Pierpaolo Piccioli X Moncler Genius Fall 2019 Ready-to-Wear, photo courtesy of Moncler

Following the Metropolitan Museum of Art’s decision to cancel a planned John Galliano retrospective, curator Andrew Bolton pivoted to an exhibition that explores how seemingly unremarkable, basic wardrobe staples can be transformed into high-fashion masterpieces. The puffer coat will be one of the exhibition’s focal everyday garments.

It makes perfect sense that Moncler is named as a major funder and designer sponsor of the 2027 exhibition, along with Instagram.  Moncler’s entire brand history is built on taking the humble, utilitarian down jacket and transforming it into high-end luxury fashion. The Moncler Genius Project is the ultimate definition of making the ordinary extraordinary in the modern luxury landscape.

Pierpaolo Piccioli X Moncler Genius, Fall 2019 ready-to-wear, photo courtesy of Moncler

By launching in 2018 under the vision of CEO Remo Ruffini, Moncler took its core product and transformed it into an avant-garde design and cultural spectacle. Working with fashion designers Pierpaolo Piccioli, Simone Rocha, Craig Green, Noir Kei Ninomiya, Hiroshi Fujiwara and labels like Palm Angels, the 1950s-founded heritage outerwear brand carved itself a path in previously untraveled territory.

Pierpaolo Piccioli X Moncler Genius Fall 2019 ready-to-wear

Among the first visuals that came to mind when the new theme, “extraORDINARY: fashion and the poetics of the everyday”, was announced,  were the brilliant puffer gowns with impossible trains, hooded jackets and sculptural capes created by Pierpaolo Piccioli for his focused, hauntingly beautiful Moncler Genius collaborations in 2018 and 2019.

Pierpaolo Piccioli X Moncler Genius Fall 2019 ready-to-wear

Described as a wonderful collision of language, color, and the grandiose proportion of couture, Pierpaolo’s focused collections were a hauntingly beautiful, deeply poetic expression of Moncler’s famed puffer. At the same time, I couldn’t help but think that it’s too bad the 2027 Met Gala won’t take place in the winter, or moved back to The First Monday in March rather than The First Monday in May.

Balenciaga spring 2027 Ready-to-Wear, photo by Giovanni Giannoni for WWD

A winter date would have made walking up the stairs of The Metropolitan Museum of Art in a couture puffer jacket far more practical.  Facing a chilly NY winter evening would have added an extra layer of “survivalist” poetic realism spring can’t match. Of course, I’m well aware that cold-weather gear is hardly all we will see on the red carpet, but that doesn’t stop me from fantasizing.

Balenciaga Fall 2024 Couture Courtesy of Balenciaga

Following the November 5th announcement of the Costume Institute’s theme, numerous fashion fans and critics immediately labeled the concept  “boring,” “lazy,” and “unimaginative.” For many, it felt like a stark, uninspired pivot after such a major controversy. In reality, exploring the extraordinary possibilities of mundane, everyday items and elevating them into high-concept couture is much harder-and riskier- than wearing a giant, predictable ball gown.

Maison Margiela Artisanal Couture Fall, 2025. Photo courtesy of the designer

Let’s face it; recent Met Galas have often suffered from unimaginative styling or celebrity guests missing the assignment completely. Stripping it back to the poetry of the everyday gives stylists a clean slate to design. It opens the door for ironic, high-fashion images and iconic pop culture moments executed with multi-million-dollar atelier craftsmanship.

Loewe Spring 2022 Ready-to-Wear, photo by Filippo Fior for gorunway.com

Transforming mundane objects into high-art couture gives stylists and attendees a massive playground for clever, witty, or hyper-conceptual Met Gala looks, provided they push the material transformation rather than wearing lazy designer labels. Quite frankly, I’m all in.

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A pattern drawn by hand on the mannequin at giardinaatelier.com

A designer can draw a beautiful, avant-garde sketch, but a patternmaker translates that 2D sketch into a 3D, wearable garment. While social media and fast-fashion culture have hyper-glamorized the visual idea of clothing, patternmaking is the architectural blueprint that dictates how fabric actually behaves, moves, and hangs on a human body.

Nicolas Caito at work, nicolascaitoatelier.com

Patternmakers are the functional architects of fashion. Without them, fashion remains nothing more than a drawing on paper. Yet, the industry has largely swept the decline of this vital skill under the rug. The fashion industry loves to promote glamour and fast design cycles, but it systematically ignores a massive bottleneck: the people who know how to engineer clothes are rapidly disappearing.

As this hands-on technical skill declines, it reshapes the economics, quality, and identity of the entire American fashion landscape. Understanding the “dying art” of patternmaking is the single most important key to understanding American fashion today.

Parsons 2026 BFA Design Students share the runway, photo courtesy of Parsons

Young designers leave fashion school focused on the “glamour” of sketching, lacking the technical grasp of garment construction, grainlines, and draping needed to lead production. As a result, companies can spend months trying to fill open patternmaking roles.

“I have always felt that we lost something much greater than a collection of (patternmaking) jobs. We lost access to knowledge that took decades to develop. You cannot replace 40 years of experience simply by buying software.” – Todd Wayne, prominent industry recruiter and CEO of Jessilyn Personnel, Inc.

Todd Wayne

The fashion recruitment landscape reveals a harsh reality: traditional, master-tailored patternmaking is a dying art form. Nobody knows this better than Todd Wayne, the prominent fashion industry recruiter and CEO of Jessilyn Personnel, an apparel and fashion executive search firm in New York City that places full-time and freelance candidates across the fashion and retail industries worldwide. Ralph Rucci, who introduced me to Todd, understands the importance of expert patternmaking better than anyone.

80-year-old Italian-born patternmaker Franco; photo by Instagram

Todd’s treatise, “The Dying Art of Patternmaking: 39 Years on the Front Lines of New York’s Fashion Industry”, addresses his deep concern that we are losing one of the most important foundations of American fashion. Todd did not write this article for publicity, but as a recruiter trying to fill real positions today, which is becoming harder and harder. Interestingly, he received the most responses from patternmakers, some of whom became so emotional about the beloved lifelong careers that they cried.

Drawing on nearly four decades of recruiting experience and a background running a domestic apparel manufacturing plant, Wayne approaches the patternmaking shortage through targeted workforce placement and localized, hands-on mentorship.

Todd laments that for decades, the fashion industry treated patternmaking as a background trade rather than an art. As a result, few young professionals are ready to take up the mantle. In New York’s Garment District, specialty suppliers are shutting down because no one is left to inherit the technical skills.

Nicolas Caito and Ralph Rucci, 2020, Instagram

Among the top, most in-demand patternmakers in NY are Mr. Marco Tudela and French-born Nicolas Caito, whose atelier is based in the Garment Center. Nicolas was the subject of an article I wrote in 2020, “Nicolas Caito: New York Fashion’s Most Essential Worker”.

Todd observes that fashion schools are no longer teaching traditional patternmaking the way they once did. Everything is virtual today. You have people in human resources who have no skills in the fashion industry, yet they are the ones making decisions on which resumes you’re going to review or not.

A great pattern is always behind every great design. – photo Thom Browne

While the luxury industry still employs some traditional table patternmakers, many of the remaining teams are small. A top-tier designer might have only two to four traditional patternmakers supporting the collection; a far cry from what the number was decades ago. Many companies have lost the large sample rooms that once supported entire organizations. More development happens overseas, and more communication happens electronically.

80-year-old Franco teaching pattern making in NYC, Instagram

A core tenet of Todd’s approach is bridging the generational gap in New York’s Fashion District. He coordinates placements that let newer tech talent work directly alongside some of New York City’s finest, most experienced patternmakers, transferring decades of institutional garment-construction knowledge before the senior generation retires.

Naomi Campbell wearing Burberry and Daniel Lee at the Met 2024 Gala, rain-mag.com

FYI, Decades ago, in the late 70s and 80s, Todd put Ralph Lauren and Donna Karan’s entire sample rooms together and has worked with everyone from Calvin Klein, Bill Blass, Pauline Trigere, Carolina Herrera, Oscar de la Renta, and Geoffrey Beene, to Liz Claiborne and major companies abroad. He also worked on previous Met Galas, with Burberry, a sponsor.

Wayne partners explicitly with luxury fashion brands and contemporary menswear/womenswear designers willing to take on junior professionals. Because many younger fashion graduates have theoretical knowledge but lack master-level technical skills, his strategy relies on securing commitments from established design houses to train newer patternmakers in advanced tailoring and computer-aided design (like the Gerber PDS system)

Patternmaking, Instagram

Wayne continuously advocates that fashion brands stop separating initial “creative” pattern design from production patternmaking. To prevent errors that cause massive resource and time losses overseas, he promotes keeping highly skilled “first-through-production” patternmakers embedded directly inside New York design rooms to collaborate seamlessly with design and sample room teams.

Wayne strongly believes that fashion schools must restore a strong foundation in hands-on patternmaking. Companies must rebuild the apprenticeship model. Because master patternmakers are an aging workforce, high-end brands must actively train the right candidates in specialized tailoring techniques. Todd views on-the-job mentorship alongside veteran New York artisans as crucial to keeping the foundational craft alive.

The bottom line: “AI is an amazing tool, but for creativity, the human brain is a better product to have.”

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Cynthia Erivo, photo courtesy of Getty Images for ABT

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Marilyn Kirschner, Irina Dvorovenko, former ABT Principal Ballerina

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

Black-clad guests, Photo by Marilyn Kirschner

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

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

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

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

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

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

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

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

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

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

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

“The Room” photo by Laurel Marcus

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

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

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

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

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

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

Vanessa Friedman, Photo by Laurel Marcus

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

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

Diane Von Furstenberg, Photo by Marilyn Kirschner

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jil Sander Spring 2027 Photo, thecut.com

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

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

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

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

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

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

Dries Van Noten Photo by Acielle for StyleDuMonde

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

Saint Laurent photo courtesy Saint Laurent

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

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

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

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

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

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Coco Chanel and Boy Capel, 1936 Photo: Pinterest

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

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

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

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

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

Celine by Michael Rider, Photo Instagram

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

Co Collections Pre-Fall 2026, Photo by @cecilebortoletti

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

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

Phoeobe Philo’s boyish ease, Photo phoebphilo.com

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

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

Vienna based Stylist Laura Veszpremi, Photo Instagram

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

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

Danish fashion editor, creative directot Pernille Teisbaek Photo Instagram

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Disco Mania with model Martin Snaric dancing, center, Studio 54, September 12, 1977. All photos: © 1975- 2026 Jade Albert Studio, Inc

For many, this is the summer of discontent: hate and divisiveness are at an all-time high, everyday costs and financial stress weigh heavily on many households, and the weather sucks. Parts of North America are experiencing a historically warm summer alongside notable localized heavy rainfall and flooding events.

Fashion, too, feels less inspired. The industry has swapped joyful self-expression for algorithmic exhaustion, and today’s fashion weeks are hyper-curated events dominated by wall-to-wall paparazzi and influencer marketing. The shows have lost their luster because instant digital access and social media have stripped away traditional exclusivity and mystique.

In a recent Substack post featuring Eugene Rabkin’s new book, “Torn: Fashion and Postmodernism,” out September 1st, Amy Odell posed the question, “Is Fashion in the Throes of a Total Creative Collapse?”

Andy Warhol, Candice Bergen, and Salvador Dali at a private dinner at the Metropolitan Club. March 17 1976. All photos: © 1975- 2026 Jade Albert Studio, Inc

The 1920s, 1960s, 1970s, and 1980s are widely considered fashion’s most creative decades. New York-based photographer Jade Albert, best known as a leading commercial children’s photographer (earning her the nickname “the baby whisperer”), started her career in the 70s, a period of liberation and feel-good freedom when fashion, high society, and pop culture blended in new ways.

Jade Albert, 1970s: All photos: © 1975- 2026 Jade Albert Studio, Inc

From 1975 to 1983, Albert was invited to photograph more galas, fashion events, and parties than she can remember, including New York and international fashion weeks. Jade was an insider for all of it and always inside the ropes. The core and career-launching focal point of Jade Albert’s photo archives—showcased in her collection titled “Beyond the Ropes”—is her intimate chronicle of 1970s and 1980s New York City pop culture.

The Smokers: Jack Nicholson, Angelica Huston, hairstylist Ara Gallant, Catherine Deneuve. All photos: © 1975- 2026 Jade Albert Studio, Inc

Jade’s recording of fashion and nightlife in New York offers an intimate, unvarnished look at the city’s pre-digital pop culture. Albert’s images perfectly embody the gradual convergence of high society, disco-era nightlife, and avant-garde art before the era of smartphones, modern paparazzi, and curated social media. Through her lens, Jade recorded a time when events like the Met Gala had no restrictive dress codes or media barricades, allowing a genuine record of creative luminaries mingling freely. It reminds the industry of a time when fashion was deeply organic and integrated with art and nightlife.

Regine and Andre Leon Talley, Regine’s, New York 1977 All photos: © 1975- 2026 Jade Albert Studio, Inc

Her work for Vogue, Harper’s Bazaar, and Andy Warhol’s Interview (where she was listed on the masthead) captured designers, high-profile models, and social figures in every walk of life, in intimate, candid settings rather than sanitized press photos, and featured rare documentation of the Met Galas under Diana Vreeland, decades before it became a massive global red carpet spectacle.

Coty Awards 1976: Pierre Scherman, Ralph Lauren, Ricky Lauren, Donna Karan Mark Karan, Louis Dell’Olio. All photos: © 1975- 2026 Jade Albert Studio, Inc

As Fashion Month begins, Jade Albert’s photo archives serve as a vital historical blueprint for the industry. This archive documents the golden era of 1970s and 1980s American sportswear and high fashion, highlighting foundational runway moments and the backstage culture of legendary designers who shaped modern style.

Pat Cleveland and Sterling St. Jacques, 1970’s All photos: © 1975- 2026 Jade Albert Studio, Inc

A key focus of Jade’s archive are her exceptional photos of celebrated Black designers (Stephen Burrows, Scott Barrie, Willie Smith, Jeffrey Banks) and Black fashion icons like Bethann Hardisonn, Audrey Smaltz, Andre Leon Talley, Beverly Johnson, the first Black model to grace Vogue’s cover, Sterling Saint Jacques, the first Black male supermodel, Billie Blair, Pat Cleveland, Alva Chinn and more

Joe Eula, China Machado, and Halston at Roseland 1976. All photos: © 1975- 2026 Jade Albert Studio, Inc

Long before designers became global corporate figures, Albert had front-row and behind-the-scenes access to the pioneers who defined modern American style. Jade frequently documented legendary designer Geoffrey Beene, often called a designer’s designer and the architect of American clothing, and the early, explosive eras of designers like Ralph Lauren, Calvin Klein, and Halston as they transitioned from atelier dwellers to mainstream celebrities.

Jade’s famous 1977 photograph of Ralph and Ricky Lauren embracing at the finale of his Fall runway show at the St. Regis roof captured the raw, emotional triumph of American sportswear. All photos: © 1975- 2026 Jade Albert Studio, Inc

Carrie Donovan presenting the Coty Award to Stephen Burrows in 1976. All photos: © 1975- 2026 Jade Albert Studio, Inc

Like many of us (myself included), Jade owes Carrie Donovan a debt of gratitude for her support and encouragement early in her career. She met Carrie in 1973 when she arrived in the art department of Harper’s Bazaar, and Carrie was the fashion director. That’s when I first met Jade, and our paths would cross through the years.

Bianca Jagger with paparazzi as she enters the 1977 Met Gala, December 12, 1977. All photos: © 1975- 2026 Jade Albert Studio, Inc

When Carrie became fashion editor of The New York Times Magazine, she continued to assign Jade, including the Met Gala in 1977, when Jackie Kennedy was chairwoman. On December 12, 1977, Jade attended the Met Ball themed “Vanity Fair: Treasure Trove.” She photographed Jacqueline Kennedy Onassis in her Valentino gown, Bianca Jagger in gold lamé designed by her escort Halston, and Vreeland herself arriving with Bill Blass, dressed in Givenchy, among others.

Geoffrey Beene All photos: © 1975- 2026 Jade Albert Studio, Inc

Grace Mirabella, who served as Vogue’s editor in chief from 1971-1988, was another pivotal figure in Jade’s burgeoning career. Grace gave Jade access to high-profile fashion events and included her in her global adventures. Jade was especially honored when Grace invited her to accompany her as they shopped for Nancy Kissinger’s history-making trip to China with her husband, Henry, in June 1979, and to record it for the magazine, observing and capturing Geoffrey Beene’s marvelous creative process in action.

Perry Ellis Spanish Collection Fall 1982 All photos: © 1975- 2026 Jade Albert Studio, Inc

After admiring Perry Ellis’s work from afar, Jade had the chance to photograph his collection for The New York Times Sunday Magazine, assigned by Carrie Donovan, who was known for her sharp eye in discovering new talent and also for Vogue, assigned by Grace Mirabella and Polly Mellon.

Perry and his models, fall 1981 All photos: © 1975- 2026 Jade Albert Studio, Inc

Reflecting on her photography archive, Jade said that in the late 1970s and early 1980s, she “fell victim to the very contagious Perry Ellis vibe,” alongside many others in the fashion world. I still smile when I look at images of Perry’s famously joyful shows, which were bona fide happenings.

Ellis redefined American sportswear with casual, humorous elegance and injected it with theatrical whimsy, vibrant colors, relaxed oversized layers, and a deep philosophy: fashion should feel like fun rather than a solemn duty.

You can view Jade Albert’s photo archive online at the official Jade Albert Archive website, jadealbertarchive.com, and on her Instagram, @jadealbertfotos, where Jade provides wonderful, detailed descriptions. Jade’s limited-edition prints are available for purchase and viewing via incollect.com.

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John Galliano fashions

Which poses a greater threat to fashion? The cult of personality as illustrated by formerly disgraced high fashion bad boy John Galliano (the newly revealed subject for next year’s Met Gala exhibition), or the culture of AI driven technology with designs plucked from an algorithm of “customers’ social media activity and internet searches factored in with Hailey Bieber’s latest outfits… spitting out 300 styles a month made cheaply in China,” (thanks Amy Odell for The New York Times).

Let’s focus on the latter for the moment since “fashion slop,” as Ms. Odell has termed it, seems to be where this is going, like it or not. AI has finally come for fashion, much as Amazon did not that many years ago, when their focus was primarily on selling books and household appliances.

Cher’s Computer-Generated Closet, photo by Instagram

ChatGPT (plagued with errors) gave way to Claude, who recently birthed a fashion studio, so all bets are off. As Claude claws a path to creating an updated version of Cher’s “Clueless” closet and has designs on outfitting the populace, how worried should we be? Many of us select our OOTD’s depending on factors as varied as the weather, how much walking we’ll be doing, and a certain je ne sais quoi known as our mood – not sure you can keep up with what’s going on in our psyches there, “I Claudius.”

Fun fact: Anthropic’s golden boy was named after Claude Shannon (1916-2001), “a famous American mathematician and engineer known as the father of information technology” according to Google. Ironically, Anthropic actually comes from the Greek word “anthropos,” meaning “human.” See what I did there? I’m sure you’re aware that a Google search produces an AI answer as its opening salvo. How Meta!

Claude Shannon, photo from Instagram

Some Millennials and a lot of Gen Z’ers are addicted to using AI for everything from social interaction, including texting a crush, to figuring out how to design their living spaces. “Don’t you do anything without Claude?” I recently asked my niece. “Doesn’t your boyfriend get jealous?” Her response: “Why do it the hard way when I can make a robot do it? Plus Claude never tells me to shut up haha.”

Even some of my contemporaries have fallen for AI. A boutique manager on the Upper East Side uses Blend to select digitally created models to generate fashion videos for Insta for five-second videos that loop two to three times. She selects the outfit from the store to put on the “model”; however, the app does not select the music, which she chooses herself. Yes, it’s a bit of “uncanny valley” for me, but it gets the job done more easily than booking a real person.

Palantir blue chore coat, photo by ChatGPT

Last weekend’s WSJ Style & Fashion article entitled “A Softer Side of Artificial Intelligence” featured OpenAI’s foray into lifestyle products otherwise known as “nerd merch” or “taste slop.” As of mid-July, the creator of ChatGPT is now hawking (and apparently selling out) shirts, shorts, tote bags, water bottles, socks and (Bill Cunningham would roll in his grave) Palantir blue chore coats for $239! via their company online store, Supply Co.

AI Task Rabbit Stemware Ad (Reddit)

As fashion continues its slide into corporate product designed by a committee of non-humans to cut costs and maximize profits, discerning tastemakers will gravitate even more toward vintage fashion for quality and design. Manhattan Vintage’s tagline “The future of fashion is vintage” is certainly prescient and will just become more appealing until that avenue is eventually exhausted.

There is a vintage show just about every weekend now, which indicates the popularity of the past over the present (and future) homogenization of fashion. Rather than “learn to code,” perhaps the new buzzwords should be “learn to sew.”

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The Uniform du Jour, photo Instagram

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

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

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

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

The Universal Uniform, photo Instagram

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

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

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

Chanel jackets and jeans, photo Instagram

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

Vogue November, 1998

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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