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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

YSL 1976 Ballet Russes Collection, photo YSL

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

Dries Van Noten, Getty Images

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

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

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

Gabriela Hearst Jemme color block leather coat, gabrielahearst

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

Altuzarra Resort 2018 Photo courtesy of Altuzarra

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

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

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

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

Ole!

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

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

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

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

Ralph Lauren, Photo by Instagram

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

The World of Ralph Lauren Instagram

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

Rick Owens, Photo by Danielle Levitt for Owensport

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

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

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

Schiaparelli Fall 2026 Couture Photo by Acielle for Style Du Monde

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

Norma Kamali Resort 2027 Photo courtesy of Norma Kamali

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

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

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

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

Diotima Fall 2025 Photo by @zorasicher

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

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

Bonnie Cashin in 1966, www.shutterstock.com

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

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

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

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

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

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Jean Shafiroff, photo by Laurel Marcus

While favored France would go on to suffer a crushing upset to Spain in the World Cup, the mood was festive at Jean Shafiroff’s annual Bastille Day luncheon at Maison Barnes inside Café Boulud.

Waiting for lunch, photo by Laurel Marcus

Francophile Jean, who is on the board of the French Heritage Society among her many philanthropic causes, has been marking this day for well over a decade with her celebratory event commemorating the French Revolution. While it has remained approximately the same size over the years (no, it’s not 1000 people), word of mouth has made it quite a coveted invite. “People call me around this time and beg to be included,” our Oscar de la Renta floral dress and Kokin fascinator-clad hostess remarked.

Hat designer Kokin & Jean Shafiroff, photo by Laurel Marcus

Each year on or near July 14th, Jean assembles her “nearest and dearest,” summoning many of them from the far reaches of that mythical summer place with hedges and beaches called The Hamptons, back to the steamy, odiferous pavements full of dog poop of our beloved midtown Manhattan. Attendees span the worlds she occupies: fashion, philanthropy, society, pop culture, art, politics, and even royalty.

Valerie Steele on the left, photo by Laurel Marcus

Attendees included designers Kobi Halperin, Kokin, Nicole Miller, Malan Breton, Victor dE Souza and Vanessa Noel, while other fashion notables were FIT’s Valerie Steele, FGI’s Maryanne Grisz and NYT Style section reporter Ruth LaFerla. Jean attempted to give a shout-out to everyone during her unscripted welcoming speech, a thankless job if ever there was one, as you are bound to leave someone out.

“The boys,” David Hochberg, Malan Breton, and photo by Laurel Marcus

Not to mention that she was distracted by the constant ringing of her phone — a call from her apartment building, which hopefully was not on fire. Representing the art world was Hunt Slonem in an eye-catching arty green jacket; for royalty there was Prince Dimitri of Yugoslavia, whom I take pity on—it must be hard to be a prince from a country that exists no more.

Lunching, photo by Laurel Marcus

It has become an unwritten dress code that guests show up in some form of red, white and blue, although Jean herself remarked that she didn’t want people to feel obliged to do so. “Nobody wears red, white and blue on Bastille Day,” she said, perhaps referencing the actual French.

Over a delicious meal of Salade de Burrata, dourade with spring vegetables and a chocolate lava cake, the place buzzed with people catching up on their summer plans. There is more time to talk these days, as almost no one is eating thanks to the magic of Ozempic/Mounjaro. I was privy to anecdotal evidence at my table that Mounjaro is preferable as it doesn’t give you “Ozempic face” – that gaunt, scary look or “turkey neck.” No word, however, on whether “Mounjaro butt” is a thing.

Joan Jedell of Hampton Sheet & Marilyn Kirschner, photo by Laurel Marcus

At my table, I learned that Malan Breton has something exciting and top-secret in the pipeline for September’s fashion week, which explains his jet lag from back-to-back trips to Rome—so stay tuned. Hampton Sheet publisher. BTW, guess who the cover girl for Hampton Sheet’s brand-new issue is? None other than lovely Jean Shafiroff, who really does personify the out East vibe in a summery yellow gown.

Jean with FGI’s Maryanne Grisz on the right, photo by Laurel Marcus

Speaking of fashion, it’s not a Jean Shafiroff party without at least three outfit changes (five is the standard at a home soiree)! Jean was happy to announce that her three Oscar floral frocks from upcoming and past seasons were donned as a tribute to outgoing designers Laura Kim and Fernando Garcia, who are vacating their posts at the storied label after their fall collection to focus on their own design label Monse.

Just as the two-hour luncheon was winding down, a few stragglers came in, including “My Unorthodox Life” star Julia Haart in a tiny white dress to match her tiny white body. Summer is truly in full swing.

This upcoming weekend promises to be jam-packed in Bridgehampton with the French Heritage Soiree on Friday (Cece Black, Sylvia Hemingway and Exec Dir Jennifer Herlein were present here) as well as Saturday’s late afternoon Hampton’s Summer Series Event for Kobi Halperin given by FGI and hosted by Sidney Sadick (also both present at the luncheon).

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Balenciaga Fall 2026 Couture, photo by fashionweekdaily

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

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

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

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

Balenciaga Fall 2026 Couture, photo by fashionweekdaily.com

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

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

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

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

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

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

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

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

Christian Dior Fall 2026 Couture, photo by anothermagazine.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Marisa Berenson wearing Schiaparelli, Instagram photo

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

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

end

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Pucci Summer 2026, Photo by @timelkaim

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Emilio Pucci designed by Camille Miceli, Photo by @jonathanfrantini

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

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

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

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

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

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

Lot 141 Emilio Pucci by Julio Espada, thefashionauctioneer.com

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

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Maria Nicanor & curators, photo by Laurel Marcus

How many curators does it take to assemble a far-reaching, six-year-in-the-making, long-term exhibit at Cooper Hewitt, Smithsonian Design Museum? Apparently, it takes a village.

I attended a press preview on Thursday morning for “Design Across Time: Exploring the Smithsonian’s Design Collection,” which opened Friday, 6/26. Within the first-floor space of the museum’s Carnegie Mansion, you will find items from the storage vaults of the permanent collection, along with some new acquisitions, all of which went through an extensive editing process.

Various objects of design, photo by Laurel Marcus

Out of more than 215,000 items, these 125 made the cut for now, and items will be rotated over the next two years. The objects span multiple design disciplines, including product and graphic design, fashion, textiles, digital design, wallcoverings, and architecture.

Three AS Four dress, photo by Laurel Marcus

Objects are loosely categorized into six themes: Repeat, Transform, Simplify, Show Off, Play, and Tweak. “The exhibition is rooted in this idea that design is everywhere, that it is not neutral and that it serves a civic purpose,” said Maria Nicanor, director of the museum. “Through its narrative, the show also reveals that from small objects to larger systems, everyone is an expert user and an active participant in the built environment.”

Damien Hirst butterflies, photo by Laurel Marcus

She referred to the vast and varied collection from 30 centuries and six continents, which is mind-blowing. The juxtaposition of what’s current and perhaps familiar with what’s ancient and more exotic is part of the gestalt.

I mostly focused on the textile and fashion items throughout. In the Repeat category, the repetitious nature of pattern design, including block, screen, and roller printing, was emphasized. A Damien Hirst textile of butterflies, giving a Kaleidoscopic effect, evoked the 2013 Alexander McQueen scarf collaboration.

Kinematrics dress, photo by Laurel Marcus

The Kinematics Dress (2015) uses 3D-printed nylon, with each component identical in shape but varying in size, allowing for a customized fit. There is also a Style Stiletto Textile (2011) from the Netherlands, reminiscent of Andy Warhol’s designs.

Necklace of hammered nails, photo by Laurel Marcus

The Transform section featured a “feather” necklace, actually made from hammered steel nails with touches of gold, silver, and mother-of-pearl (1983), and a Vitamin Store necklace made from pill capsules, ca 1990. There is also a 1966 striped Paper Dress from Mars Manufacturing Company

Showoff category, photo by Laurel Marcus

In the Show-Off section are some beautiful examples of handwork, including a Man’s lace collar (Italy) 1650-75 (the second oldest item in the exhibition) as well as a more contemporary piece, the Temple Dress from ThreeASFOUR (2013) of laser-cut bonded silk organza. A Very Large Nazuna Vase, 2016, of molded, carved, and hand-built porcelain echoes the intricate lace-like theme.

The Noh theater costume (Japan ca. 1800) of silk metallic brocade is also featured here, as well as an Artist’s Book, Hands of Josephus V., 2010, a hand-cut and bound-altered book with beaded cords on a wire hand form. The Coricancha necklace (1995) is made of Rhodochrosite, amethyst, nacre, pearls, and gilded silver.

Artist’s Book, Hands of Josephus V., 2010, photo by Laurel Marcus

The Simplify section – where things are stripped down to their essence — did not feature any real fashion moments but did include a Malcolm X film poster (1992), chairs without legs as in Stacking Side Chair (1972), Switzerland, and the Flex-Foot prosthetic running foot blade (2013), Iceland, reminding me of that horrible sprinter and convicted murderer Oscar Pistorius.

Issey Miyake Pleats Please chair made from waste fabric, photo by Laurel Marcus

The Tweak section displayed items that had undergone small, iterative changes of modeling, prototyping, but no fashion per se, while the Play section (the designer wants the end user to play) had perhaps one of my favorite items: the Cabbage Chair, 2008 nendo (Tokyo, Japan) – made of resin-coated wastepaper used in the production of PLEATS PLEASE, Issey Miyake garments. The chair arrives in a wrapped bundle and will supposedly form to the user’s posterior with use.

Back to the beginning — as a small group of us waited in front of the podium for the press preview talk to begin (many key figures were apparently caught in traffic), suddenly there was movement afoot. A large group of those who had been milling around the entrance took to the stairs behind the podium, and I, in my early-morning stupor, followed suit.

I quickly realized that these were the curators lined up and that I had just followed what seemed like the herd. As I resumed my intended spot in front of the podium, I heard one of the speakers remark, “Well, I do say this exhibit is for everyone,” to audience laughter. Cringe moment alert!

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

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Fashion Lesson 201: As a woman, you have to wear many hats. Why not literally wear many hats! All photos courtesy @lafanceenancee

“Fancy Nancy” is a 2005 children’s picture book series and animated franchise about Nancy Margaret Clancy, a 6-year-old girl who loves extravagant outfits, fancy vocabulary, and all things fabulous and French.

“During Covid, my family was trapped together. In an effort to avoid pushing one another off the balcony, my daughter (who still photographs all my looks) and I started @lafanceenancee. The face-covering began out of necessity when masks became part of everyday life, but I soon preferred it. I like the anonymity. It keeps the focus where I want it: on the fashion.” – @lafanceenancee

Fashion Lesson 139: Don’t drink and dress at the same time, or you will end up wearing two different shoes.

@lafanceenancee is a popular Instagram account that launched in April 2020. It’s the brainchild of an American-born, Paris-based digital creator who identifies herself only as “Faceless Fashion Curator, 70 Years Young.” The anonymity is intentional and central to the account’s concept, which emphasizes the joy of dressing up and the thrill of recycling and rediscovering treasures from past seasons.

Fashion Lesson 200: I’ve had these accessories longer than I’ve had my daughter. Now that I have my daughter, I don’t have my accessories

The faceless woman with sensational gams has culled one of the most enviable personal wardrobes I’ve seen. She’s even found a way to use her extraordinary accessories—hats, handbags, scarves, and more—as a fashionably clever disguise.

Fashion Lesson 283

We are so inundated with fashion content on social media that it’s becoming tougher to find something as visually arresting, entertaining, and unique. @lafanceenancee makes great use of Paris’s iconic streets, shops, architecture, and interiors, including her enviable Haussmann building and fabulous apartment.

Fashion Lesson 116

Each post is a philosophical, witty, often self-deprecating numbered fashion lesson that ends with “Stay Fancee, love Nancee.” For example, in Fashion Lesson 116, as you age and your eyesight deteriorates, it becomes increasingly difficult to distinguish between one shoe and another. Nobody will notice”.

Fashion Lesson 310.

More often than not, it’s a treatise on aging, motherhood, and the trials and tribulations of living with a similarly fashion-obsessed daughter who often raids her closets. Fashion Lesson 310, “Never argue with a handbag that speaks French, or your smart-mouthed 34-year-old daughter. One way or another, they will get the last word.”

Fashion Lesson 265

“My daughter keeps saying I look like confetti in this jacket, but I know she’s just sweet-talking me so she can borrow it. If those butterfingers even touch it, she’ll be the one turning into confetti.”

Fashion Lesson 251

Sometimes, it’s a way to show how adept she is at DIY and to prove she can be her best designer. Fashion Lesson 251, “When your daughter leaves behind a golden mask, you turn it into a molten masterpiece. Never underestimate a mother with a glue gun and a vision.”

I wanted to know more about @lafanceenancee, so I emailed her a list of questions, and she responded. The American-born only child always had a vivid imagination and an early obsession with clothes. When she began modeling as a teenager, the treasure-hunting instincts kicked in. @lafanceenancee was constantly searching for unusual pieces nobody else had. It was that desire to unearth something special—the thrill of the hunt.

Fashion Lesson 174

In her late twenties, @fanceenancee entered the fashion industry on the wholesale side and began traveling regularly to Paris and London to scout trends. She moved to Paris after meeting her husband and, through countless European sojourns, amassed an extraordinary collection that she has fortunately been able to keep.

“I will always have a soft spot for the magic that Karl Lagerfeld brought to Chanel. He understood that fashion should be a fantasy. Maybe that’s really why I don’t show my face: it forces people to use their imagination.” – @lafanceenancee

Fashion Lesson 311: Never put all your eggs in one basket unless the basket in Chanel

@lafanceenancee is an avowed maximalist, drawn to pieces with an architectural quality, dramatic silhouettes, feathers, fringe, and embellishment. She has a soft spot for Chanel, especially Karl Lagerfeld’s designs.

Fashion Lesson 286

Among the other labels she gravitates to are Louis Vuitton, Valentino, Lanvin, Dior, Giambattista Valli, Mugler, Gucci, Proenza Schouler, Rick Owens, and Balmain, primarily vintage pieces. @lafanceenancee will only buy something new if it’s truly exceptional; something she feels no one else has.

Fashion Lesson 287

@lafanceenancee never throws anything out in her 40+ years of collecting, so I wondered where she stores all her clothes. “The kitchen, the oven, and the refrigerator, which now stores knitwear,” admits the self-professed hoarder and terrible cook!

But if it’s good enough for @krisjenner…never say never.

As for what’s next, @lafanceenancee says she would love to stitch all her fashion lessons into a coffee-table book, proving that style doesn’t retire just because you’re over the age of seventy. Touche!

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

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

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Photo by Laurel Marcus

Peace, love, Woodstock, and The New York Botanical Garden! Thursday night was the annual Conservatory Ball, with this year’s theme of “Flower Power,” celebrating the current exhibition (now through October 18) and bringing out the inner hippie in us all.

Left, Christopher Griffin aka Plant Qween, photo by Laurel Marcus

Flowers are the enduring symbolism of peace and love – remember the Flower Children (if you’re old enough) who protested war and violence, choosing to embrace florals in the ‘60s? NYBG carried out the theme with mod decorated buses in the garden by Snoeman, interesting macramé art pieces which can be creatively added to by guests, crafted by Carmen Paulino, wood, steel, resin, and LED light ginormous flowers inside the conservatory by Amie Jacobsen, and an incredible painted canopy on the Conservatory lawn by Mushuman, just to name a few of the artists on view.

James Aguiar in custom suit, photo by Laurel Marcus

This has been the week of schlepping to Brooklyn (Wednesday night was their botanical garden fete), and tonight the Bronx (ugh, the agony of Thursday night traffic) in black tie no less, but the weather cooperated spectacularly, and the mood was festive. Men in particular seemed to have gotten the memo, donning floral dinner jackets or suits, including James Aguiar, who wore a custom-designed get-up that can only be described as a cross between Moschino and Thom Browne.

Victor dE Souza and Jean Shafiroff, photo by Laurel Marcus

Jean Shafiroff (Jean Austen, haha) went against type – no strapless floral ball gown tonight – perhaps inspired by “Wuthering Heights”/”Pride and Prejudice” in custom couture Victor dE Souza, complete with dozens of underskirts to keep it buoyant. Victor kept up the vibe in a corseted tuxedo jacket, high-neck ruffled shirt, and trouser-style denim.

Stella Jacob, Sharon Jacob, Cecilia Jacob, photo by Laurel Marcus

Chair Sharon Jacob, along with her daughters, Vice Chairs Cecilia Jacob and Stella Jacob, took to sequins, beads, and florals, as did Sarah Easley, who added a floor-length feathered cape acquired during her travels abroad. Another memorable chair was Holly Lowen in a beautiful robin ’s-egg blue pleated dress with big sleeves, and Cat O’Neil in a black-and-white sequin-flowered Carolina Herrera. Other Guests included Candace Bushnell, Cynthia Rowley, Dasha Polanco, Jason Rembert, Kindred Lubeck, Priya Shukla, Tunde Oyeneyin, among others.

Laurel Marcus & Marilyn Kirschner, photo by Victor dE Souza

An anniversary of sorts was remembered by Bill Cunningham muse Marilyn Kirschner in a beautiful rainbow-striped Issey Miyake caftan, which she also wore to this same event ten years ago and was photographed by Bill. Sadly, it was the last photo of her he would ever take, as he was soon hospitalized and passed away later in June.

Guest wearing a Carolina Herrera black and white floral high-low gown, photo by Laurel Marcus

I spoke with an exhausted Plant Kween, aka Christopher Griffin, who had tended to the Brooklyn Botanic Garden ball, this one, and a few other floral events this week – he always turns it out in Christopher John Rogers. I informed him that he will probably get a bit of a respite now, as the NYBG ball is generally the last big gathering of the early summer before everyone takes off for parts unknown (or the Hamptons).

Holly Lowen, a study in pleated blue, photo by Laurel Marcus

One nice feature of this gala dinner, besides the lovely gardens, is that there are not many speeches, and they are short and sweet. J. Barclay Collins II made a Bill Clinton reference to the 60s era pot smoking, but he “didn’t inhale.”

Dinner under the tent, photo by Laurel Marcus

Guests dined on a spring bean salad, miso-glazed black cod, and a dessert trio of thematic petits fours, which almost looked too pretty to eat. After dessert, the dance floor in the stunningly decorated tent, complete with ‘60s accouterments, “groovy” covered chandeliers, and a good deal of Michael Jackson hits, became lively.

Sarah Easley, Cat O’Neal, photo by Laurel Marcus

As always, Lead Chairs were Maureen K. and Richard L. Chilton, Jr., and sponsors were Delta, Barlett Tree Experts, Hearst, and Mikimoto, who had the bonus of a booth of elaborate pearl jewelry, an arch to pose under, as well as a parting gift – a bottle of their lovely perfume.

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

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   test comment

3. 

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

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Gavi Ramirez, Founder & President, Fashion Public Library, photo by Island Photography

Gavriela (Gavi) Ramirez’s academic focus explores how fashion knowledge is produced, preserved, and shared through public institutions. Long involved in fashion but uncertain how to create positive change, she ultimately found her path.

Gavi Ramirez, photo by @twotimestheshooter

On May 15th, Gavi received her MPS (Master of Professional Studies) in Fashion Management from the Parsons School of Design. This rigorous one-year graduate program is designed for those eager to lead innovation in business and management within the fashion industry. Many students in this program are fashion designers seeking to start their own brands, which sets the stage for Gavi’s unique academic focus.

“Some great icons graduated from Parsons, and hopefully I will be one of them!” – Gavriela Ramirez, Founder & President, Fashion Public Library.

Gavi, photo courtesy of Gavi Ramirez

Since the Parsons program runs through August, Gavi has the entire summer to work on her thesis: How can a public, fashion-specific library serve as a hybrid civic institution to address gaps in preservation, access, and community engagement in fashion?

Gavi is hard at work, photo courtesy of Gavi Ramirez

Gavi’s research led her to transform her thesis into creating the Fashion Public Library, a physical hybrid civic institution that addresses fashion research, preservation, access, and community engagement.

“I am not a fashion designer but an academic. I don’t make clothes, but I love the fashion industry, and I love to wear clothes, so this is me finding my place in the fashion universe!” – Gavriela Ramirez.

Gavi began developing her idea in her Entrepreneurship class at the start of the fall semester. Driven by ambition, she is thinking big. In a recent phone interview, she impressed with her clarity and drive, embracing adult decisions at 30. Gavi is already recognized in New York City’s fashion scene, working as a stylist, model, and runway creative director.

Jeffrey Banks autographs his book for Gavi

She has been featured engaging with industry leaders, including a live “Ask Me Anything” session with The Business of Fashion to discuss global industry trends. “My favorite form of archive preservation is storytelling; specifically, the histories of Black voices in the fashion industry. Those who succeeded, led, and reshaped the narrative deserve to be documented”.

While there are a few fashion museums, Gavi notes that none are set up for the public to visit, sit down, research, and study. The closest comparison is the International Fashion Research Library in Oslo, Sweden, where the public can find documents unavailable online. However, it is research-specific and lacks the community engagement feature she envisions for her library.

The rendering of a research room surrounded by displayed fashion pieces

Gavi’s vision for the Fashion Public Library is to create a nonprofit organization operating as an academic and community institution. Its primary goal is to provide the public with access to a multidisciplinary collection of fashion materials (books, magazines, and multimedia), while fostering community engagement and education about fashion.

Gavi wants to provide articles, magazines, and books, but she also aims to create a welcoming space. She has created conceptual library images using AI tools like ChatGPT and Midjourney.

The rendering of a Fashion Watch Party with an academic twist

Gavi hopes to get consumers to come into the building by making it more tech- forward. She would love to have a room with augmented reality goggles for people who want to immerse themselves in a specific fashion runway show, including those held outside major cities.

The rendering of a WhoWroteWhat event featuring authors to discuss the book they wrote and offer signings.

Another idea is the “Who Wrote What” segment. They would invite authors of books or case studies to speak to an audience about their findings, which they would share with the fashion industry. She would also love to host a fashion runway watch party with an academic twist, where the library invites guests from the fashion house to give a mini-lecture on the garments on display.

Gavi imagines a 10,000 -15,000-square-foot space, with one large auditorium and a smaller flexible event room. She envisions rooms lined with bookshelves holding fashion books and multimedia.

Gavi vacationing in Samana, Dominican Republic, photo courtesy of Gavi Ramirez

The ideal location is the Garment District, giving the library historical significance since fashion has its roots there, says Gavi, who was born in Orlando, Florida, and is a citizen of both the U.S. and the Dominican Republic (“everyone in the Dominican Republic loves Oscar de la Renta”).

Gavi in Little Italy, photo by Tom Gomes

Gavi earned a BA in Marketing from Florida International University. Before Parsons, she worked in data analytics and is also a full-time model. Represented by Next Management in Florida, she did commercial and swimwear modeling but prefers not to pose in bikinis.

Gavi Ramirez, photo by @kristenweaverstudio

In New York, Gavi is represented by Unite Unite, a boutique agency founded in 2013 by Claudette Martin, a former makeup artist. Many assignments are for makeup brands, but Gavi does not focus on this area.

Gavi is working with lawyers from The Fashion Law Institute to provide pro bono support to protect her name and concept. They are also assisting with finding space and real estate contracts.

Gavi, photo by @momentumstudioswp

Gavi doesn’t see herself accepting funding and donations for at least a year and a half. Once the filing is complete, it takes about 6 or 7 months to receive approval from the Department of Education and the Secretary of State, since it’s a nonprofit.

It will be a long, complicated process, but Gavi is prepared.

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