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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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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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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Booth Moore, wearing Grover Road Opera Coat, attends the Crystal Bridges Museum of American Art’s Grit to Glamour Party on October 26, 2022. Photo by Shane Drummond

As a brand storyteller specializing in the intersection of fashion and entertainment, Booth Moore has interviewed hundreds of designers, CEOs, and celebrities, synthesizing their visions for readers and customers. An international authority and dynamic public speaker on celebrity, fashion, and Style, Moore has appeared on CNN and NPR, in print articles, and on live programs, where she discusses trends, designers, red carpets, and more.

Booth Moore’s career path is a testament to her dedication and adaptability. She spent 6 years at WWD, initially as the Executive Editor, West Coast, before transitioning to a role as the Executive Editor.

WWD recruited Moore from the Hollywood Reporter, where she held the title of Style and Fashion News Director for two years. Moore covered the collections, led the Style vertical, and wrote about the connection between Hollywood and Fashion, contributing to both the magazine and online.

Booth wears Dries Van Noten cape and clutch, getting ready for WWD’s inaugural Style Awards 2025. Photo courtesy Booth Moore

For years before that, Moore was at the LA Times, where she was the fashion critic and founding editor of their “Image” section. Moore was the first, if not one of the first, to do a story on the red carpet, “Pay For Play.” The red carpet has become a big business for stars and brands, and almost nobody wears anything they are not paid to. In the interim, Moore has taken the time to write three books on Style.

“Big business and big corporations have taken over, which has made the pressure for profits so much more intense. The speed at which creative directors are expected to create sensational and best-selling products and capture everyone’s attention and imagination has quickly accelerated. There is not as much leeway to take your time to develop. It has to be instantaneous”. – Booth Moore

Moore has much to say about the current state of fashion and the speed at which everything changes. She sees the upheaval in fashion as mirroring our times. Booth feels that much of what is happening is because fashion is now moving at the speed of pop culture.

Booth Moore dressed in Dries Van Noten for two evening events in Los Angeles. Photograph by Sela Shiloni

Moore got the journalism bug while writing for her high school newspaper. Born and raised in New York, she attended Chapin and received her BA in history from Duke. Being based in LA has afforded Booth easier access to happenings on the West Coast and allowed her to get to know the agents, stylists, and entire scene.

One of the highlights of Booth’s career is witnessing the rise of LA as a style capital. LA was once seen as a “second city,” but no longer. When Booth started at the LA Times, she could not get into the Balenciaga show, which was designed by Nicolas Guesquiere.

Booth had a heated conversation about why LA was important, explaining that people there spend a lot of money on clothes, etc. A few years later, Balenciaga opened a store on Melrose Place, and they wanted her to cover it.

Loewe Fall 2025 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression.

Fashion musical chairs are THE inescapable story in fashion right now. The talk quickly turned to Jonathan Anderson leaving LOEWE, the assumption that he will be going to Dior (which is in dire need of an injection of creativity), and the rumors that Proenza Schouler’s Jack McCollough and Lazaro Hernandez would become creative directors at LOEWE which was confirmed on Monday. No surprise there.

“Loewe developed incredibly under Jonathan Anderson. The marketing, the craft, and his collaboration with celebrities have been the best in the business, and Jonathan’s sense of humor is needed in fashion right now.” – Booth Moore.

In 2019, Booth wrote a column about how fashion was stuck in the “Hollywood remake mentality.” Numerous franchises and luxury brands have house codes (Chanel’s camellia, for example). People keep rehashing and regurgitating them, which can be exciting or very dull.

The discussion turned to Matthieu Blazy, Chanel’s new creative director. Moore feels that unlike Lagerfeld, one of the leaders in commodifying luxury, Blazy will want to push back and focus more on craft, which will likely be a turning of the page for fashion. “They will need the bags and familiar codes to sell and make money, but maybe it will be less about merchandise product forward,” opines Moore.

There is so much turnover with creative directors and new debuts. The challenge for designers is how to strike the right balance by being reverent to the past while bringing something of themselves and something surprising to the equation. In Moore’s opinion, Sarah Burton fully understood that assignment with her debut as creative director at Givenchy for fall 2025.

Booth getting ready for WWD’s Live on the 2025 Golden Globes Red Carpet wearing a Diotima Vest and Banana Republic Gown

In New York, Booth is partial to Diotima, a favorite of hers, and Luar and Willy Chavarria, who are dedicated to the Latin American experience. Finding new talent is one of the most rewarding aspects of Booth’s work.

Josh Tafoya designs, joshtafoya

Moore recently discovered Josh Tafoya, a finalist for the LVMH Prize, when covering the Indigenous collections in Santa Fe. Tafoya from Taos, New Mexico, specializes in traditional weaving with a punk rock spin.

President Donald Trump & Bernard Arnault – photo by Michael Buckner for WWD,

Among the “crazy stories” Booth has loved covering and reporting on is when Bernard Arnault and Donald Trump met at the Louis Vuitton factory in rural Texas, “Trump and Arnault Meet in Rural Texas,” October 17, 2019.

Rick Owens with Michele Lamy in front of his first studio in Hollywood, November 18, 2019, Photograph by Emily Malan for WWD.

Another great memory is when Rick Owens returned to LA for the first time in 16 years, and they rented a little bus and drove around to his old haunts, “Moore From L.A.: Rick Owens Isn’t Over L.A. Yet,” November 18, 2019.

Booth Moore, wearing Dries Van Noten, attends Levi’s Haus of Strauss Paris x Shiong Turnini at Hotel Liberal Bryant, Paris, September 24, 2024, photo Zach Hilty of BFA

When I asked about Moore’s most memorable fashion shows, she said there are too many to count, but high on her list is any Prada, Miu Miu, or Dries show because she wanted to wear so much of it. Ditto Phoebe Philo for Celine, which was such a moment in fashion time.

Alexander McQueen was the consummate showman who embraced art and technology. The Hussein Chalayan spring 2007 mechanical dress show was just a tech marvel. Any Iris Van Herpen show is because of her incredible future-thinking technique; any Alber at Lanvin show is because of his tender approach.

The final Tom Ford Gucci show, with the rose petals raining down, was a moment that an American had scaled the heights of European fashion. Booth loved Alessandro Michele’s Gucci show on Hollywood Boulevard, which was as cinematic as they come.

The infamous Galliano spring 2006 collection with a diverse runway cast. The Karl-era Chanel supermarket show was such a feat, and we all sneaked away with groceries, the iceberg show, the farm show, the carousel show, and more.

Because Moore had covered 9/11 for the LA Times while in NY for fashion week, the Givenchy post-9/11 show was held on the pier, where we saw the beams of light where the towers fell as the show ended.

She also loved many indie NY moments, like the Miguel Adrover show with goats, the Imitation of Christ’s “Funeral Parlor” show, and the Raf for Calvin show with popcorn all over the floor. She also loved Oscar and Kors shows in the heady late 90s/early 2000s, when Bryant Park was the best scene ever.

As for the future of fashion magazines, Booth observes that it’s all about smaller niche titles and self-published substacks, which enable you to have your own magazine and be your own self-publisher. Booth believes that in order to keep customers engaged, brands will need their own media companies to produce copy, film, and music like Saint Laurent Productions.

Booth Moore wearing Proenza Schouler Photo Courtesy of Booth Moore.

Meanwhile, Moore is keeping busy. This week, she will address the Arizona Costume Institute with a talk at the Phoenix Art Museum. At the beginning of May, Moore is off to Atlanta to judge the SCAD Senior Thesis project. Booth enjoys public speaking and moderating panels—”a great experience at WWD”—and is comfortable doing it.

I’m excited about the future; I’m excited to use my brain in a new way, to be more involved with strategy and creative and not locked in a box,” says Booth,  who hopes to leverage her experience to pivot into brand strategy and content management.

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Machine Dazzle and his assistant Emma Bizzack – photos by Marilyn Kirschner

Machine Dazzle’s debut New York gallery exhibition, “Obsession and Evidence,” opened on New Year’s Day at AP Space, a contemporary art gallery in Chelsea. To mark the occasion and celebrate the multidisciplinary artist’s 52nd birthday, arts philanthropists Andrew Martin-Weber and Barbara Tober hosted a small private lunch, followed by a cocktail reception at 4 p.m.

Exhibition

Machine Dazzle, the 6’7″ American costume designer, set designer, performance artist, and drag queen, born Matthew Flower, is known for his excessive and fantastical camp. The genre-defining self-taught artist describes himself as a “radical queer, emotionally driven, instinct-based concept artist trapped in the role of costume designer, sometimes.” “I was always the tallest and the gayest,” observes the award-winning downtown legend, innovator, and Pulitzer Prize finalist.

A multimedia sculpture titled “Memory.”

Machine Dazzle is known for creating fantastical costumes, sets, and installations from found objects and recycled materials. He describes his studio as a visceral wonderland filled with furniture, lights, things, and materials that inspire the absurd and sublime.

“My work takes everyday objects and transforms them conceptually, changing their intended function. My fondness for found objects has taught me to see them uniquely. Here, I turn trash into treasure.” Machine Dazzle

An installation featuring AI Images

MD re-imagines discarded materials as fossilized artifacts in this show, exploring the relationship between waste and art. Accompanied by AI-generated imagery, the works prompt viewers to consider how artificial materials transition from lifelessness to life and reflect on the abundance of non-biodegradable garbage in our world. Ultimately, this installation is about seeing things in a new way.

Gilded Bullets

One of Machine’s favorite pieces in the show, which ends on January 15th, is the impossible-to-miss quartet of enormous gilded bullets that greet you upon entering the gallery. They were created after the UnitedHealthcare CEO Shooting last month. Machine has given them names. “Defend. Defame. Depose. Dance.” As he put it, creative people are not just inspired by good things.

Among the other standouts is a multimedia sculpture titled “ Memory.” The dominant shape is foam. Other objects are plastic screens, plastic flower parts, pearls, and pins. This particular piece is a favorite, using a technique that Machine Dazzle is experimenting with. The shapes are made by injecting expanding foam into knit objects like hats, mittens, socks, and toys. The foam takes on the texture of the weave/knit.

The guest list was eclectic, and many heavyweights from the art world were in attendance. Included were Phoebe Legere, pioneer of multidisciplinary art; Jean Park, owner of AP Space Gallery; Tim Rodgers, director of MAD Museum; Elissa Auther, chief curator of MAD Museum; and RoseLee Goldberg, art historian, author, critic, and curator of performance art.

Lynn Yaeger, Patrick McMullan, Nicole Miller, Kim Taipale

Also, American furniture designers Dakota Jackson, Justin Vivian Bond, Ron Chereskin, Lynn Yaeger, Dusty Childers, Michael Musto, Nicole Miller, Kim Taipale, Austin Scarlett, Jon Marder, Marc Rosen, Sharon Hoge, Patrick McMullan, Fashion 4 Development’s Evie Evangelou and a diminutive 90-year-old legend in Korea who makes dolls and goes by the Instagram handle, “unstoppable_umma.”

The dress code could best be described as “downtown artsy.” Many guests were apparently inspired to bring out their inventive and colorful sides on the first day of the New Year.

Marilyn Kirschner in vintage Junya Watanabe for Comme des Garcons and Gillian McCain wearing Dries Van Noten

It was hard to miss Julie Sandler in stop-the-traffic green Prada. For the Comme des Garçons puffer jacket and matching fishtail skirt, I chose a favorite vintage Junya Watanabe.

Joan Belmar, Phoebe Legere, Julie Sandler, Joel Friedlander

Phoebe Legere, the Juilliard-educated composer, artist, painter, poet, musician, filmmaker, performance artist, and community arts advocate, wore pants made from an iconic piece of art gifted to her by legendary artist Roy Lichtenstein.

Lynn Yaeger wore her signature Simone Rocha uniform. When I asked what she looked forward to in fashion, the subject quickly turned to Matthieu Blazy at Chanel. Lynn interviewed Matthieu last month and said he is very laid-back, down-to-earth, and talented.

Lynn said she was surprised that he was offered the job and even more surprised that he accepted it. As to what Matthieu will do? Lynn thinks the Chanel runway will look one way and the stores another.

I agree.

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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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Sydney Biddle Barrows, Photo by Tyler Joe

On October 16, 1984, Sydney Biddle Barrows — whose ancestry led The New York Post to crown her the “Mayflower Madam” — was busted as head of an upscale escort service. She was fined $5,000 and received no jail time or community service.

Barrows turned herself into Manhattan Central Booking after being arrested under the alias of Shelia Devon on October 16, 1984, Photo Courtesy of New York Daily News.

Ms. Barrows, a former debutante and the descendant of four Pilgrims who escaped England for America aboard the Mayflower in 1620, was photographed outside Manhattan Central Booking in a chic gray wool suit. She never went for flashy clothes; that was never her style.

Candice Bergen starred as Sydney Biddle Barrows in the 1987 movie Mayflower Madam

A prolonged bout of unemployment led Barrows, who graduated first in her class at FIT, to be fired from a job as a store buyer because she refused to participate in a kickback scheme, eventually leading to her involvement in an explosive sex-for-sale scandal that inspired a 1987 movie starring Candice Bergen.

I was seated next to Barrows at the Museum Of Arts And Design + Barbara Tober Host Tour And Lunch For Barbie Exhibition on the November 18th luncheon. She introduced herself (I only heard the first name), and while she looked familiar, it took some time to figure out why.

From left, Laura Lobdell and Sydney Biddle Barrows, photo by Patrick McMullan

In keeping with the event’s theme, Sydney was a study in pink: She wore a pale pink sleeveless knee-length shift dress and ballet flatsand carried a small bag with a pink floral design. Sydney looked demure, modest, and unassuming.

Naturally, the conversation turned to fashion. Sydney told me she likes to be well-turned-out, well-groomed, and classic. Among the women whose style she admires are the late Lady Diana and Kate Middleton.

Best Selling Book

Sydney, the author of several best-selling books, explained she is now in the “energy” business. It’s the business of Energy Medicine or Energy Healing, a branch of alternative medicine based on a pseudo-scientific belief that healers can channel “healing energy” into patients and effect positive results.

Sydney’s confidence in her work is palpable. She shared that many of her satisfied customers leave glowing testimonials on sydneybarrows.com. She is so sure about the positive results that she offers a money-back guarantee. I couldn’t help but wonder if she offered this option back in her escort service days.

I wanted to learn more about what she does, so I followed up with Sydney, who explained that it’s not possible unless I’ve experienced it myself. She suggested having a 20-minute phone conversation first so that she could give me an introductory overview of what it is and what to expect when we get together. That little chat turned out to be highly informative.

“I know it sounds crazy. If some of this stuff sounds weird to you, believe me, it sounds weird to me too, but it works!” Sydney Biddle Barrows

As a client, you start with a bullet point list of up to 6 things you would like to change in your life, and for some reason, you can’t. Barrows must identify all the roadblocks and find out what energies are holding you back so she can rid them and allow the brain to recalibrate.

Barrows, right, celebrated the launch of The Art of The Deal, with Ivana Trump in 1987, Photo by Ron Galella

Sydney’s first session is always two hours long, and she insists on no distractions. Physical surroundings play no part in this other than the client must be in a place where they won’t be disturbed, and any distractions, primarily electronic devices, are not allowed.

Also, unlike therapy, it does not require the active participation of both parties. Her clients’ activities are limited to saying yes (or no) when asked if she has their permission to clear negative energies. She always emphasizes the non-therapy aspect during the initial exploratory phone call.

Barrows gets on the phone, and you sit there and do nothing. Then comes the “voodoo part”. With your permission, Barrows connects with your subconscious mind so she can act as your proxy for most of the session; this is the only way to find out what’s going on in your mind.

Sydney Biddle Barrows, Photo byTamra Beckwith NY Post; T. Cooper w crowdMGMT; Markphong Tram w ABTP; Location Sanctuary Hotel

Sydney uses “ThetaHealing” to explore how emotional energy affects their clients’ health. The technique teaches practitioners to use their natural intuition and connect with the “Creator of All That Is” to reprogram their minds and clear limiting beliefs.

“What I do is proprietary; nobody else does it the way I do,” says Barrows, who stresses that she does not slog through the mud looking for all the bad things that happened in your life. Rather, she emphasizes the positive part of therapy, getting to the heart of what is blocking you, preventing you from achieving your goals. Her unique approach is both intriguing and refreshing.

“I have a 100% money-back guarantee. If you don’t see a positive change after four sessions, I will give you all your money back, and in all these years, not one person ever asked me to do this.” – Sydney Biddle Barrows.

Barrows attended ‘The Mayflower Madam Debuts New Advice Hotline’ on July 12, 1995, at Vince and Linda’s in New York City. – photo by Ron Galella

Back in the 90s, Barrows was a consultant for small businesses. She met a woman who wanted to start an energy psychology business. Sydney thought it sounded ludicrous, but she decided to help market the woman’s business, and in exchange, Barrows got free sessions.

Nobody was more surprised than Sydney that it worked; she surmised it would be an excellent tool for helping her clients. Sydney learned how to do it by taking a seminar and practicing on herself and others. Through happy clients’ word of mouth, Sydney has built a practice.

LATEST COMMENTS:

1. 

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

2. 

   test comment

3. 

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

4. 

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

5. 

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

6. 

   Hi, I am looking to relaunch my website, with an interactive plateform. Can you recommend someone with the creative and…

7. 

   This is all very sad considering what Klein and Schwartz built and what Costa did to advance the history of…

8. 

   A collection of Random Disasters that disgraces what was Calvin Klein !

9. 

   as always, Marilyn is right on time ….. terrific piece ….. and thank you for the inspiring photos of deRibes,…

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“Tinu” – All photos courtesy of Tinu

Brooklyn-born, Nigeria-raised fashionista, Tinu is truly a modern-day Renaissance woman: a Billboard-charted singer, model, publisher, and even a skilled pole fitness practitioner. A committed wife and mother of two young children, she is also a collector, brand ambassador, trendsetter, and self-admitted “shoeholic” and couture addict.

“Colorful Tinu”

Tinu exudes confidence, and she knows how to make an entrance. “I LOVE color, and African women have such a wide palette of beautiful color choices we can wear,” she said. “I live life colorfully and expressively. I cannot be a wallflower.”

“Tinu at the Rescue Dogs Rock Fundraiser Fashion Show”

She is a chameleon when it comes to her personal style. “I can go from Metallica to Giambattista Valli,” she said. “I wear clothes that reflect my innermost expression. I like the outfit to speak before I speak. I can enter a room without saying a word, and the party becomes electrified.”

Tinu with Iris Apfel

How does she choose her outfits? “The environment dictates the outfit. You need to dress accordingly,” she said. “If I’m going to an event downtown at Mr. Purple, I’m wearing hot pants, big earrings, and an afro. For an event on the Upper East Side, I will choose something like Hermes or Chanel. You don’t want to insult the host.”

Tinu, Barbara Tober and Cheryl Riley

Tinu is constantly on the go. She was preparing to fly to Palm Springs for the Barbie convention when we spoke. “I love dolls,” she said. “I might have more dolls than shoes. I rent an entire storage space to house them.” Not only is she an ardent collector, but she is also an ambassador for Mattel. 

Tinu twinning with doll

“I have an Instagram page, and a YouTube channel called Dollicious Life,” she said. “I dress like my dolls and post photos of us twinning. I also shoot them to look like they are life-sized.” An executive at Mattel saw her YouTube videos and asked her to review their products. “This all started during the lockdown,” she said. “I found ways to get my creative juices flowing.”

This multi-talented maven is overflowing with creativity. Tinu is also an accomplished singer-songwriter. She ventured into the music world around the same time Beyonce debuted and was quickly recognized by the industry. “Billboard magazine did a story on me as an unknown artist rising on the charts through grassroots promotion,” she said.

Tinu with Whoopi Goldberg

Her Second album, “Addicted,” featured a catchy, confessional tune called “Shoeholic.” The video went viral and was constantly played on MTV, VH1, and Europe. “All of the shoes in the video are from my personal closet,” she said and admitted having over 1000 pairs. The video started a craze, which inspired Tinu to start the Shoeaholic Club. 

She published a book and launched Shoeholic magazine in 2012. “The magazine was very successful,” she said. “Barnes & Noble picked it up immediately and stocked it until Covid hit. I’m excited to say it’s coming back in print and digital format.”

Tinu with designer, Kevan Hall

How did this NYU Stern business graduate and former banker fall into the fashion scene? “I returned to New York for college against my father’s will,” she said. The determined teen paid her own way and stayed with her uncle while attending school. “One day, I was window shopping along Fifth Avenue, and I was actually scouted by an agent,” she said. 

Tinu with Tommy Hilfiger

While modeling certainly immersed her in the fashion world, Tinu credits her mother as her biggest influence. “I remember growing up, my mother was so elegant. She was a fashionista with a closet full of Valentino and Chanel.” Tinu is part of an exclusive and clandestine couture club. “Couture collectors don’t want to be known to the outside world because spending that kind of money is considered taboo,” she said. “I used to buy at least one piece from four different houses every season.”

Tinu with John Galliano

For years, she was a fixture at the Paris couture shows. “I was always the youngest person and the only black woman in the front row,” she said. People were mystified and intrigued by her. Bill Cunningham photographed her often. He captured an image of her at the Dior show, just after 9/11, with a flag on her arm. When the photo appeared in the New York Times, it started a trend. “The next thing I knew, Gilles Bensimon and so many others were wearing flags too,” she said.

“Tinu in Dior Haute Couture wedding dress”

Dior is among one of her many favorite labels. John Galliano made her wedding dress, and they are friends. In fact, she and John vacationed together in Mexico while he was doing research for a collection. “We had a great time. I was dancing on the table in a Galliano couture piece,” she said. “This was before selfies. We just lived in the moment.”

Tinu and Karl Lagerfeld

Though it’s difficult for her to pick favorites, Karl Lagerfeld was one of them. “I miss him,” she said. It was always so much fun to visit him at the office on Rue Cambon and have tea and a chat.” Tinu covets her Chanel pieces and fondly recounts the time Mr. Lagerfeld made her a pair of custom thigh-high boots, a handbag, and a matching jacket.

Tinu has fond memories of attending the last Ungaro and Yves Saint Laurent shows at the Pompidou. However, perhaps the most special event was a private sale for Givenchy, years after McQueen left the distinguished house, where she acquired some of her most treasured pieces. “I received a VIP invitation, and, honey, you fly to Paris for that!”

Latest Comments:

1. 

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

2. 

   test comment

3. 

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

4. 

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

5. 

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

6. 

   Hi, I am looking to relaunch my website, with an interactive plateform. Can you recommend someone with the creative and…

7. 

   This is all very sad considering what Klein and Schwartz built and what Costa did to advance the history of…

8. 

   A collection of Random Disasters that disgraces what was Calvin Klein !

9. 

   as always, Marilyn is right on time ….. terrific piece ….. and thank you for the inspiring photos of deRibes,…

The post Subscriber Spotlight: The Colorful & Creative Tinu! appeared first on lookonline.

Parker Thatch XL Mimi bag in caramel suede, $750

Irene Chen-Grenby and Matthew Grenby are husband and wife co-founders and designers of Parker Thatch, a line of luxury bags and accessories defined by the ideas of ease, elegance, and timeless design. The couple named the company after their children: daughter Parker, 18, and son Thatcher, 16.  

PT, based in Orinda, California, about 20 miles east of San Francisco, where the Granby’s reside, launched in 2002 with the belief that life becomes easy and elegant when function meets style. They are a small, female co-founded team with limited production runs focusing on quality and workmanship. They aim to bring you products you want to keep and love.

“Our ongoing source of inspiration is “unstylized” photos of chic people, rooms, gardens, cars and places. There is something very inspiring about how people look when truly themselves.” – Irene Chen-Grenby and Matt Grenby, Co-Founders, Parker Thatch

Parker Thatch Co-Founders Irene Chen-Grenby and Matthew Grenby 

Matt, born in Canada, holds multiple degrees in business and design. California-born Irene trained in product development and worked for Donna Karan and Calvin Klein in New York in the mid-90s, where they once resided. 

At one point, the couple had planned to open a store on the Upper East Side. Their first foray into business was in 2000, doing paperless posts, but the technology needed more sophistication to support their entire vision. Moreover, their followers coveted actual paper products. 

Medium sized Charlie Slouch Bags in Italian suede, leather, Japanese denim, $698, parkerthatch.com

So, they launched printed versions of their line in 2,000 stores. After having two children, the couple moved the stationery business back online, expanding with a high-end personalized bag and accessory business offering classically chic personalized canvas totes and Lucite trays.  

Irene with her Coco Belt Bag in luggage leather, $628, parkerthatch.com

There’s something refreshingly unslick (and I mean that in the best sense of the word) about the couple, their business model, and their products. The word “authentic” is bantered around in fashion, but sometimes, it applies. It’s hard not to be seduced by Irene and Matt’s unpretentiousness. 

The Grenbys are not only genuine in their obvious love and simpatico but also in their earnest desire to connect with their customers and bring ease and elegance to the everyday. They currently have 158,000 Instagram followers, and their frequent Instagram Lives, which they initiated during COVID, are a mainstay of their business and help them connect with the community they’ve built.

“Matt and I built this company around the concept of ease and elegance. Our design inspiration invariably comes from authentic styles from the past mixed with a twist of modernity. – Irene Chen Grenby, Co-Founder Parker Thatch

Get Dressed in two seconds with the Jumbo Jane Slouch bag in platinum leather $750, parkerthatch.com

For Irene and Matt, it’s more than just a bag; it’s about their mission: “Make you look great,  make it easy for you, and let’s get you out the door and moving!” I spoke to Irene over the phone last week, and “ease” kept coming up.  

Medium Mimi in military grade ballistic camo printed nylon with pink and red stripes, $628, parkerthatch.com

Their first bag was the Mimi, a square canvas tote with two strips of leather created in 2009. It’s an amalgamation of all the things Irene loves. Irene explains that they didn’t have money for pattern making at the time, so she enlisted the talents of a tailor from her local dry cleaners to make the sample and pattern.

Medium Jane Slouch Bag in black leather, $698, with bag chain charms and leopard print haircalf with keyring, parkerthatch.com

The Mimi comes in four sizes: micro, small, large, and XL. It remains one of their top sellers, along with the slouchier Charlie, Jane, and The Sling. They’ve moved into more slouchy bags because their customers want something less structured and that’s where they are hitting their mark.

Micro Jane Slouch Bag in leopard print hair calf, $458, Athena Cuff in gold metal, $428, parkerthatch.com

Irene says they do exceedingly well with suede and soft pebbled leathers in shades of tan, luggage, and butterscotch.  A perennial customer favorite—and one that I gravitate to—is the cheetah leopard print done in hair calf, which is available in several iterations. For fall, they will introduce Charlie and Jane in an off-white, chocolate-brown zebra print.

A little slouchy and full of swagger, XL Jane Slouch Bag in cognac leather, $750, parkerthatch.com.

All Parker Thatch bags are made using the highest-quality materials (Italian leather, Japanese denim, military-grade ballistic nylon). They are thoughtfully designed with two metal D rings in case you want to add a detachable shoulder or cross-body strap to give them another look or to make them hands-free.

The straps are in various prints and styles, priced from $168 to $248. They include simple leather ropes, gold and silver chains, both narrow or chunky, graphic stripes, leopard and tiger prints on hair calf, and geometric beads.

Parker Thatch X Larissa Mills Envelope Bags parkerthatch.com

PT’s most recent collaboration was created in partnership with style guru Larissa Mills. The limited-edition capsule collection of “fun and functional” candy-colored metallic and cheetah-printed hair calf envelope bags in different sizes is priced from $78 to $378. The day they launched, many of the styles sold out immediately. 

“Odd huge shapes are very interesting to me,” observes Irene, who has her own unique, eclectic style, which is refreshingly “nonfashion” with a laid-back California vibe. Irene is a walking advertisement for Parker Thatch, and she is her own best model. 

Irene wears white denim overalls, Alaia studded ballerina flats, carrying the Parker Thatch Lee in cognac suede, $498, parkerthatch.com

Whether out and about, or during their Instagram Live sessions, Irene’s followers always take note and often comment about her outfits, which can include denim and bandana-printed overalls, chunky Aran knit sweaters worn with vintage Levi’s, cotton button-downs paired with leopard or one of Prada’s embellished skirts, belted safari jackets and blazers worn offhandedly with cropped leggings, and Rivet Utility’s jumpsuits.

Irene wearing the Parker Thatch oxford cloth button down accessorized with Parker Thatch gold jewelry

Irene, who stands at 5’4″, always wears flats (Adidas Trainers, penny loafers, ballet flats, and Alaia’s studded Maryjane flats) and accessorizes with multiple Parker Thatch gold chain necklaces, charms, cuffs, bangles, and rings. Jewelry prices range from $68 for the mini heart evil eye charm to the $428 Athena Cuff. 

1. 

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

2. 

   test comment

3. 

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

4. 

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

5. 

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

6. 

   Hi, I am looking to relaunch my website, with an interactive plateform. Can you recommend someone with the creative and…

7. 

   This is all very sad considering what Klein and Schwartz built and what Costa did to advance the history of…

8. 

   A collection of Random Disasters that disgraces what was Calvin Klein !

9. 

   as always, Marilyn is right on time ….. terrific piece ….. and thank you for the inspiring photos of deRibes,…

10. 

    Our comments section is back online again! We would love to hear from you.

11. 

    Iris Apfel’s 100th birthday looked like the ultimate celebration—so iconic!

12. 

    The MAD About Jewelry benefit looks like a stunning event—so much talent on display!

The post Parker Thatch’s Winning Formula appeared first on lookonline.

Jennifer with Valentino Garavani and Giancarlo Giammetti – Photo by itgirl.mx

To say that Jennifer Creel leads a fascinating life is an understatement. The native New Yorker has played all roles, from actress (The Bold and the Beautiful, 1987, The Juice, 2008) to model, to fashion designer (12-year stint as womenswear designer at Ralph Lauren), and finally, jewelry designer.

Inspired by her mother and grandmother, Jennifer’s love and appreciation of jewelry blossomed early and flourished after studying gemology. Her customized jewelry is handmade, designed in NYC, and sold on Instagram @jenniferccreel and her website, jennifercreel.com. Prices start at around $650 and go all the way up to $25,000 for pieces adorned with diamonds, emeralds, and rubies.

“Every piece of jewelry you wear tells a story about your life, your hopes, your dreams, the things you value, the places you’ve been, the elements that attract you, and the things you hope to create… what will yours be?”

Jennifer Creel

Jennifer Creel’s Personalized Wooden Heart with Diamond Initials Bracelet, Photo courtesy jennifercreel.com

There are Byzantine-style cross pendants scattered with diamonds, strand gold chains looped with semi-precious stones, and pendants with a relief of the Madonna that reflect Creel’s love for history and tradition, but the bulk of Ms. Creel’s business is in personalized jewelry.

Classic Heart Pendants on a Bevel Chain – Photo courtesy jennifercreel.com

Jennifer weaves a client’s initials or family crest into her cuffs, pendants, belt buckles, and her distinctive charms: hearts, zodiac signs, daisies, and good luck clovers (couldn’t we use more?). We all had charm bracelets growing up in the 50s, but many of Ms. Creel’s charms (some of which are 2 inches or more) are like charms on steroids: statement pieces made to be seen. Everything is available in either 14 or 18k gold with your choice of color (white, rose, yellow).

Jennifer wears her Virgo Zodiac Pendant and Hexagon Scorpio Constellation Charms on a Creel Chain – Photo by Claire Blanchard

She loves to collaborate with clients to create complete bespoke designs. When Jennifer collaborates, a conversation is started to design exactly what the client wants. Multiple conversations, sketches, and prototypes make the perfect jewelry piece. Skilled craftsmen bring the creation to life.

Jennifer wears her Virgo Zodiac Pendant and Hexagon Scorpio Constellation Charms on a Creel Chain – Photo by Claire Blanchard

For Creel, who ranks high on New York’s best-dressed list, the best way to wear her jewelry is to layer the pieces, whether a stack of bracelets and cuffs or a mix of long and short chain necklaces. “It’s all about the layering of styles and lengths,” says Creel, who founded her jewelry company in 2008. Still, only recently did Jennifer have her “A-Ha! Moment.”

“Jennifer is rare. She has created a very distinctive line of jewelry; when people look at it, they know it’s Jennifer Creel. Like Cartier and Tiffany, Jennifer’s jewelry has her inimitable stamp on it,”

– Pamela Keough, editor & author of “AudreyStyle” & “JackieStyle”

Jennifer wearing Ulla Johnson accessorized with her 14K Gold MC Edged Clover with Diamond Letters – Photo by Claire Blanchard

I spoke with Jennifer after she returned to NY from a trip to Palm Beach over Easter weekend. While there, Jennifer stopped by Marissa, a luxury fashion boutique and fine jewelry retailer. “I looked around and realized there was not one person there like me,” states Jennifer. “It made me feel really good and that I had a niche. I never felt that until two days ago. It was a moment!”

Jennifer likes to compare herself to Suzanne Belperron. While Suzanne was perhaps the most important woman jeweler of the twentieth century, she remains relatively unknown today except to collectors.

Jennifer Creel Vote Pendant on a Locket Chain – Photo courtesy jennifercreel.com

Belperron never tried to promote herself, yet everyone knew about her elegant and audacious jewelry. Asked once why she never signed her work, Madame Belperron replied, “My style is my signature.”

Jennifer Creel Charm Necklace for sale at Karry Gallery, Paris.

Jennifer does not have a freestanding store, but if she did, it would ideally be an intimate boutique on the first floor of a building in the upper 70s in Manhattan. Among Jennifer’s A-list clients are Lauren Santo Domingo, Aerin Lauder, Gwyneth Paltrow, Brooke Shields, Beyonce and Princess Marie Chantal of Greece, a dear friend who helped design the MC Clover necklace.

Jennifer Creel wears her Good Luck Jeweled Clover on a Chain with Diamond Clasp – Photo by Claire Blanchard

Ms. Creel loves that her fine jewelry is fun, a conversation starter, and makes people happy. It’s also timeless and cross-generational. At a rangy 5’9″, Jennifer is her own best model. There is always an ease, lightness, and casual elegance in the way Jennifer wears her clothes and her jewelry.

 Jennifer Creel wearing Veronica Beard accessorized with her clover necklace and charm bracelet – Photo by Claire Blanchard

“My parents are where my inspiration for fashion, travel, and the arts originated,” notes Jennifer, who gravitates to designs by Carolina Herrera, Oscar de la Renta, Giambattista Valli, Chanel, Dior, and Valentino, who always gave her guidance and motivation. “I loved Valentino growing up.”

Jennifer riding her beloved horse, Koala – Photo courtesy Claire Blanchard

Jennifer’s style is thoroughly American, aristocratic, and confident in a “Bouvier gal sort of way,” says Pamela Keough, editor and author of “AudreyStyle” and “JackieStyle.” It’s contradictory, classic, and thoroughbred, with a touch of boho, unapologetically feminine yet not dainty. Jennifer is very athletic. She ran the NYC Marathon and loves being outside with her beloved horse, Koala, in Bedford, NY.

Jennifer Creel with Alexandra Lind at the 2021 NYBG Conservatory Ball – Photo by Marilyn Kirschner

Sports and philanthropy play a large part in Jennifer’s life. Memorial Sloan-Kettering, Save Venice, The Museum of the City of New York, The Museum of Natural History, The New York Botanical Gardens, American Ballet Theater, and the New York City Ballet are all close to Jennifer’s heart.

“Travel inspires me. I must look at different things and go to different places to be creative. I’m an outdoor person. Sitting inside all day is not for me,” opines Jennifer, who looks forward to traveling to Tokyo with her daughter. She also hopes to go to Brazil, where many women have great personal style.

Jennifer Creel in the Hamptons – Photo courtesy Jennifercreel.com

Jennifer summers in the Hamptons but plans to travel to Aspen for a trunk show. Her journeys routinely take her to England, Switzerland, Paris, L.A., and Napa Valley, where her jewelry is sold in select boutiques. The Midwest is a new market that excites her, and she is currently working on a “hush-hush” project involving something she has never done before.

Jennifer never seems to sit still and is loving every minute of it.

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Haider Ackermann, Photo by Jerome Bonnet for Newsweek

Having fought to regain ownership of his name, Haider Ackermann is back, juggling couture and sportswear. The fashion world doesn’t always agree on everything (what an understatement, lol). Still, we were united in praising Haider Ackermann’s official return to fashion after being largely absent for three years. While the 52-year-old Bogota-born French designer kept somewhat busy (and kept his name in the limelight) designing red carpet looks for his dear friends and muses Tilda Swinton and Timothée Chalamet, Ackermann’s last show was for fall 2020.

“In a year when the wheel of fashion has been whirring ever more frenetically, watching Ackermann’s haute couture gave us a rare moment to exhilarate in the sensation that creative excellence matters. The gift of 10 ephemeral minutes that are etched on my memory forever.”

—Sarah Mower, Vogue Runway Chief Critic

Haider Ackermann putting the finishing touches on Jean Paul Gaultier Spring 2023 Couture, lamodenimages.com

Haider lost his job during the pandemic due to a falling out with his former business partner Ann Chapelle (he left after the company suffered a “mega loss”) and had to fight to reclaim his name. Not being one to air his dirty laundry in public, Haider handled the setback (like everything he does) with elegance, grace, dignity, and discretion.

Jean Paul Gaultier Spring 2023 Couture, Photo by Giovanni Giannoni for WWD

The Jean Paul Gaultier spring 2023 couture show, held on January 25th in Paris, was a tour de force. A perfect blend of Ackermann’s refined approach to minimalism balanced by Gaultier’s provocative maximalism, it was controlled and restrained yet fantastical and impactful. For those who love fashion, it doesn’t get much better.

Jean Paul Gaultier Spring 2023 Couture, Launchmetrics for The Impression

Gaultier can be eccentric and playful, while Ackermann is rigorous and austere. Ackermann’s task was to explore Gaultier’s quieter side, examine his archives, and find similarities to his own. Haider purposely steered clear of Gaultier’s funkiness and eccentricity. He highlighted the precision of Gaultier’s cut, mastery of line, and color sense, three elements that unite both designers and their adoration of haute couture.

Jean Paul Gaultier Spring 2023 Couture, Photo by Giovanni Giannoni for WWD

There was no hint of camp or irony in the collection, but there was an element of surprise. Electric blue feathers billowed from a perfectly cut black jacket, and bronzed feathers topped off a pale blue bustier. There were unexpectedly clashing colors; sometimes, just a slice of color brightened up black. Ackermann is a master tailor and a wizard with a trouser. If you didn’t think a pair trousers could be dramatic, you would change your mind after looking at this collection, which represents modern glamour at its best!

“In visiting the extensive Fila archives, I was struck by how elegant sportsmen were on the playing field back in the day. I aim to elaborate on that, keeping the feeling of unexpectedness important to me.”

– Haider Ackermann

Haider + Fila, spacesstorie.com

Later in the year, Haider put his own inimitably chic spin on active sportswear. He partnered with Fila on a collection shown in Manchester, England, on November 18th. Haider + FILA was a co-branding rather than a quick capsule, meaning that Haider’s name was on every piece along with Fila. While Haider disdains logos, after having had his name taken away from him for so long, he relished seeing it plastered all over. Indeed, there were “Haider + Fila” logos galore!

Jean Paul Gaultier Spring 2023, Launchmetrics for The Impression

Haider is best known for off-kilter elegance, asymmetrical draping, silk, and defined tailoring rather than neon colors and spandex. His complex and luxurious designs differ significantly from the accessible sportswear the international sportswear giant represents. But it was precisely this supposed incompatibility that attracted Ackermann to working with Fila.

Haider + Fila, Photo by Max Montingelli

Moreover, Fila represents Haider’s youth. “We all wore Fila,” admitted the designer, who acknowledged the strong connection between couture and sportswear. “The couture client in LA runs around in sneakers and jogging pants.” The bottom line is that everyone aspires to couture, but what sells is sportswear.

Jean Paul Gaultier Spring 2023 Couture,, Photo by Giovanni Giannoni for WWD

As we head into 2024, the big question is, who will replace Matthew Williams as creative director of Givenchy, a label desperately searching for an identity? The names mentioned include Simon Porte (Jacquemus), Alessandro Michele, Sarah Burton, and Riccardo Tisci, who held the job from 2005 – 2017.

Jean Paul Gaultier Spring 2023 Photo by Giovanni Giannoni for WWD

My vote is for Haider Ackermann. Honorable, gracious, and hugely talented, Haider would bring integrity and focus to the label. Ackermann would be brilliant to head up Chanel. Monsieur Givenchy is not the only designer rolling around in their graves!

Latest Comments:

1. 

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

2. 

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3. 

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

4. 

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

5. 

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

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