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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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.

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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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