A quick word of appreciation for Nightly’s in the Upper East side. They gave us the best room in the house to host a mini Fashion Police panel. The setup was fab, the filthy gin martini was in hand (just as I said it would be) and the staff was INVOLVED. Watch the Met with your friends. This will be a yearly tradition.

Ok back to what we came here for. Overall, this Met gave exactly what I thought it would give: too much body-con, and not enough creative liberties taken with the interpretation of the body, which led most attendees to look like fundraiser guests, or at best, Vanity Fair Oscar party guests, rather than Met Gala attendees.

The theme was ‘Costume Art’ and the dress code was ‘Fashion is Art’, this we know. Yet the pattern I picked up on, which has been a recurring one namely in the last few years for the Met, has been ‘to theme or not to theme’, and why is that a question. I’m inclined to think that part of it has to do with the quality of the theme and how much it encourages people to pop out.

We all know the power of what the Met could be, and what it has been. Creating iconic moments that help define professional careers, prompting important conversations and approaching lesser told histories from a different angle.

So let’s take this seriously.

I was expecting more outfits that reflected the idea of fashion being used as a canvas. Paloma Elsesser and her dress concocted from 30+ vintage dresses, and Emma Chamberlain’s hand painted showstopper (wish she walked later in the carpet) reflected this ethos beautifully.

And then there were the talent that wore outfits inspired by famous works of art, that in my opinion, were….bad? Half baked?

Hunter Schafer taking inspiration from Mäda Primavesi, Angela Bassett from Girl in Pink Dress, and Gracie Abrams from The Kiss (with the technique and creativity we’ve seen from the new Chanel era, I refuse to believe that was their best interpretation). All of the above didn’t hit for me.

Maybe this has less to do with the talent, and more to do with the designers and fashion houses responding to the theme. What used to feel like intentional and synergistic moments to align with talent to tell a story has turned into a competition for attaining the most star power and viewership.

What is it about now? The number of celebrity placements a brand can get, or cultural impact? The group photo of eight A-listers wearing something pretty but not memorable or Rihanna in 1 of 1 Guo Pei that took 2 years to make and whose artistry fashion lovers still salivate over to this day? I know earned media is important and the more eyeballs the better, but what is reach without impact?

Someone who always understands the Met’s assignment is Janelle Monáe. She does what others don’t, but what others should: wear outfits that are not transferable to any other red carpet. Outfits that speak to the theme and wouldn’t make sense in any other context.

So I guess the problem for me here is twofold: the prompt and the effort. The prompt was too general, and more than that, it was too predictable. And on the effort—we have to believe in the power of the Met, and we have to be given the opportunity to do so by being prompted intentionally.

Now it’s May 7th, and I’m back to holding out hope for next year’s theme. Perhaps it’ll explore the cultural amalgamation of New Orleans, fashion as a form of rebellion, or maybe even the interplay between fashion and film. Every time I blow an eyelash and make a wish, know I’ll be wishing for a better Met theme next year. I just want it to be memorable.

Maybe if I get to go to the Met next year, I’ll be able to judge for myself….

Maybe they should use Claude instead of ChatGPT to come up with the theme….

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The day was a whirlwind. Fast, chaotic, meaningful (especially given last year’s theme), an exhilaration you chase. And I will continue to chase that exhilaration tomorrow, not from the Carlyle this year, but from a table of four at Nightly’s, with a filthy gin martini in hand.

Tomorrow the world will celebrate the opening of the Met’s new exhibit ‘Costume Art’, with their annual Gala that has become the Super Bowl for those with taste.

This year’s ‘Costume Art’ theme, named after the new Met exhibit, will explore the “‘centrality of the dressed body’ through depictions and interpretations of the human form”.

To complement this theme, the dress code is “Fashion is Art”, which is what’s most important to know ahead of me becoming Joan Rivers tomorrow night.

To me, ‘Fashion is Art’ as the dress code reads ‘is water wet’. It seems obvious, intuitive, and perhaps even lazy, but nonetheless we will judge based on the theme at hand, I’m just nervous by the breadth of what is left up to interpretation.

If anything, the criteria for this year will be incredibly straightforward, coming down to simple questions: Is the fashion in question art? Does it look good?

Factors going into these critiques will include: garment construction, originality (it seems in my heart of hearts I do believe it exists), fit, etc.

Just a Fashion Passion

Does Originality Exist?

Does Originality Exist…

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This theme is made for the houses well known for making fashion art, including Schiaparelli, Alaïa, Iris van Herpen, etc. That said, I’m most excited to see designers push this concept (my lovely friend Piper thinks Paloma Elsesser is teasing a Comme des Garçons look for tomorrow. I’m inclined to say she is correct which excites me deeply).

We’ll expect to see some celebrities using this dress code to show off their body tea (I expect nothing less from Teyana Taylor), but I’m curious to see other interpretations of the body. The body in all types of lived experiences. The body strong, weak, confused, everything other than the body at its “best”, whatever that looks like.

Maybe if someone invited me to the Met I could see for myself….

You will be hearing from me tomorrow.

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I was recently at drinks with a friend in the fashion industry, and she was expressing her frustration at a phenomena that I’m sure you’ve experienced as well: she had an idea, wrote it down in her journal several years ago, only to see a brand produce her exact designs within the last 2 months. Her 2022 brain forecasted a 2026 trend.

It’s a sensation we’ve all experienced before. The extreme frustration and ‘damnit’ moment when you realize you moved too slowly, or didn’t move at all. But quickly after that feeling, in my experience, there’s always a feeling of validation. A feeling of assurance in knowing that your idea, your design was good enough to make it in this world, past approvals and critiques.

All of this got me thinking: what is originality, what quantifies ‘original’?

Is originality the actual thought or your ability to execute it?

What is the relationship between originality and evolution?

Is originality a one-time occurrence or a result of repetition?

Issac Mizrahi said originality is not something you can “learn or buy”, rather, something that is “inherent, deeply personal and authentic.”

Is originality even the point in fashion? Or is it dressing for the time, in response to the context around us. Social, political, economic. Or instead, is the point dressing despite the moment, to distract from the moment all together?

Personally, I’m of the belief that originality is the point for a significant percentage of fashion lovers, but not the industry itself. Originality is not the point of the business, the point is profit and what sells in the present. Take The Row for example: the nearly $1 billion luxury brand that boasts minimalism as its bedrock. They’re not inventing anything per se, but they are refining, adapting the concept of minimalism for the present. That doesn’t mean the clothes aren’t to die for, doesn’t mean the quality isn’t supreme, it just feels like a brand that’s a product of evolution, rather than true originality.

What do we think?

Maybe if someone invited me to a show I could see for myself…. (I told you it wouldn’t always make sense!).

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That said, in practice, the marriage of Galliano and Zara is hard for me to visualize. I have no idea what to expect.

When I first read the news and saw Galliano is ‘re-authoring Zara’s archive’, my question to immediately follow was: what is Zara’s archive?

Compared to the brand’s immediate competitors (Gap, Uniqlo, Aritzia, etc.), Zara doesn’t really have a staple product they’re known for. Gap has jeans, Uniqlo has basics generally, Aritizia has workwear. Zara is known as a reliable, good quality fashion brand for the price, but isn’t known for anything in particular. They’re a very surface level brand to me, in terms of their POV, brand mission and vision, etc.

Then add in John Galliano, one of the most iconic designers of this century. The British designer who sat at the helm of his eponymous label and was the former Creative Director for Givenchy, Dior, and Maison Margiela, is known for bringing the drama and theatrical interpretations to the runway. He is the creator of the Dior Saddle Bag (thank you, John), known for popularizing the bias cut and has won the Designer of the Year award by the British Fashion Council and CFDA. Zara hit the jackpot.

They’ve married a reliable fast fashion retailer with one of the most brilliant and controversial minds in fashion.

My question is: will it work?

Zara’s grounding is in dressing millennial and Gen Z men and women who want to be on-trend, and who prioritize modernity in their everyday wardrobe. Galliano and his style are maximalist to say the least. The lack of distinctiveness in Zara’s product offering is making it hard to visualize what the collaboration will actually look like. Pairing a man known for dressing with a story in mind with a brand that exists in absence of a clear identity will surely bring excitement at the outset, but without a clear brand narrative, will Zara get lost in Galliano’s drops? What is their story?

Like I said, I’m sat and I’m skeptical.

Knowing Galliano’s theatrical nature, I wouldn’t be surprised to see him bring his Zara collections to the runway.

Maybe if someone invited me to the show, I could determine if it ‘works’ for myself…

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I, like so many on this app, am watching Ryan Murphy’s ‘Love Story’. No comment on the show overall. However, the surprisingly significant role of Calvin and his universe has prompted a very meaningful Calvin Klein deep dive, and I implore you to do the same. Between the kidnapping of his daughter, the child pornography allegations and Studio 54, there is a lot of ground to cover. For today, I’ll be sticking to the fashion of it all.

As a little lady born at the turn of the century, I equate Calvin Klein to underwear, ‘my Calvins’, and that billboard off of Houston in SoHo. That conception feels far removed from the cultural craze of the brand in the 80’s and 90’s which revolved around their jeans, fragrances and provocative ads, and even further removed from the coats and dresses that started Calvin’s journey in the world of fashion in 1968.

Calvin was the epitome of American minimalism. He made clothes that made sense for the busy, on the go American woman. Comfort was paramount across his offerings, strictly adhering to a less is more mindset. In an episode of Vogue’s The Run-Through podcast, he noted, “If the design is good and the shape is good and the silhouette, it doesn’t need a lot of extra stuff to make a person feel better.” I mean, the elastic band in his women’s underwear line was a direct pull from the design and functionality of men’s underwear, and I thank him personally for that.

Even though Calvin was not exactly central to the plot of ‘Love Story’, it was clear how much of a world-builder he was. Not only was he excellent at designing clothes, but he was a brilliant marketer, essentially creating an ad agency within the brand. He was exceptional at knowing what people wanted and enticing them through photos and copy. His eye for models was also distinctive, playing a significant role in the careers of supermodels like Kate Moss and Christy Turlington.

To me, those types of designers, total world builders, are missing in the American fashion landscape today, and there seems to be space for Calvin Klein to take back what is rightfully theirs (with more intentionality around diversity, of course).

Today, American minimalism is synonymous with The Row (in an international context, Phoebe Philo of course), but even then, the fluidity of being considered classic, sensual, accessible AND elevated across product offerings does not exist in the same way at any non-fast fashion American brand (do you agree, chat?).

The Calvin that was relayed in ‘Love Story’ was a version from the past, but one whose allure and presence surely could arrest culture today. Advantageously for the series, Carolyn’s style is a bit conflated with Calvin’s brand, showcasing chic slip dresses, sharp coats, and outfits that perfectly complimented the spirit of a hardworking woman in New York. Just as ‘Heated Rivalry’ nailed the longing of a crush, it feels like the current American fashion landscape needs a brand that can tap back into that kind of yearning, the emotional connection between clothes and personhood, and somewhere in there, Calvin has the answer.

To be fair, the brand’s recent work does touch on those aspirational elements, but I want to see their marketing engine work across all of their product offerings, not just underwear. I want Calvin clothes back in the cultural conversation, the one’s that Vogue stated, “whispered style instead of screaming fashion”.

I’d be curious to see if the brand will ride the wave of ‘Love Story’ to catapult themselves back into our consciousness as the pre-eminent brand for American minimalism. They certainly have the momentum to do so, and I think I speak for everyone when I say we will be waiting and watching.

@Calvin - maybe if someone invited me to a show I could see for myself…..

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We’ve wrapped what is always one of the most inspirational weeks in the creative calendar: Couture Week in Paris (Jan. 26-Jan. 29). Managed by the Fédération de la Haute Couture et de la Mode, the week shows the intricate collections of a select few designers, with runway looks that tend to stun the masses and benefit the few (that’s so fashion). Above all, this week centers the art of detail and sheer craftsmanship.

I always love Couture Week, namely because what’s presented always crystallizes the awe I have for fashion. These showings felt needed. I saw themes of escapism and fantasy throughout most collections, which felt like a deflection, maybe a coping mechanism, for the state of the world. Maybe I just saw what I wanted to see; needed either way.

To me, this week is less of an opportunity for critique, and more of a platform for artistry, awe, and admiration (yes, I’ve used awe twice and it’s warranted). What people are able to build, what they are able to think about and then bring to life in such great detail is nothing short of miraculous. It may be the only thing I’m absolutely envious of, the ability to articulate emotion and ideas through this medium.

Side note — we cannot let Danielle Frankel get away with the Bridal Birkenstocks. No ma’am.

Anyway…

Below you’ll find a glimpse into the couture shows of the week, which featured the following brands for the Spring/Summer 2026 season (it’s not just the big name brands you know!):

Schiaparelli, Ashi Studio, Dior, Germanier, Armani Privé, Miss Sohee, Viktor & Rolf, Robert Wun, Zuhair Murad, Alexis Mabille, Valentino, Ronald Van Der Kemp, Elie Saab, Gaurav Gupta, Chanel, Rahul Mishra, Julie De Libran

So beautiful so lovely hope you enjoyed.

The one show I will elaborate on further is Alessandro Michele’s first Valentino couture show (and the first show that took place following the death of Valentino Garavani). The show disrupted the industry through its innovative set design. The collection wasn’t presented through models walking down the runway, but through several ‘kaiserpanorama’s’, in which guests peered in to see the collection through small windows. Each guest got a different angle of the looks presented, and experienced a slightly different show. Each kaiserpanorama experienced the collection in a different order. It all really raises the question of order versus substance. Fashion shows are typically very intentional about the order in which pieces are presented, often giving the visual effect of a crescendo in that they start with strong foundational pieces and end bold, on a more dramatic note.

When I first saw the collection and set design I was overwhelmed with questions, skeptical as to whether this was inviting or isolating. As I sit with it, I love the new perspective Michele brought, highlighting the immense value set design brings to the meaning of collections and how they’re experienced. It was Valentino’s take on a ‘choose your own adventure’ story, and I’m here for it. Though I do still have questions…

Were people’s necks strained during this experience? Was it annoying to loose the element of yapping with your seat neighbor about the collection? If you did, did you worry about missing something crucial (an expression, a specific orientation)? How did the lack of order in how the collection was presented change perceptions about the show? Need more guest testimony on this experience.

Maybe if someone invited me to a show I could see for myself…..

(Get used to me closing with this phrase, even when it doesn’t make sense. This is a form of manifestation.).

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She makes smoked trout salad. She has a bob. She runs once a week. But don’t worry. You’ll still recognize her, because her passion for fashion remains.

I had every intent to write one last post to wrap up 2025. But I didn’t! I was tired! Sue me!

So we’re going to pivot what was going to be my 2025 send-off into a 2026 manifestation: let this be the year of crazy ideas.

And I mean crazy.

My best and favorite slightly controversial idea of last year was…. drumroll please….

A conclave inspired Bottega Veneta campaign.

For those that don’t know, Conclave (2024) is a political drama inspired by the secretive process of selecting a new Pope. Taking place in The Vatican, hidden rivalries, scandals, and power struggles bubble to the surface as the future of the Catholic Church hangs in the balance.

Everything about the movie was intriguing. The beauty of style through eerie, striking uniformity. The juxtaposition of demure and dramatic tension to complement the cinematic visuals. Conclave was one of my favorite movies of 2024.

And then in May 2025, a real Conclave happened. Eerie, given the timing of the movie, which gave new resonance to this already historic event. The Vatican became exciting in a new way.

Then in September 2025, Bottega released their ‘Campana’ campaign. It could’ve been the ‘third Conclave’

Would it have been risky? Sure. Controversial? Absolutely. But the house founded in the overwhelming Roman Catholic city of Vicenza, Italy, known for their understated elegance, could have done something so disruptive, positioning the brand at the apex of cinematic fashion and cultural relevance.

What would this look like? Well here are some visuals my friend Jess (hi Jess) and I made, you’re welcome!!

In a campaign like this, Bottega could have showcased their leather jacket and bag staples, in white and red colorways against Roman architecture to reimagine modern minimalism. There could be really dynamic and interesting storytelling around the fashions of religion, Bottega’s Italian heritage, and the compelling nature of cinematic storytelling.

Would it be sacrilegious? Probably, and admittedly it was an afterthought of this agnostic right here. A fine line would definitely have to be towed, but the reward would have been groundbreaking. They could have cut through all the noise, taking advantage of an opportunity that will never present itself again.

But…… oh well! They didn’t do it.

Here’s to more crazy ideas in 2026 (and the conviction to follow through)!

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In honor of Apple Music and Spotify releasing their 2025 replay/wrapped today (rumored), I thought it was only right to do the same. Welcome to just a fashion passion’s first Brand Wrapped!

I adore the brands listed below. I’ve turned to them for inspiration and have considered them palette cleansers throughout the past year. They’ve kept me creative and loving this industry! There’s a range of brands listed here (start-ups to high end, and I haven’t shopped at a few), but let’s meet the girls!

1. Walk in Paris: Parisian streetwear brand that is effortlessly chic, offering elevated staples for everyday wardrobes. The brand uses the ‘Walk’ in their title to pursue projects that connect the brand to different cities and cultures globally (very ColorsxStudio coded). From producing specialty city based capsule collections to creative short films, the brand doubles as a true community that fuels the modern explorer, and makes sure they look dope along the journey (big fan of their raw denim).

   

2. Standing Ground: If you know me you know I love Standing Ground (hi Becky!). They’re known for their bold, almost otherworldly structured pieces that flaunt incredible craftmanship (their Creative Director, Michael Stewart, would’ve been an amazing backfill for Olivier Rousteing at Balmain. I won’t stop saying that until someone validates me). If I ever have the privilege to grace a red carpet, it will be in Standing Ground (I’ll specifically be in the yellow drop waist dress pictured below); you heard it here first. For all my Stranger Things fans out there, it’s giving chic Vecna.

   

3. Le—Febour: I blush when I think about this brand. created the bag of the SEASON, do you hear me?? Every time I step out with my butter yellow masterpiece (pictured below) I’m flocked with questions. A small brand based in Canada, Le—Febour is the queen of new takes on old classics (if you can’t tell, that’s really my vibe). They have really great creative details on their pieces, specifically their accessories, and they’re always dropping something new. Can’t wait to see what 2026 holds for them.

   

4. Rua Carlota — Marie Antoinette but make her Gen-Z working in corporate America, with a hint of Alice in Wonderland. That’s how I feel when I wear the top I have from Rua Carlota (but maybe that’s because I button it all the way up… don’t try to follow the logic here). This London based brand is a HOOT. Only using pre-loved and deadstock materials (period), they have all sorts of reworked items that have incredible ruching and texture. Another piece of mine that always gets compliments whenever I wear it out.

   

5. Kwame Adusei — Let’s talk about a brand that’s had a YEAR. Chic, sexy, audacious. That’s Kwame Adusei. His pieces are bold, sleek and so flattering. He knows what the women want ok!! Biggest regret of my fall trip to Paris was not stopping by his boutique in Paris, but trust, I’ll be back. His stuff simply always hits. Would love to see his pieces on more red carpets next year. Catch him while you can!

   

6. Puerta Negra— Based in Venezuela, this brand has the most beautiful art-like pieces that are an ode to the best of the past. Amazing craftmanship steeped in history utilizing great thick materials, there is so much depth to this brand. A beautiful interpretation of modern tradition; I don’t think I’ve seen a piece that I didn’t want. Think it’s only a matter of time before we see stylists pulling their pieces for period films/TV shows as well.

   

7. Grace Ling — Last but certainly not least, my girl Grace Ling. She’s really been my girl since 2023 (yes, I’ve been there since the beginning) and the clothes are, yep, you guessed it, classic with a twist (I need new ways to describe things). Another zero waste brand (slay), she’s known for incorporating 3D-printed metal into her pieces, creating beautiful silhouettes and eye-catching textural contrasts (are any of the words I’m saying real?). Grace’s pieces are sharp (literally and figuratively), intriguing and slightly futuristic. Triple threat.

   

   Whew. That was a big one for me. Honorable mentions for my fav collabs of 2025 to wrap this up:

• Diesel x Melissa — so cute and the products smell like grapes. Sit with that.

• North Face x Cecilie Bahnsen — I think about risking it all for this rainboot daily.

• Ricola x Scarf — not a collab but really genius and had to be acknowledged.

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Let’s refresh ourselves, shall we? The Met Gala is an annual fundraising event benefitting the Metropolitan Museum of Art’s Costume Institute, in which the glitz and glamour of the globe falls squarely on 5th avenue during the first Monday in May.

The theme ‘Costume Art’, in the words of Met curator Andrew Bolton, will address “the centrality of the dressed body in the museum’s vast collection”, as the exhibit will seek to juxtapose the body with the art throughout the Met.

This theme harkens back to two things (for me): Vogue World (which happened not even a month ago) and the general ghost of Met’s past.

Vogue World, because, well, it feels like a literal extension of the event that celebrated the intersection between film, fashion, and characters throughout cinema history. What did we see tons of? Costumes. Costumes and artistic interpretations of iconic films, including Black Panther, Moulin Rouge, Breakfast at Tiffany’s, etc. I would imagine that a Met theme titled ‘Costume Art’ would consist of similar material, in the most literal sense.

Now to the ghosts. What’s in store for 2026 is specifically reminding me of the ‘Camp’ theme (2019), the ‘Heavenly Bodies’ theme (2018) and the ‘The Garden of Time’ theme (2024).

When you juxtapose the body with physical art, and artistic interpretations of the body, you’re begging for drama. Deeply accentuated hips, thermal body design (dear lord). We will see very literal, and very abstract interpretations of the body (think Kim in Margiela, Cardi B in Thom Browne, etc.). Speaking of Cardi B, low hanging fruit as to why the upcoming 2026 theme brings me back to ‘Heavenly Bodies’…

The other theme this reminds me of is 2024’s, ‘The Garden of Time’, which pulled inspiration from the ‘Sleeping Beauties’ exhibit. What about this is making me project onto 2026? Well, because the theme was different than the exhibit debuting, which made the ask of talent showing up on the red carpet unclear. So unclear, that Ana Wintour herself had to issue an apology. I fear this lack of clarity may take hold in 2026.

I guess what I’m trying to say here is this: I’m already bored. The theme is so similar to years past that I’m not sure it has much potential to be refreshing. Certainly, won’t compare to last year’s ‘Superfine’ theme, which was incredibly pointed and distinctive. For the people that read the 2026 theme as ‘Costume Art’ without reading into the context (which I assume most people won’t), they’ll assume the theme is… the point. I mean, what else would you call Jared Leto showing up on the red carpet as a cat…a costume…

Brain dump over. It is what it is, we’re here. Normally, when a theme is announced, I have strict parameters for what I’d like to see (last year I needed to be flooded with black designers, in 2023 for the ‘Karl Lagerfeld’ theme I was fearing too much tweed). This year? I’ve got nothing.

Send it, my brethren. May the best cOsTuMe win.

Before I go, a couple predictions for next year:

• Someone is going to debut a character for an upcoming film

• We’ll see custom Alaïa, Margiela, Schiaparelli (I’d like to see Standing Ground make a statement. Side note, think Michael Stewart (their Creative Director) could’ve replaced Olivier Rousteing at Balmain…)

• Bad Bunny will almost have it but miss the mark

• Anne Hathaway won’t do enough (unless she does a Mia Thermopolis —> Princess of Genovia moment)

• Anna won’t be happy

That’s all, folks! Just requested PTO for May 4th.

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If you know me, you know I love a tie. A tie on a woman is badass. It’s sharp and signifies control. As I thought more about this, I realized that I couldn’t think of a single female politician, political figure, etc. that has ever given a speech, accepted an award, been at an Election, etc. in a tie (chat, prove me wrong!).

Upon this realization, I took to Google Chrome, with a swiftness.

When searching ‘female politicians wearing a tie’, the following images appeared:

1. Several Pinterest boards/ads selling ties:

2. Rep. Anna Paulina Luna (who I’d advise not be our tie representative):

3. A picture of Kristin Lynch (former Congressional staffer) accompanied with a headline that reads ‘Kristin Lynch is working the tie — and putting in the work’. Lol that the tie is so significant that it’s leading the piece. Even better, the sub header read, ‘I feel pretty strongly about my identity as a lesbian’.

   

Are we really that stuck? The answer is yes, I know, but it’s still a tad surprising that by and large, we haven’t broken the tie stigma in the world of politics (not even Hillary! Michelle!).

The most powerful women in Hollywood aren’t fearful to take that step. Are Zendaya, Elle Fanning, and Brooke Shields gay because they’ve worn ties on the red carpet? In entertainment, wearing a full suit is pretty unanimously regarded as a striking way to make an impression and assert dominance on the red carpet.

Understand that there’s a larger conversation to be had around a fictional First Lady, wearing a tie out on the lawn with her President husband, and the sound and completely not sound implications of that. But isn’t that the point? Aren’t we (very hypothetical we, here), as women in politics (I’m not in politics), already bucking the system? Why not tack a tie on to really drive it home?

In a New York Times article from a few years ago, Vanessa Friedman wrote about the impact of appearance, noting, “it’s part of how we decide if someone is likable or believable or a leader — whatever their gender”.

If the tie is the symbol of professionalism, of business and confidence, I’m surprised some of the most powerful women in American history have shied away from this styling choice, and/or that it hasn’t been more of a symbol for resistance at that scale. I’m sure, like everything is in politics, these styling decisions were made with intention, but…

Strange, no? I’m now left to wonder, who will deliver?!

Like every other person interested in fashion, we’re going to talk about Grace Wales Bonner’s Hermès appointment. There’s a lot to say.

Let’s start with the obvious: Grace, my dear. You go girl.

Seeing the news last week caused me to let out a small screech and nearly turn my out of office notification on as I was simply too distracted to continue the day. Grace is such an incredible talent with the opportunity to breathe new life into an iconic house, AND she’s making history. Elated for her.

Now let’s talk about why I’m excited.

One thing my girl Grace gets, and I mean GETS, is the power of an accessory. A brooch. A belt. A shoe. A scarf. Yeah, that’s Grace ‘Devil in the Details’ Bonner. She excels with accessories, already a core revenue stream for Hermès (happy for you, Thierry!).

Do you understand what this means for the Birkin (was never a huge fan of the Birkin). I am literally sweating at the idea of a Grace Wales Bonner Birkin. A Bonner Birkin. Yeah.

That said, I’m really curious to see how Grace works with leather. Since leather is Hermès core differentiator, her comfort with the material will be crucial to the brand’s success. To date, I haven’t seen her incorporate much leather, so I’m interested to see what this transition looks like for her.

I also expect to see a sportier take on the brands equestrian spirit on the runway, given her fluency in the world of sports x fashion. I’m excited to see how that takes shape.

I’m also curious to see if she she pushes the brand to do more collaborations, given so much of her hype is attributed to brands she’s collaborated with (Adidas, Dior, Stüssy, etc.). Hermès is definitely not consistent in the world of collaborations, and the brand positioning to date almost feels too ‘premium’ for it. Is the hype of Grace enough to drive demand for the business? Hell if I know, but I sure do care!

Well, that’s all folks. Find me in a internet rabbit hole of old fashion ads (because how cool is the ad above?!). Eventually I’ll come up for air. Until then.

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We’re back with the second Just a Fashion Passion post, where we’ll be discussing the infamous Creative switch-ups that happened across fashion houses over the past year, many of whom debuted their first shows in new positions this past season (and we’re still reeling).

To simplify for my sports girlies, let’s use an NBA analogy. Basically half the teams in the Eastern Conference got new coaches. Some went to the West. Most stayed in the East, but with different teams.

To be more specific, a sampling of the brands touting new Creative Directors across NYC, London, Milan, Paris included: Gucci, Loewe, Chanel, Proenza Schouler, Balenciaga, Carven, Versace, Jil Sander, Dior, Bottega Veneta, etc.

As Tim Blanks at Business of Fashion so astutely pointed out, we have a case of ‘familiar faces in new spaces’, which created an energizing and controversial Spring 2026 season.

The season, in many ways, made fashion feel ‘back’. It gave me a similar rush to my first encounter with fashion. I didn’t know what was going on but I wanted to be a part of it.

Most of the shows I did indeed understand. But some I still didn’t, and I still wanted to be a part of it.

There were things to talk about this season, poignant critiques, and new notifications telling me my storage is full because that’s how many screenshots I took over the past month…

Exhibit A: Erdem

Exhibit B: Bottega Veneta

Exhibit C: Diotima

It was all exciting. But that’s by and large because of the ‘fashion musical chairs’ that occurred. Is it the new norm? Should it be?

Over the past couple years, all forms of entertainment have had to shift their content distribution styles because the kids just can’t hang anymore. Our attention spans are shorter, resulting in the urge to create and consume ‘snackable’ content.

Now I could be totally wrong, but the short attention span phenomenon feels like it’s infiltrated the entire ecosystem of content creation. Our attention spans, along with the patience required to see success, seems to be getting shorter.

Take the NBA again for example. Over the past several years, there has been an unbelievable drumbeat of hiring and firings across the league. Some bad coaches, some good coaches, some coaches that were in the midst of building greatness whose time was cut short because patience ran thin. These twists and turns have led to gripping headlines, on and off-court drama, and sometimes irrational critiques, knowing what’s on the line.

I say all this to say, could a similar phenomenon be happening in fashion? This past season was brilliant, and I largely attributed that to the influx of newness. Can this energy and excitement be sustained in the absence of change? Will our attention spans allow for trial and error seasons over the span of multiple years? Can cultural relevance and profits wait, especially for the big houses? It’s hard to envision a world where Pierpaolo Piccioli, Sarah Burton, etc. would be at their new respective houses for less than 10 years, but it’s a thought. And didn’t I tell you I was full of thoughts?

I leave you with this: Business of Fashion ranked their top 10 shows of the season, in which 50% of those ranked debuted new designers; 60% showing new Creative Directors within the last two years. The shorter tenure of Creative Directors hasn’t gone unnoticed, with publications like WWD digging into this back in 2023.

While I hope (and expect) that most Creative Directors will have time to sink their teeth into these new houses and grow with the brands over time (Loewe wouldn’t be where it is today without this reality), what is the tempo of this so called ‘fashion musical chairs’?

.jfp

Part of the inspiration behind this substack is that I just got back from the city of my past lives, Paris. Yes, I was there during PFW. From the title of this piece, you can probably tell that Paris and Fashion Week were completely separate experiences for me. After realizing I would attend nary one fashion related event (slapped with this reality with both words and silence), I decided to do what I do best (and was really always going to do), scurry around Paris going to bars and stores saved on TikTok (I’m just a girl)!

But before we get into my fashion week, let’s talk about some actual PFW takes, and obviously we’ll start with CHANEL.

Let’s be clear, not every piece was something I could relate to, that I could or would want to wear. BUT by and large this show was different, and catered to the breadth of the Chanel woman. Past Chanel shows have been lauded and sustained by the legacy of the House (unsolicited opinions, remember). We all know that the Chanel woman is a boss, but oftentimes I’ve felt that she relied on Chanel for that, she was a boss because she was wearing Chanel. It felt passive, like she knew her power, and we knew it, so no further work needed to be done.

The new Chanel is for the active woman, the woman who is hard working and is actively, and intentionally, making her own legacy. She stands out within the world of bosses.  She has fun without compromising her class, whatever class means to her. Matthieu didn’t just share his collection, he created a feeling, and personified the aura of the Chanel woman. From the set design to the buoyant skirts and dresses that you couldn’t help but smile at, to the low waisted tweed (he had me at low waisted tweed), this collection was a thrill and reminded me of the tangible and intangible impact fashion can have (my therapist wishes I was this vulnerable with her, consider this a treat).

Next up, SHIATZY CHEN (if you need to run to Google, that’s allowed). The Shiatzy Chen character is just cool asl (asl = as hell for my mom reading this).

Her latest collection will serve as the inspiration for my renovated wardrobe. Everyday classic pieces with a twist. White trouser with light embroidery and a drop waist design tease, a denim (maybe?) bomber with strong steel buttons, an asymmetrical belt boasting a practical pocket with the actual buckle on the side. Genius.

Now this brings me to the belt interlude.

*BELT INTERLUDE*

The belt, ladies and gentlemen. Let’s innovate the belt. Miu Miu had a great innovative belt this season too, with several keychains of different lengths hanging from the belt’s base (need).

I just can’t understate the opportunity we have to innovate the belt. For anyone up for the task dm me directly I’ll start a working group.

*END OF BELT INTERLUDE*

Ok anyway. Let’s talk about my fashion week.

My first rainy day store stumble was at MIISTA. You know them for their shoes, and to my delight they have other categories that I was intrigued by. I walked away with a super cute black top with fun ruching in between STRUCTURE (love structure). It also had buttons on the top part of one of the shoulders so the top could sag a bit or be more of a mock neck. Thank you Miista!

My next purchase was a happy accident. After waiting in line to purchase the products that would make me smell like a sweet Caribbean sweet potato and an Afghan carrot (have obviously always wanted this, thanks L’Officine Universelle Buly), I noticed a girl in the store with the most fabulous green cropped structured leather jacket. It was lime green but not in an electric way, was very tasteful and could go with a lot. I asked her where she got it, she said EUGENIXSTORE, and I was there within seconds.

They had a small but strong collection of great pieces that were well priced, and the store manager (Alexei?) was absolutely lovely. We talked about the horrible place so many designers are in right now, having to choose between quality production and marketing and awareness, when the big brands with the deepest pockets are compromising quality for profits, relying on their name to get them by. Anyway, I walked away with a lovely worn, leather brown jacket that had a super cool silver closure at the top. Immediately wore it out of the store.

Ok, that’s all my teeny tiny new baby substack brain can bear, but don’t fret, you will be hearing from me.

.jfp