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!

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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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Patricia Mears, photo by Marilyn Kirschner

On Wednesday, January 15th, the Fashion Institute of Technology (FIT) formally welcomed Jason. S. Schupbach as the new President, succeeding Dr. Joyce F. Brown. As we enter a new year, this is not the only high-profile “Changing of the Guard” at the well-respected institute.

 “As deputy director and curator, Patricia Mears has contributed so much to The Museum at FIT that it is hard to know where to start. Her many brilliant exhibitions, her mentorship to members of the museum staff, her financial and organizational skills – all of these have contributed so much to making The Museum at FIT the great fashion museum that it is today.”- Dr. Valerie Steele, Director, The Museum at FIT

Patricia Mears, Hamish Bowles, Valerie Steele, Photo by Laurel Marcus

“I feel fulfilled and grateful, but the time is right for me to step away,” says Mears, who is grateful for the women who came before, “The Greats” as she calls them: Mme. Grès, Vionnet et Jean Patou. But so much has changed.  In the 80’s, when Patricia came into the industry, fashion was highly charged and very exciting. Extremely innovative designers (particularly the Japanese) possessed amazingly artisanal qualities. The shows in Paris were a cultural phenomenon.

Fashion has become more sophisticated and intellectual, and we are looking at things from a broader perspective. This is a plus, but like everything else, there is a downside to everything, notably, the fast pace. “The time needed to craft not only garments but also for creative directors to find their footing is not given to them,” opines Patricia.

Equally challenging is the rise of social media. While there are many advantages, navigating this medium has really upended how every creator produces, says Mears, who looks forward to spending more time with her husband on their upstate farm, where they raise chickens for eggs, have a small vegetable garden, and grow apples for cider.  I wonder what she’s going to do with all her museum-quality clothes, lol!

Ballerina Fashion’s Modern Muse book by Patricia Mears, amazon.com

During her tenure, Patricia has curated or co-curated at least 11 exhibitions and written the accompanying books, beginning with Mme. Grès: Sphinx of Fashion, 2008. Patricia’s last exhibition was Designing Women: Fashion Creators and their Interiors (2023). An attending book published by Bloomsbury is scheduled for release later this year.

“The best part of being a curator was working with objects. I was fascinated with beautifully crafted garments even before I entered the field, and this feeling has never diminished. Moreover, curators get to experience fashion without the challenges that face others in this industry, like journalists and retailers.”- Patricia Mears

Mears was always interested in how things were made, and she was especially captivated by the technical aspects of Mme. Grès’ work. Madame Grès was a master sculptor, a true artist who elevated dressmaking to an art form and the subject of Patricia’s master’s thesis, which she wrote about back in the early 1990s. “It was wonderfully fortuitous that MFIT gave me the chance to present a retrospective of her work, Madame Grès: Sphinx of Fashion, in 2008”.

Mme Gres “The Sphinx of Fashion” – photo courtesy Museum at FIT

Despite the high regard in which Madame Grès is held, the details of her innovations and the evolution of her distinctive style remain relatively obscure. This exhibition was the first to identify three primary styles as distinct terms in the Grès lexicon: the classically-inspired, “Grecian” style of her pleated gowns; the “ethnic” inspirations behind her simple, geometric designs; and the billowing, three-dimensional quality of her “sculptural” coats and gowns.  

Mears observes that each exhibition came about in different ways. For example, with “IMPACT: 50 Years of the CFDA (2012), co-curated with Fred Dennis, it was that organization’s president, Diane von Furstenberg, who had the idea. It was the CFDA’s 50th anniversary, and Diane wanted a special exhibition and book to commemorate its founding.

Elegance in an Age of Crisis: Fashions of the 1930’s, photo courtesy Museum at FIT

Perhaps one of Patricia’s most personal exhibitions is “Elegance in an Age of Crisis: Fashions of the 1930s” (2014), which presented both men’s and women’s fashions. The 30’s, defined by a streamlined art modern aesthetic, are Patricia’s favorite period in fashion: a time of great stylistic achievement and technical innovation, in stark contrast to the preceding Edwardian era.

The show featured 80 ensembles and 30 accessories that celebrated how—despite limitations brought on by the financial crisis—the era’s leading dressmakers and men’s clothiers reinvented shapeless styles of the 1920’s with more elegant, featherweight textiles. “We still see the influences every time a man dons a sleek, double-breasted jacket, or a woman wears a classically inspired goddess gown. Clearly, the 1930s still resonate with designers today.”

Ivy Style, photo courtesy Museum at FIT

One of Patricia’s more unique shows is Ivy Style. Mears spent her entire career focusing on modern, high-style women’s fashion. With Ivy Style, she was a neophyte entering the world of menswear. She was drawn to the look for its enduring, historic yet modern quality, global yet quintessentially WASP American, as defined by designers like Thom Browne and especially Ralph Lauren. Patricia singles out Ralph as a brilliant merchandiser who works hard, stays in the business, and creates an entire universe of his own without being a trained designer.

A few years ago, when Patricia asked Marc Jacobs to name his favorite designer, he said, without hesitation, Ralph Lauren. This led to another thought. What would fashion be without immigrants, citing Italian tailors and Jewish merchandisers!

YSL + Halston, Fashioning the ’70s , photo courtesy Museum at FIT

What is Patricia’s most surprising exhibition? “Yves Saint Laurent + Halston: Fashioning the ’70s” (2015). When Mears, who usually begins with a preconceived notion about a designer, organized the Yves Saint Laurent and Halston exhibition, she assumed the former produced opulent, brilliantly colored fashions while the latter created streamlined, neutral garments.

YSL + Halson, Left, YSL Rive Gauche, 1976, Right, Halston 1970-71 – photo courtesy Museum at FIT

While that was partially true, both were far more expansive in their output. So much so that she paired similar-looking garments – columnar gowns, beige capes, or printed chiffon dresses (all from our own collection)  side by side and asked the viewers to pick who designed which.  They did not always get it right.

Ballerina Fashion’s Modern Muse, – photo by Laurel Marcus

Mears was stunned that there had never been a large-scale exhibition or comprehensive publication on the subject of classical ballet’s influence on fashion, Ballerina: Fashion’s Modern Muse (2020). Her goal with this exhibition was not only to present the idea through costumes and fashion, but also to ask how and why this phenomenon occurred and how the British and Americans led the way in bringing ballet to the forefront of Western culture. 

“Patricia Mears is an intellectual, yet Highly Emotional Magician. I know this not only because I have seen it through her dazzling exhibitions and poetic, scholarly writings, but also because one of the greatest experiences of my life was having her and Dr. Valerie Steele write a psychiatric thesis on me and my work, called “The Art of Weightlessness.”  – Ralph Rucci

One of the most memorable exhibitions Mears co-curated, along with Dr. Valerie Steele (and Clare Sauro), is Ralph Rucci: The Art of Weightlessness (2005). Here, Mears closely examines the garments Rucci designs, reveals what makes them so special, and considers influences on his work.

Ralph Rucci, The Art of Weightlessness – photo courtesy Museum at FIT

She delves into the more technical aspect of Rucci’s atelier, describing his design process, from inspiration boards to patterning in his atelier, and even having specialized work done outside the atelier. It’s clearly a mutual admiration society. Ralph notes that what sets Patricia apart from other curators and scholars, and the link that connects all of us, is her “unconscious obsession with the extraordinary in fashion”.

The road to Mears’s career was unplanned. Patricia did her undergrad (art history) and graduate studies (fashion history) at The George Washington University, where I, coincidentally, graduated more than a decade before her. The things that most inspire Patricia are design objects: furniture, lighting, ceramics, etc., as well as architecture. Perhaps this interest comes from her East Asian background.

In Japan, for example, they do not have the same kind of hierarchy as we do in the West, where paintings and fine arts are ranked above all other design disciplines. Perhaps that is why working on the exhibition design with their architect, Kimberly Ackert, was one of the most enjoyable and fulfilling parts of organizing fashion exhibitions. 

Mears’s first position in the fashion industry, while still a graduate student at FIT, was as an NEA-sponsored intern at the Brooklyn Museum. She was named Assistant Curator of Costumes and Textiles in 1995. That institution had one of the world’s great costume and textile collections. (It was subsequently transferred to the Metropolitan Museum’s Costume Institute in 2009). 

This gave Patricia ready access to fabulous 19th-century garments, including couture by Worth, Doucet, and Pingat, and she was able to study wardrobes belonging to such legendary women of style as Millicent Rogers, who was best known as a client of Schiaparelli, Mainbocher, and Charles James.

Patricia Mears in vintage Halston and Dr. Valerie Steele in Ralph Rucci, Photo by Marilyn Kirschner

After 12 years at the Brooklyn Museum, Mears worked as a freelance curator before being offered a position by Valerie Steele at The Museum at FIT. She was hired as a research curator in 2005 and became MFIT’s deputy director a year later.

And as they say, the rest is history! Well, fashion history!

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Gary Wassner, Nick Barnhorst, Susan Scafidi, Robert Stephan Cohen, Jeff Trexler – photo by Laurel Marcus

What do Charles Worth, Coco Chanel, The Row, and Rodarte all have in common? If you can’t guess, I’ll tell you – they all had or currently have a family connection at the helm. I attended Fashion Law Institute’s “Death, Divorce, & Drama: Managing the Personal and Professional in Fashion” seminar on Tuesday night, 

“Even the largest conglomerates are family businesses,” explained Professor Susan Scafidi, Founder and Director of the institute. “How do they navigate the personal and professional crossover?” What happens when things go south with a divorce or even a rupture among friends or siblings?

Seated Panel – photo by Laurel Marcus

Popular current examples are the Natalie Massenet/Erik Torstensson split. As for succession plans, there’s Giorgio Armani’s unusual and confusing will in which a portion of the company, which was kept independent during his lifetime, is to be sold to one of the fashion conglomerates of his partner’s choice, while other assets will be owned by family members.

Here to discuss these issues were panelists Gary Wassner, CEO, Hilldun Corporation; Nick Barnhorst, Vice President and General Counsel, Fresh; Robert Stephan Cohen, Senior Partner, Cohen Clair Lans Greifer & Simpson; and Jeff Trexler, Professor of Fashion Ethics, Sustainability, & Development and Director, Comic Book Legal Defense Fund. Professor Scafidi served as moderator.

Since the panelists were speaking off the record, I will not attribute quotes; however, most agreed that the best way for these fashion partnerships to work is through a divide between art and commerce. One partner is the creative, while the other handles the business end of things – left brain vs. right brain. Cited examples include Betsey Johnson & Chantal Bacon, Calvin Klein & Barry Schwartz, and Donna Karan and her late husband Stephan Weiss.

“A partner or relative relationship leads to tremendous stress, fractures, and failures,” said one panelist. “This sometimes tenuous relationship is critical to success and needs to be professionally documented and outlined.” In the case of the cosmetics brand Fresh, the founding partners, married couple Lev Glazman and Alina Roytberg, were described as presenting a unified front.

Cases such as Christie Brinkley’s divorce from Architect Peter Cook, Harvey Weinstein’s divorce from Marchesa owner Georgina Chapman, and Tory & Chris Burch’s fractious split were discussed, as well as the fashion brands Three As Four and Cushnie & Ochs – friends who had a falling out.

“Having the right contract is so critical,” said one panelist seeking to define the relationship vs the rules. There are bad contracts that can have “trap doors” or “loopholes,” making it possible for one partner to be completely cut out or to lead “down a 10-year rabbit hole of litigation.

A panelist pointed out that the human aspect is important to consider –“between the law, the business, and being a therapist, they don’t pay me enough.” Sometimes, you can even become an actual punching bag, not just metaphorically, as someone revealed when an infamous movie producer tried to take a swing at him.

Most panelists agreed that creative people are easier to deal with in these situations because “they know what they know and they also know what they don’t know.” What about the division of the intangibles? “Fashion is a very interconnected industry – how to divide the alienation of connections becomes very complicated, and how the industry and couples navigate this becomes very high school”.

“Who’s at the center of society and who gets ostracized – that’s easy in the Harvey Weinstein case,” was one remark. Professor Scafidi mentioned that Georgina Chapman and her Marchesa line were just as tarnished as Harvey, since she was resented for ostensibly knowing about his activities and doing nothing — particularly since her brand’s association is bridal and bridal adjacent. In general, they observed that “people tend to gravitate towards the money.”

What are the concluding takeaways here? “Don’t go into business with your family,” jokingly replied someone. “There should be ‘friend pre-nups – they should start marketing this,” recommended another. Quipped a third: “You know that Saks suit that you’re not sure about in the dressing room? Don’t take it home – it’s not going to get better. Make sure you spend enough time choosing.”

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Susan Scafidi, John Maltbie, Jana Checa Chong, Mary Kate Brennan, Gerald J. Ferguson, Photo by Laurel Marcus

“Alterations & Altercations: How Far Can Fashion Trademarks Stretch?” was the seminar topic for Fashion Law Institute’s Friday morning NYFW sold-out edition. A discussion included panelists John Maltbie, Director of Civil Enforcement and Intellectual Property at Louis Vuitton; Jana Checa Chong, Senior Intellectual Property Counsel at Louis Vuitton; Gerald J. Ferguson, Partner at BakerHostetler; and Mary Kate Brennan, Senior Attorney at Dentons. As usual, panelists were speaking off the record, so I will not be attributing quotes from them.

The lawyers – photo by Laurel Marcus

Founder and Director Susan Scafidi reminded us that it is also the Institute’s “quinceañera.” “Twenty years ago I started talking about this and 15 years ago I actually did it,” she opined during opening remarks. Instead of the usual fashion bugaboos such as tariffs, governmental rules and regulations, and that demonic thing known as AI, Professor Scafidi wanted to go to a “warm, fuzzy, happy place.” Apparently, trademarks are like Disneyland to fashion lawyers.

In some cases, including Lululemon v. Costco, Coogi v. Louis Vuitton, and Vetements’ inability to register their mark, trademark courts and lawyers are kept very busy. The virtual world has its own issues, such as NFTs (Non-Fungible Tokens), exemplified by the MetaBirkins and Hermes. However, all I’m going to say about that is that these digital “artwork” files were sold “under wraps,” much like a Labubu in a surprise box. Let’s “unwrap” some of the physical world cases.

Lululemon is accusing Costco of selling dupes of their costly jacket, based on the curvilinear design lines on the front and back, as well as the horizontal yoke featured on the back of the garment. They brought 12 different cases, making it very hard to follow. Counterfeit is much easier to prove than infringement in this culture of dupes.

If the customer is aware it’s not actually Lululemon, it hurts your case – you must prove confusion. This lawsuit included the terms “ABC trade dress,” which apparently stands for “anti-ball crushing” crotch area design – is this for comfort or merely ornamental? Rivets were termed “decorative metallic circles,” and even kangaroo pockets with outlines around them were called into question. Can these design details be considered proprietary? Is it achievable to enforce? Is there evidence of willfulness in copying? Malice aforethought?

There is also a risk analysis in bringing some suits – you don’t know what judge you are going to get. It’s even possible, if you lose, to have some of your existing marks cancelled, as Adidas did after suing Thom Browne for using somewhat similar stripes (four versus three) in his clothing and shoes.

Left: Louis Vuitton Right, Coogi

In Coogi Partners v. Louis Vuitton, Creative Director Pharrell Williams was accused of violating Coogi’s copyright and unregistered trade dress in his Fall/Winter 2025 collection by using similar knitting techniques to those typically employed in the multicolored Australian sweaters popularized in the 1990s. LV produced one in browns and autumnal tones and one in pinks, which they said were “Coogi inspired.” Interestingly, Coogi collaborated with Rag & Bone to produce a black-and-white sweater.

The Vetements case is interesting because if you want to register a word in a foreign language, it’s immediately translated. Since “Vetements” is French for clothes, it was determined not to be registerable. The brand was given trademarks in certain classes (categories of products) but not others, including clothing. When they changed the proposed mark to exclude some of the letters, such as VTMNTS or VTM, these were approved for clothing.

“I’m hoping that the Supreme Court will take this case,” Prof. Scafidi said. “The assumption that folks will stop and translate is aspirational.”

Sylvania Drama and Calico Critters

Lastly, there was a bit of frivolity concerning a case involving Epoch’s Calico Critters versus TikTok’s Sylvania Drama, who used their felt animal figure toys (bunnies, kittens, and squirrels, oh my) in compromising situations.

Although Calico Critters has collaborated with brands such as Marc Jacobs, Kate Spade, and Away Luggage, the Sylvania Drama situation (better known as GossipSquirrls on the viral platform) is deemed an undesirable use, resulting in a lawsuit for copyright infringement. One panelist remarked that the TikTok viral skits, while funny, can be seen as “tarnishing (the brand) as a lot of these characters have drug problems.”

Laurel Marcus & Susan Scafidi, photo courtesy Fashion Law Institute

In conclusion, “Americans like to litigate,” said one panelist, “but they often settle, usually confidentially and filed under seal, so we don’t know what the precedent is. We’ll keep seeing these cases trying to get decisions that help clarify it for us.”

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   An Explosion of stunning and playful creativity inspired by the Glorious BEAUTY of ORCHIDS!!!

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   What a great talent Ruben is …… in addition to being a thoroughly lovely man. And the legacy of his…

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Anna Wintour attends Paris Fashion Week, Spring 2025, Photo Instagram.

Once you’ve found a magic formula that works, why not wear it all the time? No question, finding a specific style, proportion, color combination, or set of clothes that you consistently wear and feel most authentic in is invaluable. I repeat clothes all the time and am a huge advocate of uniform dressing, which I believe to be the essence of modernity.

“I wear the same goddam thing every day,”  Jenna Lyons

Jenna Lyons, Photos by Dana Davis, Nina Westervelt for The New York Times, Natalie Keyssar for The New York Times, Rebecca Smeyne for The New York Times, Tawni Bannister for The New York Times

A recent article in The New York Times, “Jenna Lyons Knows How to Find Quality Clothing. Here’s Her Staple Wardrobe”, by Hannah Frye, July 10, 2025, focuses on Jenna’s unswerving personal style. As Frye observes, “Lyons is known for her consistently polished yet delightfully playful personal style. However, if you examine many of her outfits, you’ll see that her wardrobe is built on a foundation of well-fitting basics, which she repeats frequently.

Jenna is not the only one who prizes consistency. Albert Einstein is said to have owned multiple versions of the same gray suit to avoid decision fatigue. Notable tastemakers and fashion figures are known to wear variations of the same designs daily. Seasoned fashion editors are often fanatical about how rigorously pared down their approach is.

Diana Vreeland mage sourced from Pinterest

“Balance was key to Diana Vreeland’s style. By anchoring her looks with streamlined clothing, Vreeland avoided the chaos that can accompany an overly maximalist approach. Instead, her carefully chosen garments created harmony, allowing her bold accessories and signature red accents to take center stage.” — Franziska Steinle, Berlin-based Brand Consultant and Writer

Diana Vreeland, the legendary editor at Harper’s Bazaar and Vogue who later became the curator of the Costume Institute at the Met, proved that her daily minimalist uniform, a masterclass in balance and intentionality, was an ideal foil for her bold statements and dramatic accessories.  Vreeland understood that restraint in one area allowed her to be bold in another.

Polly Mellen at almost 100, 2024, Photograph by Pamela Hanson for W

Polly Mellen, who served as fashion editor at Harper’s Bazaar and Vogue before becoming creative director at Allure, passed away at the age of 100 last December. Mellen had a strict, spare look that was by no means boring, observed Marina Rust in an article she wrote for Vogue upon Polly’s passing.

Uniform-loving sisters Wendy Goodman and Tonne Goodman, Photo by Thomas Loof

Tonne Goodman, Vogue’s legendary fashion editor, has mastered the art of dressing in a black and white uniform. Tonne’s sister Wendy hailed her as being really “disciplined in her modernity, so it’s all black and white”, and the Metropolitan Museum of Art’s Costume Institute’s Harold Koda (who worked with her in the Vreeland years), pointed out, “She was almost exactly then as she is now.” She wore a uniform “that said everything about her: sporty, chic, confident informality.”

Indeed, my sense of style was honed by my experiences as a fashion editor. When I arrived at Harper’s Bazaar in the early 1970s (the best era for fashion, in my opinion), I was surrounded by fashion editors who were never overdressed or underdressed. And they weren’t dressing for social media or the many photo outlets. They dressed for themselves and radiated confidence and chic.

I remember China Machado, Bazaar’s fashion director for 11 years and the first model of color to be featured in a major American fashion magazine (American Bazaar, 1959), sauntering into her large corner office wearing faultlessly cut trousers, a silk blouse unbuttoned just so, almost always in black. The result was effortlessly chic, and it spoke volumes about China’s confidence, her knowledge of fashion, and her self-awareness. 

Willie Smith and Carrie Donovan at a Stephen Burrows fashion show, September 13, 1973, Photo Instagram

I will never forget Carrie Donovan, Harper’s Bazaar’s senior fashion editor from 1972-1976, swathed in Halston cashmere (black, camel red, gray), accessorized with a turban, her ever-present pearls, loads of Elsa Peretti’s silver and horn bracelets, or Elsa’s iconic cuffs.

Anna Wintour and I worked together briefly at Bazaar. She was a sittings editor, and I was a market editor. Anna, who joined Bazaar in 1975, was famously fired after nine months. You can see how much damage that did to her future, lol. Anna wore a lot of Missoni and avant-garde designers like Kenzo back in the day, and she loved to show off her great legs, but she did not have a uniform.

Carrie Donovan, the senior fashion editor at the time, wanted Bill King to photograph all the single editors for the March 1976 issue, which was devoted to single women. Can you imagine how that article would fly today?

Bazaar’s Single Women, Harper’s Bazaar, March 1976, Photo by Bill King

Here I am on the left, with Anna in the center, the only one to cover her Bazaar tee shirt with a Kenzo vest, lol. Also in the photo is Wendy Goodman.

Like all of us, Anna’s look has evolved significantly over the years. With age comes wisdom. In the last decade or so, Anna has hit upon a fashion formula that works for her, and it’s one she hardly ever veers from, regardless of the season, the time of day, or the event.

Anna at home in NY with her three best friends, Photo sourced from Instagram

Whether she’s watching the tennis matches, attending a gala, or overlord of the fashion industry, Anna sticks to a time-honored outfit formula. Anna’s silhouette is always long and lean. There is almost always an ankle-length dress, usually printed or patterned (pattern mixing is a signature), topped off with a fabulous ankle-length coat (a perfectly cut reefer or belted trench) or a highly textural fur, sometimes tossed over her shoulders.

Anna Wintour attends the 2025 Met Gala, Photo, Getty Images.

Anna will almost always wear her large Chanel sunglasses, a tall snakeskin boot on a high but sturdy heel (a nude sandal in the summer), and those ever-present vintage Georgian Collet necklaces from the 18th and 19th centuries, which add a touch of color and sparkle.

They have become such a signature; on Etsy, they even describe these necklaces as ”Anna Wintour style” in case you are searching. While the result is admittedly not a good look for everyone, it suits Anna’s narrow frame, her lifestyle, her stature as fashion’s most powerful woman, and her age. 

Anna turns 76 in November; she looks regal, sophisticated, commanding, and very much in charge. 

The post The Elusive Search for Style: Is Variety Overrated? appeared first on lookonline.

Barbara Bui, Photograph by Gilles-Marie Zimmermann

A recent Instagram post resonated with me. It spoke about how Jackie Kennedy created the modern capsule wardrobe. Jackie wore the same things on rotation and repeated them over and over again.

She didn’t need 50 versions. Jackie made it look like power, not limitation. When you wear the right things often enough, they become an extension of your identity. It’s not about being boring; it’s about being intentional.

“I’m not looking for radical changes and extreme transformations. We are a brand rooted in reality. Our wardrobes evolve according to the times, our feelings, and changing lifestyles” – Barbara Bui

Barbara Bui, khaki mercerized satin patch pocket shirt, $640, and cargo trousers, $575. Photo by @yvesmourtada

My style has always leaned towards a uniform approach to dressing, steering clear of fleeting trends and instead seeking out the perfect pieces. Barbara Bui, the visionary behind her eponymous French luxury ready-to-wear brand established in 1987, has dedicated nearly four decades to perfecting an effortlessly cool capsule wardrobe, a testament to her unwavering commitment to quality and timelessness.

Barbara Bui, suit jacket in washed denim with tobacco stitching, $1220, barbarabui.com

Barbara Bui’s brand is celebrated for its distinctive fusion of masculine and feminine styles, often incorporating sharp tailoring, rebellious rock elements, and a touch of Parisian elegance. The theme of androgyny is a central and intriguing aspect of her designs.

Barbara Bui, camel leather high-collar jacket, $ 3,000. Photo by @arnaud_tudoret, barbarabui.com.

It’s all about “highlighting the best in everyone without making a gender distinction,” says Bui, who describes her woman as strong, confident, and elegant, with an unapologetically defiant spirit. Leather is Barbara’s fabric of choice.

Although Barbara established her line in the 1980s, it has an unmistakable 1970s vibe. Bui thought the clothes in the 80s were too trendy and too cheap. “A good piece of clothing is all about the cut and quality. You can afford all kinds of fantasy provided you meet these two requirements”.

Barbara Bui, fitted blue velvet jacket and bootleg trousers, barbarabui.com

Bui’s terrific velvet pantsuits (jackets are $1,450, trousers are $740) rival those created by Tom Ford for Gucci in the 1990s. Of course, Barbara was there first. I also see vestiges of Haider Ackermann in the impeccably tailored jackets. Prices, which start at $180 for a ribbed jersey tee shirt and go up to $3605 for a black plonge leather trench coat, reflect the high quality and workmanship.

Barbara Bui, gold metallic jersey draped tee shirt, $485, Photo by @yvesmourtada

Bui draws inspiration from various sources, including rockabilly styles, as well as pop culture icons who represent a certain freedom in music and attitude. A muse from the rebellious punk and rock scenes of the 1970s, including iconic figures like Mick Jagger from the Rolling Stones and, notably, his wife Bianca, left an indelible mark on the designer through her “mad and natural elegance.”

French singer and writer Loane Coste wearing Barbara Bui, Photo by Gilles-Marie Zimmermann

Portraits of individuals who inspire Barbara and embody the brand’s aesthetic are featured in ongoing projects, such as #BBUIWOMEN and the PORTFOLIO series, photographed by Gilles-Marie Zimmermann. These projects aim to celebrate the diversity and strength of women, a core value of the Barbara Bui brand.

Barbara studied literature but found she could best express herself through fashion design. The self-taught Vietnamese-French designer began her career by opening a small shop and workshop in Les Halles in 1983, initially selling her designs as well as those of other young designers.

Barbara revisits denim in a trompe l’oeil print, Photo by @yvesmourtada

Barbara’s journey to success began with a collection showcased during Paris Fashion Week in 1987, which garnered praise from international buyers and the press. The following year, she boldly opened her first exclusive Barbara Bui boutique on the rue Étienne Marcel, a pioneering move at a time when young designers rarely did so. This rich history and strong identity are what make Barbara Bui a part of the fashion legacy.

Success was swift. Barbara’s deft design alchemy, which seamlessly blended feminine elegance with a rebellious rock ‘n’ roll edge, instantly struck a chord on the contemporary Paris fashion scene and beyond.

In 2003, Bui was unanimously elected to the Fédération Française de la Couture, the governing body of the French fashion industry. Debuting in 2013, she garnered more accolades, including the Globe de Cristal for Best Fashion Designer, awarded by the French Arts & Culture Press Association in February.

Barbara Bui, Autumn Winter 2025, Photo by @yvesmourtada

Barbara has showcased her collections in New York and Milan, but now Bui primarily displays her collections at her flagship store, located at 50 Avenue Montaigne in Paris. The last few collections, including the most recent for autumn-winter 2025, were revealed in a film.

The season, dubbed “Another Look,” highlights timeless Bui signatures: the perfect leather Perfectos, leather pants, velvet pantsuits, and oversized jackets, played out in black. Among Bui’s recent collaborations is a unique two-year partnership with the Paris Saint-Germain Football Club, commonly known as Paris Saint-Germain or PSG, one of the most successful and widely supported clubs in France.

Barbara’s designs for the most successful women’s football team in Paris, Bui x Paris Saint-Germaine

Fashion partners in women’s football are few and far between. The capsule includes a sleek black suit with subtle leather detailing on the jacket. For a more casual look, Les Parisiennes will be decked out in a white, biker-style coat, matching trousers, and a PSG tee.

To celebrate the Lunar New Year, Bui and Maison Aurélie Bidermann collaborated with Ekkaï, presenting a collection inspired by the serpent, the ultimate symbol of transformation, strength, and allure.

Barbara Bui gold metallic maxi dress, $1070, Photo by @yvesmourtada

Interacting with her customers and contributing to people’s lives through her designs is Barbara’s greatest pride. “Fashion is anything but superficial,” observes Bui, who regularly visits the flagship store on Avenue Montaigne.

Bui has two other boutiques in Paris, and her designs are sold on international websites, including Farfetch.com and her own, barbarabui.com.

“People have this narrow view of fashion. They see the show-off aspect of fashion, which makes it look very superficial, but in reality, it is much more than that.” Touche!

The post Barbara Bui: Fashion Designed to Last! appeared first on lookonline.

Carol & Bill are enjoying happy times—photo by John Kurdewan.

Wednesday, June 25th, 2025, marks the 9th anniversary of Bill Cunningham’s passing. There was to be a gathering of some of Bill’s New York Times colleagues on 5th Avenue and 57th Street where they would share pictures, swap stories, and recollect, but it was canceled last Sunday.

“As the only art director at The New York Times who agreed to work with Bill, I knew deep down that he was a magician, leading us to unveil his discoveries every Sunday; his rabbit out of a hat every week” – Carol Dietz, Former Art Director, The New York Times.

Carol, who worked alongside Bill for over 20 years, was one of the invitees. I reached out to Carol, who has documented many of her images of Bill on her Instagram page, and I asked her to share some remembrances and personal anecdotes.

One of Bill’s Evening Hour spreads that Carol Dietz worked on.

She had a unique working relationship with Bill. They met when Bill was 64 (“Bill was coming into his own at that age, and everyone else was retiring”), and she knew him until his death at the age of 87. Bill was many things to Carol: a brother, a father, a mentor, everything. “He was such a pleasure to have in my life.”

Carol worked in the New York Times art department beginning in 1993, and although it wasn’t solely with Bill, whenever she worked on Bill’s pages, they connected and remained friendly all those years, which she describes as magical, creative, and fun.

Carol with Bill, who was famously hard of hearing

“Working in the same office as Bill Cunningham and seeing him every day was such a treat. You could hear his laugh down the hall the minute he got off the elevator. I really miss his voice, his laugh.” Age was never an issue, according to Bill, who recalls Carol.

He was timeless, creative, curious, and knowledgeable. Bill knew the history of everything. There was so much more to him than being a photographer. He never even called himself a photographer but rather a documenter.

Carol describes Bill as a great colleague who taught everyone good manners (Bill always sent handwritten notes) and grace under pressure. Bill was a very busy man. He shot hundreds of photos, had to go to the offices, edit them down, and cover events at night. He was always on deadline.

Bill’s handmade Valentine’s Day card for Carol

His job was very stressful, and it was overwhelming at times, yet Bill never let on that it was stressful, as he thoroughly enjoyed his work. He was always caring and thoughtful, remembering birthdays, giving chocolates, and making gifts.

The art department always wanted to contribute to helping. They were very compassionate and caring, and Bill considered his fellow art department colleagues as his family. “That doesn’t just happen. You must gain the respect of people and handle yourself with poise under pressure in a deadline-oriented organization.

Carol is standing in front of her wall of layouts for her first fashion book with photographer Robbie Quinn

Bill would show Carol 75 photos, and they would have to be edited down to 36 in an hour. There was no time for talking. They just had to keep moving. It was a real collaborative effort. He was a highly visual person and was very specific about how he wanted the layouts to look. Moreover, Bill would never select an unflattering photo.

Every section at The New York Times has an art director. If you were the art director for the Styles section, you didn’t have time on a Friday to devote to Bill’s pages, so they were outsourced to people like Carol, whose deadlines were on Thursday.

Carol recalls how, every Friday at 3 pm, she would carry Bill’s cropped images and the layout to the photo production department, where every single one of them would look down at their desks, ignoring her. Carol would announce ‘Street!’, ‘Party!’ in hopes that someone would take on the tedious job of toning thirty-six black and white images in thirty minutes.

Carol fondly remembers when the art department gifted Bill with a bicycle on one of his birthdays. It had a little bell on it, and Bill rode it around the offices. Carole says she never laughed so hard.

Bill did not accept gifts, and Carol recalls that one year, when autumn came, she went to Gramercy Park, a place Bill loved. She scooped up a bunch of golden, red leaves and dumped them on his desk, and Bill kept them there for weeks. He adored that gift.

On Thanksgiving Day 2015, Carol was with Bill in his apartment on Central Park South.

Carol visited Bill’s cramped studio at Carnegie Hall, where he kept boxes and boxes of negatives. Bill always kept his door open because he wanted fresh air, and he didn’t think anybody would sneak off with a box of negatives. At one point, Bill was considering donating some of his archives to a museum, but they wanted him to pay them, which he didn’t agree to. The famously miserly Bill would do no such thing.

Carol worked on the first Richard Press documentary, “Bill Cunningham New York,” in 2010. Bill hated it. They had to follow him around, and he was so unnerved that she remembers. Bill agreed to do it, thinking it would be a week or so, but it dragged on for a few years.

When it was released at MOMA, there was an opening, and Bill gave Carol his ticket, saying, “Well, you go, child. I have work to do, and he left on his bicycle and never watched the movie.

Like Bill, Carol saved and remembered everything, which is why Mark Bozek wanted Carol to help select images for his documentary, “The Times of Bill Cunningham”, and to be the art director of his book, “The Battle of Versailles: The Fashion Showdown of 1973.” Bill was not the photographer of the show.

Carol with Mark Bozek editing photos for the Bill documentary

He just happened to be there with his camera. Some of the photos are sharp, and others are blurry. Regardless, they add to the magic. It was Bill’s favorite fashion show in Paris and the one that kick-started Bill’s love of fashion.

Carol was the art director of The Battle of Versailles, by Mark Bozek

None of Bill’s images used for the book had ever been printed. She and Mark had to travel to Orangeburg, New York, to review contact sheets pulled from Bill’s photo archives, which are stored in file cabinets in a cold storage facility.

When I asked Carol what she thinks of the Times Style pages now, she said, “I always look forward to Vanessa Friedman and her witty reportage, but basically, it’s gone. Of course, the times have changed. We don’t have to wait until Sunday. We see images all the time.

CaroI thinks they haven’t tried to duplicate anything of that past style coverage, and they haven’t tried to replace Bill. But let’s face it, Bill’s life was his work. There aren’t many, if any, who could devote so much time to their jobs.

When I wear a suit and tie, I feel like Clark Kent, says Carol Dietz, photographed by Bill Cunningham

Dietz, a School of Visual Arts graduate and Diane Keaton lookalike, was often photographed by Bill as she left the offices. While he couldn’t use the images for The New York Times, as she was an employee, Bill always sent them to her.

Carol worked at The Daily News, Macmillan, and Scholastic publishing houses before The Times. She hopes to work on another Rizzoli book about the Battle of Versailles, focusing solely on the photographs of Jean-Luc Huré. Jean-Luce, who is 83 and lives in Paris, has been photographing the Paris fashion scene since the sixties. His pictures appeared in WWD and W from 1966 to 1975.

Carol with Bill on Thanksgiving Day, 2015

Carol would love to write a personal photographic memoir about Bill because she has a collection of thank-you notes, handmade Valentines, feathers, bird eggs, bird nests, and more. Bill made them for others, too, but Carole thinks she might be the only one who has kept them.

Next year marks the 10th anniversary of Bill’s passing. She would love to get together with Bill’s friends and hold hands in front of 57th and 5th, sharing stories. “He never left my heart, but now and then, I can use a Bill hug,” says Carol, whose hope is that Bill is remembered as an icon of New York, an icon of humanity.
…

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Tony Bechara, Photo El Museo del Barrio

El Museo del Barrio, the nation’s first Latinx, and Latin American cultural institution held its 2025 Gala at the Pool + Grill in the iconic Seagram Building on Wednesday evening. The event honored Tony Bechara, whose visionary leadership and dedication have shaped both El Museo del Barrio and the Latino art community for decades.

Cocktail hour at The Grill – photo by Marilyn Kirschner

Proceeds from the evening support El Museo’s exhibitions, educational programs, and the preservation of their permanent collection, ensuring their rich cultural legacy thrives for generations to come.

“I’m just passionate about art. My commitments to cultural institutions are for my artistic projects. They are an extension of my commitment to art, like unfinished murals in which I work during the night.” – Tony Bechara

Tony Bechara, Photo by Maku López – photo Courtesy Lisson Gallery

Tony Bechara, the Puerto Rican painter who championed Latin artists (including Carmen Herrera), passed away at the age of 83 last month. Tony lived and worked in New York City for most of his life. His prolific artistic career, spanning over five decades, positioned him as a pioneering figure in contemporary abstraction.

Karla Harwich, Elizabeth Steimberg, Jean Shafiroff

Tony was Chair of El Museo’s Board for 15 years, and his unwavering commitment helped shape the institution. In 2018, he donated $1 million to the institution’s endowment to support its curatorial and educational programs. Bechara was set to be honored by the museum at this gala. Instead, the evening was a tribute to his extraordinary life and the lasting impact of his legacy on the art world.

Karla Harwich, Maria Eugenia Maury, Agnes Gund, Sydie Lansing – photo by Marilyn Kirschner

Chairs for the event were Esty and Dan Brodsky, Victoria Espinosa, Agnes Gund, Karla Harwich, Maria Eugenia Maury, Yolanda Santos, and Karla Martinez de Salas, head of content for Vogue Mexico and Latin America.

Host Committee members David Weiner and Elizabeth Steimberg with Roy Kean & Lee Fryd – photo by Marilyn Kirschner

Vice Chairs of the event included Gabriela Hearst, Carolina Herrera, Barbara Tober, and Bloomberg Philanthropies. Among the Host Committee members were Sotheby’s, Christie’s, Jean Shafiroff, Carlos Motta, Elizabeth Steinberg, and David Weiner, all of whom came together to show their support for the art community.

Left: Thelma Golden and Ruben Toledo – photo by Marilyn Kirschner

Notable guests included art world heavyweights such as illustrator extraordinaire Ruben Toledo, Thelma Golden, head of the Studio Museum in Harlem, and Sydie Lansing, an artist, designer, and philanthropist.

Also in attendance were Jane Keltner de Valle, a longtime editor turned interior designer, and William A. Haseltine, the American scientist, businessman, author, and philanthropist known for his groundbreaking work on HIV/AIDS and the human genome.

Bill, who was frequently on television during the height of the COVID-19 pandemic, told me during cocktails that it was his great friend, Tony Bechara, who introduced him to his wife, Maria Eugenia Maury, the philanthropist. Maury served as Board Chair of El Museo del Barrio for eight years and is a dedicated Board member.

Carolyn Tate Angel – photo by Marilyn Kirschner

The dress code for the evening, which began at 6:30 with cocktails by DOBEL Tequila, a longtime generous sponsor of the event, was “Creative Black Tie.” This is the most popular phrase these days, serving as a catchall for everything and anything. If not creative, most of the guests were festively attired for the vibrant event.

One guest, who carried a black clutch bag imprinted with the words, ‘I AM AN IMMIGRANT’, used the gala as an opportunity to make a timely political statement.

“Tony Bechara’s contributions to El Museo del Barrio are truly unparalleled. His visionary leadership, relentless advocacy, and deep belief in the power of culture to uplift communities helped shape the very identity of this museum.” – Karla Harwich, El Museo Del Barrio Museum Board Chair

The Pool Room – photo by Marilyn Kirschner

The Pool Room was stunningly decorated for the seated dinner. Grammy-nominated musical ensemble Leo Gruber & Tren Latino provided music. The Bechara love fest kicked off with Senator Charles Schumer’s warm and welcoming video address, followed by emotional speeches from Karla Harwich, Board Chair of El Museo del Barrio, and Executive Director Patrick Charpenel.

Accepting Bechara’s award in recognition of his extraordinary legacy as an artist, patron, and leader was Stanley T. Stairs. A performance by Soprano Larisa Martinez, followed by dancing and dessert, concluded the event.

In honor of artist Tony Bechara and this event, the museum partnered with Sotheby’s for an online auction. Bidding for El Museo’s Gala Auction closes on Friday, June 13th, at noon.

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Dede Ayite – Photo news.lehigh.edu

Dede Ayite is a Tony Award-winning costume designer in theater, opera, and film known for her dramatic storytelling through costume design. Ayite’s Off-Broadway credits include “Secret Life of Bees,” “Fireflies,” and many other productions.

Dede has worked on over 23 different Broadway production plays, including “Othello”, “Slave Play,” “Hell’s Kitchen,” “Children of a Lesser God,” and “Our Town,” for which she recently won the 2025 Drama Desk Award for Outstanding Costume for a Play. Dede was nominated for, and has won, distinguished awards several times. Last year, Ayite made history as the first Black woman to win a Tony Award for Best Costume Design of a Play.

Dede Ayite, with her Tony Award, Photo by Theo for Getty Images

She won the award in 2024 for her work on “Jaja’s African Hair Braiding”, a play set in a Harlem hair salon. This year, she is nominated for her work on “Buena Vista Social Club”.

“Part of what I do as a costume designer comes out of my fascination for what it means to be a human being; what makes us ‘us’ and why we do the things we do” – Dede Ayite

Dede Ayite and Sandy Schreier – Photo by Marilyn Kirschner

I met Dede when she attended the Superfine: Tailoring Black Style press preview at the Met’s Costume Institute, with Sandy Schreier, who was featured in her major exhibition, “In Pursuit of Fashion: The Sandy Schreier Collection”, November 27, 2019 – September 27, 2020. Dede and Sandy initially bonded over their shared love of theatre, fashion, and clothes.

Dede knows that great fashion lifts you into another dimension. She understands how transformative fashion can be; it instantly changes how you look and feel about yourself. This is why Dede loves costume design. She gets to create that magic for others. Dede used to dream of being a fashion designer; with theater design, she gets to fuse storytelling, fashion, and costume design.

A resident of New York for 14 years, Dede grew up in Ghana. “Part of the culture in Ghana is always looking your best at all times when you’re leaving the house,” says Dede, who always gravitated to clothes and reveled in the joy of just wanting to put on your best look. As a young girl, Dede often sketched her clothes, had them made, and frequently hung out with the seamstresses in their shops.

Dede Ayite wears Rick Owens for the opening night of Hell’s Kitchen – Photo courtesy Dede Ayite Instagram.

Dede admits that she can look at a piece of clothing and feel a sense of happiness in her heart almost immediately. She gravitates to designers like Rick Owens for his sculptural designs and Schiaparelli and Alexander McQueen for their impeccable craftsmanship and imagination.

In the past two years, when Dede attended the Tony Awards as a nominee, she designed her dress and had it custom-made by John Kristensen Studios. Ayite loves the idea of honoring her heritage and culture, so this year, she reached out to Ghana-based Pistis, pistisghana.com, to custom-design a gown made of Kente, the Ghanaian textile made of hand-woven strips of silk and cotton.

Dede likens the process of creating costumes to going on a scavenger hunt. For the Buena Vista Social Club, Dede examined vintage fashion from the 1940s through the 1960s and the 1990s, poring over images and videos from Cuba spanning the period from the 1940s to the present day, to create a cohesive story for costuming.

With the help of a great team, Dede sourced everywhere, New York and beyond. Sometimes Ayite will find a garment and add her details or embroidery to make it look the way she wants it to. She will mold her findings to fit the story.

Dede Ayite’s costumes for Hell’s Kitchen – Photo courtesy Dede Ayite Instagram

Dede has a great eye, but she does not do the tailoring and draping herself. Instead, Dede collaborates with the premier custom costume shops located in the garment district. “We want to keep them alive because what they bring to the ecosystem is invaluable,” says Dede, who draws inspiration from fabrics and research, helping her bring these pieces to life.

Dee Ayite Instagram

Among the theatrical costume supply shops Dede relied on for Buena Vista Social Club are Eric Winterling, Inc., John Kristiansen Studio, Bethany Joy, and Jennifer Love. In addition, Dede often depends on custom professional hand painter Hochi Asiatico’s meticulously prepared theatrical fabrics and distressing services.

Hochi hand-paints pieces and professionally distresses clothes to give them a more lived-in look. “Performers bring the garments to life, but Hochi can paint that life into the garment,” observes Dede.

Jake Gyllenhaal as Lago and Denzel Washington as Othello in ‘Othello’ on Broadway – Photo by Sara Krulwich for The New York Times

As for the arduous creative process? The script provides Ayite with the necessary information. She listens to music to help inspire her, and then she starts researching to get an idea of what the real clothes look like. One of Ayite’s favorite aspects of her work is the research, which involves exploring the world of the play she is working on.

Dede Ayite, Photo by @angela.marie.photo

Ayite has a “ton of books” (vintage books, a book of costumes, and an encyclopedia of men’s fashion showing the original designs), which she always references to ensure she gets the proper structure, the correct shoulder lines, and so on. In this way, Dede can blend the reality of the story with the actual appearance of the garments. This is crucial to the detail-oriented designer.

Dede has made costume design her life’s work for the last 18 – 20 years. She graduated from Lehigh University with a major in behavioral neuroscience and a minor in theater. Dede received her MFA from the Yale School of Drama, where her love of theatrical costume design flourished.

I asked Ayite if there was any project she would love to work on, something she had been dreaming about. “I’ve always loved ‘Game of Thrones’. The costuming is spectacular. Of course, it’s been done, but I would love to have my own “Game of Thrones”, whatever that might look like. To be able to tell a story in such a beautiful, expansive, and fantastical way would be a dream.”

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