong, is a shining example of the power of collective action. Their vital role in sustaining Central Park through fundraising and volunteer efforts has raised more than $200 million for the Park’s general operations and landmark restoration projects since its founding in 1983.

Left, Marilyn Kirschner with a woman channeling Diane Keaton

Its philanthropic impact can be seen throughout the Park—from the reconstruction of the Charles A. Dana Discovery Center to the two-time renovation of Safari Playground, the re-creation of the historic urns at Bow Bridge, and the ongoing restoration of the Conservatory Garden.

Box lunches set on Central Park tablecloths Scalamandre, photo by Marilyn Kirschner

As always, this is a festive afternoon held at four iconic locations throughout Central Park, a scene straight out of a fairytale. The large outdoor “picnic” with themed table arrangements, set beneath a canopy of golden and crimson leaves, was a sight to behold. Tables were dressed in seasonal florals and set with artfully prepared boxed luncheons.

Darice Fadeyi, photo by Yvonne Tnt, Matt Borkowski for BFA.com

The “Central Park” tablecloths, by Scalamandre, added a touch of elegance and are available for sale. Following the seated luncheon, guests from all of the luncheon locations were invited to gather at Bethesda for a post-lunch drink and mingling, plus a fun photo-op from their sponsor. I was a guest of Sharon Jacob, and her table of 20 was located on the west side of Bethesda Terrace. Sharon is undeniably “the hostess with the mostess.”

Rebecca Holland and Sharon Jacob are both wearing Dries Van Noten, photo by Marilyn Kirschner

There was no electricity at the outdoor event; therefore, no coffee or tea service was available. When I casually mentioned that I would “kill” for a cappuccino, Sharon took out her phone and ordered three (for herself, Ladies of Madison Avenue’s Joshua Kamei, and me). It arrived promptly and piping hot, from Sant Ambroeus on Madison Avenue!

I’m always interested in seeing what women who are not involved in fashion (movers, shakers, philanthropists, civic leaders) actually wear. They want to look good and dress according to their lifestyle, needs, and the occasion, but they are not slaves to fashion.

Lulu Sezercan Dalkanat, Blakely Griggs, photo by Marilyn Kirschner

There is so much talk about seasons not mattering in fashion anymore, but you could not tell from the well-heeled crowd in attendance, many of whom were happy to embrace the cooler weather and the fall season with their autumnal attire. Hence, there was an abundance of traditional fall colors (rusts, browns, tans, camel, burgundy, forest green).

Many women wore leopard prints and fur, photo by Marilyn Kirschner

Several women wore leopard-print coats or jackets, while others opted for fur or fur-trimmed pieces. And no, they were not faux. Even though it was day, several guests opted for shine or highly embellished looks with sequins and beads.

If there was one designer more represented than others, it was Dries Van Noten, a perfect choice for those who want to stand out.

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