Alice + Olivia Spring 2018

The line to get into Alice + Olivia’s show was so hectic, a bystander who knew nothing about fashion would walk by and think they were giving away free money in there. But, alas, there was no free cash; however, but was a spring 2018 collection rich in patterns, bold statements, femininity, and style.

Stacey Bendet, the creative brain behind Alice + Olivia, was inspired by the Chelsea Hotel and all its iconic rock n’ roll history for this spring 2018 outing. Bendet attempted to create a collection that projected what the Chelsea Hotel’s iconic female guests would wear now if they were still residents of the Chelsea Hotel. (Think Nancy of the tragic rock couple Sid and Nancy alive and updated.)Bendet’s friend, the artist Lola Schnabel, daughter of downtown iconic artist Julian Schnabel, lived in the Chelsea Hotel at one point. After some extensive research, Bendet invited eight other artists to design rooms for the presentation based on what their rooms would look like if they currently lived in the Chelsea Hotel.     

The collections was a unique blend an homage to the worlds of art and fashion The collection could be described as the late punk 1970s shares a bed with with a contemporary art.    

The collection featured beautiful, bold colors, but there were so many messages lying underneath gorgeous layers of fabric, some more blatant than others. Subtle statements were done in a kitschy way, such as a tee shirt in rainbow sequin letters that said “The World Needs More Sparkle.” Still, other messages were more blatant, such as a backdrop that had the word “FEMINIST” scribbled all over it as two models dressed in pure white perched against the backdrop.          

                                           Images courtesy of Alice + Olivia

A creative reinterpretation of a hotel turned into a story about women, the power of fashion and American cultural motifs. Here in Bendet’s world, women thrive and survive in bright, colorful prints, pussy bows, and ruffle-tiered dresses. Bendet’s talent should be most admired for her ability to bring together eight different artistic visions and create one cohesive collection with cultural and political messages.       In summary, the collection was a mix of rock ‘n roll, color explosion, modern feminism, and art. This cornucopia of boldness, vibrancy and design, all message driven leave a fashion audience wanting more.

—Kristopher Fraser

Laurence & Chico Spring 2018

New York Fashion Week: The Shows (NYFWS) was created in 1944 by Eleanor Lambert—the first American fashion publicist, and an iconic figure in American fashion— to showcase American fashion designers because the American press could not get to Europe to see the couture shows due to World War II; thus, the original name of fashion week, Press Week.

While that does remain a function of Fashion Week, the week-long event has grown into something so much bigger. In its current incarnation, at NYFWS, simply presenting a collection in the traditional way isn’t enough, it must come with great spectacle to grab attention from editors, bloggers, social media influencers and other industry professionals. The big danger in spectacle presentation is the clothes getting lost in the shuffle.

Laurence & Chico, met while students Parsons School of Design. They both later worked at several luxury houses, launching their own line in 2016. The results of their spring 2018 collection were mind blowing and walked a fine line between eye popping and eye gouging.

The show was a presentation rather than a traditional runway with models perched in a pre-ordained tableau. The room was heady with an earthy green smell that came from the live moss that covered the stage, interspersed with sparkling brightly colored gravel while eerie atmospheric music by Zeng Bohao reminiscent of recently revived “Twin Peaks” played in the background.

One’s eye was immediately drawn to the wild styling. Models wore hat/wigs 2 ft. high and weighing excess of 20 pounds, which cause considerable discomfort. The heat from the wigs and lights nearly overwhelmed some models who were repeatedly brought water of our fear they’d pass out. Some of the wigs were accessorized with gigantic candy wrapper bows. The makeup was feathers glued to lips, pearls glued to eyebrows and some of the models were ‘weeping’ yarn; many of them worse metallic ruched elbow gloves.

It’s easy to see how the clothes can get lost in all that theater, but fortunately the clothes shone brightly enough to find their own spotlight because they were stunning. Unique silhouettes of oversized bomber jackets made entirely of metallic ruffles, worn over dresses of interwoven with pearls, flower embroidery and feathers. Jackets and skirts made of metallic candy wrap interwoven with pearl embellishments. A full-length vest made of red and dark denim tweed with front ties, over a pair of navy skinny jeans that Miley Cyrus was born to wear. Once you look past the eye popping styling the outfits were Avant guard and playful, bursting with color and personality. Even the blazer and skinny pants with their traditional silhouettes were created with fun cartoon prints.

Some of the clothes did look like they might be difficult or uncomfortable to wear but worth it for the look. Keep your eye on Laurence and Chico as Fashion Reverie suspects they may become the next big fashion superstars!

—Cameron Rose

Bibhu Mohapatra Spring 2018

Bibhu Mohapatra continues to push the proverbial fashion envelope. Bibhu Mohapatra has demonstrated for several seasons that he possesses a unique understanding of how the modern, sophisticated woman expresses her elegance, sexiness, and femininity. Her sexiness doesn’t have to be in your face, but it could be; her elegance is understated, or it could be front and center; and the modern woman’s femininity could be kittenish and saucy, or it could be an androgynous mélange of masculine silhouettes mixed with architectural construction.

In other words, the contemporary woman is hard to define and her tastes are varied. And that explains why so many designers have a hard time appealing to the modern woman and holding her interests. Bibhu Mohapatra doesn’t have that dilemma.Mohapatra, in his spring 2018 collection, created a collection that hits all the right notes. Inspired by that somewhat indefinable modern woman who is accomplished in her right, but hasn’t received just recognition, Bibhu Mohapatra’ spring 2018 collection pulled from all the definable and indefinable elements that causes that sophisticated, contemporary woman to shine and sparkle. All these seemingly disparate elements were mixed in Mohapatra’s petri dish of creativity to produce a collection that was relatable, but fashion forward, steeped in familiar design elements, but reconfigured for contemporary consumers.Mohapatra in this collection continues to play with the demimonde as expressed a lens of modern sensuality and sexuality. For spring 2017, Mohapatra looked to the Belle Epoque era and the style of high-class courtesans of that period. In this outing Mohapatra drew inspiration from Asian courtesans (geishas) of the 19th century seen through a contemporary prism. 

True to Mohapatra’s design aesthetic there was some layering of silhouettes and fabrications, and Mohapatra brought back the striped motif seen in his “Belle Epoque” spring 2017 collection. There were also the structured corset-like bodices, and the tea-length gowns, as well as Mohapatra’s three-quarter length skirts. However, what set this collection apart from previous outings was the adventurous nature evidenced in Mohapatra’s mix of rich embellishments, unusual fabrication layerings, and redefinition of modern sensuality.That said; Bibhu did include some recognizable trends; off-the-shoulder treatments; statement sleeves, and cross-dressing elements. But he incorporated these elements with his own particular design aesthetic. Additionally, Mohapatra mixed in some East meets West elements. There were Nishiki Kabuki tops combined with crepe trousers and pencil skirts, as well as other Asian silhouettes—obi belts, kimono tops, and silk Mikado dresses—made even more relevant by all the innovative textile techniques that were employed in this collection.

                                                  All images courtesy of Think PR

Standout looks in this collection were Bibhu Mohapatra’s silk Matsuri print and lace dress with Shibari under bodice, Okobo lace and crepe dress, silk Ramie stripe Nishiki gypsy dress with lace insets, silk Mikado Matsuri embroidered courtesan dress with origami petal sleeves, andtulle and lace nomad widows gown.—William S. Gooch

Summer Beauty: It’s Time for Sunshine and Romance

Three_Graces_Beauty_TrioBring the romance of summer front and center with soft twisted hair in classic shapes and rosy-hued cheeks.  Since summertime means longer days, sunshine and hot humid weather, it’s the perfect opportunity to try out some gauzy and unstructured styles.

Soft natural waves are the perfect look this time of year.  This no fuss style is ideal, as it doesn’t require sitting in front of a mirror with a hot curling iron or straightener.  If your hair is naturally straight, fake a wave by sectioning your hair into four pieces and braiding each one before heading to bed.  Spray with a little hairspray to keep the style.


In the morning, simply un-do the braids and brush out the waves with a soft bristle brush or your fingertips.  You don’t want to completely loose the effect, so make sure only to run the brush or your fingers through once or twice.  Keep the hair off your face by making a deep side part and pinning in back sections for a light and easy half up-do.  You can accent with optional twists and/or braids to enhance that classical romantic aesthetic.

Another option that is great for both long and shorter hairstyles starts by creating a large loose French braid around the crown of the head.  Make sure to pull pieces of hair out to keep it from looking overdone.  To give the look a little something extra, try braiding in ribbons of lace.  Then with the remaining hair, make a side ponytail or bun at the nape of your neck for an easy style that not only looks beautiful, but will also keep you cool and comfortable when the temperature rises.

Images courtesy of Jones

Images courtesy of Jones

Finish the look off with a flush of soft pink on the cheeks and lips for the perfect dreamy warm-weather beauty look.

—Janine Silver

Fashion Flashback: Gone But Not Out Menswear Brands

Greg Lauren image courtesy of

Greg Lauren image courtesy of

On the eve of New York Fashion: Men’s spring 2018, Fashion Reverie looks back at menswear brands that had a strong presence in the American menswear scene, but lost momentum and are no longer a part of the US men’s fashion market. Most of these brands had a distinct, signature voice and spoke to an evolving, diverse menswear audience that was thirsty for something innovative and fashion forward.

Still, though most of these menswear brands had some traction, circumstances forced them out of the menswear milieu. While some of these menswear brand creative directors have popped up at other menswear companies, their own individual creative mien is sadly missed.  And, with the current state of the global retail market; perhaps, if some these menswear brands had managed to maintain market viability, there would be more vitality and perspective in the menswear market.

Antonio Azzuolo fall 2012

Antonio Azzuolo fall 2012

One of the most highly missed menswear brands in the depressed American menswear market is Antonio Azzuolo. After honing his craft at Hermes, Kenzo, and Galeries Lafayette in Paris, Azzuolo took up the mantle of design director at Ralph Lauren’s Purple Label and Black Label in 2006. In 2008 Azzuolo launched his eponymous label and quickly became a strong presence on the US menswear scene.  a.a. antonio azzuolo is a New York–based menswear brand that focuses on street wear seen through a refined lens.

Though the brand is not technically extinct, Azzuolo has not made a new collection in a few seasons. Fashion wagging tongues confide that Azzuolo is now working for Warby Parker.

Unruly Heir fall 2013 image courtesy of

Unruly Heir fall 2013 image courtesy of

Known for their out-of-the box, irreverent presentations during New York Fashion Week (NYFW), Unruly Heir was launched in 2008 by Joey Goodwin and John Gagliano. Unruly Heir placed a tongue-and-cheek, irreverent twist on classic menswear attire, providing one-of-a-kind pieces for the tailored young man whose lifestyle goes against formal society.

You never knew what you were getting at one of Unruly Heir’s fashion week presentations. You might witness a staged catwalk rumble or food fight, but it was all fun and part of theatre that longer exist during NYFW. Though Unruly Heir’s website is still active and you can purchase merchandise, their NYC presence is all but gone.

Marlon Gobel fall 2014 image courtesy of

Marlon Gobel fall 2014 image courtesy of

One of the most innovative voices on the American menswear landscape was Marlon Gobel. In his first seven years in the menswear market, Gobel worked for some of most prestigious brands in menswear, Thom Browne and Michael Bastian. In 2010 Marlon Gobel launched in eponymous brand that was immediately picked up by Bergdorf Goodman.

Gobel’s design oeuvre was innovative construction with a penchant for glam with a modern sensibility. During NYFW, Gobel always had some of the best male models in his shows including Henry Watkins and Sebastian Suave. Though Gobel still has a Facebook presence, his website only consists of a 2015 video. Gobel has not created a new menswear collection for several seasons.

Alexandre Plohkov images courtesy of pinterest

Alexandre Plohkov images courtesy of pinterest

Alexandre Plokhov’s menswear brand is technically still in existence, but after taking up the mantle at Helmut Lang, not a lot has been going on at Plokov’s eponymous brand. Plokov established himself as an innovative designer when he launched Cloak in 2000. Cloak won the Ecco Domani award in 2003 and the 2005 CFDA Swarovski Perry Ellis Award for Menswear. Plokhov became known for his military goth style that included razor sharp tailoring, details and luxurious fabrics.

After Cloak shuttered due to partnership disagreements in Plokhov launched his namesake line in 2010. Alexandre Plokhov became one of the must-see menswear brands during NYFW. However, after Plokhov moved over to Helmut Lang, Plohkov announced on Instagram in late December 2015 he would be shutting down his eponymous line. That said; word on the street is that Plokhov has bee replaced at Helmut Lang by the design team from Hood by Air.

Greg Lauren Spring 2016 images courtesy of

Greg Lauren Spring 2016 images courtesy of

Greg Lauren’s menswear collection had a lot of traction in the menswear market. After being the darling of New York Fashion Week: Men’s, Lauren has all but disappeared. Launched in 2011, Lauren’s namesake brand set a standard for distressed aesthetics.

From his initial launch, Greg Lauren’s men’s and women’s collections were picked up by Bergdorf Goodman and many mainstream department stores and boutiques. Yet, Greg has been suspiciously absent from the NYFW scene, although his spring 2017 and 2018 collections are available for purchase through is online site.

—William S. Gooch

Rock It or Leave It on the Runway Summer 2017 Styles

Photo of Debi Mazar courtesy of Tom and Lorenzo Photo of Gabrielle Union courtesy of

Photos of Gabrielle Union and Debi Mazar courtesy of

All white outfits

Summer is a time for white and this year, all white outfits are heating up the red carpet. While most acknowledge that the rule of no white after Labor Day doesn’t apply anymore, all white outfits work best during the summer season. White does create a blank canvas that can add bulk so you want to watch your silhouette. Don’t be afraid to add a colorful accessory, some bright sandals, an elaborate statement necklace or wide belts that are very on trend right now. Most importantly, make sure to pack some stain remover wipes or a Tide Pen!

Rock it!

Logan Browning courtesy of Getty Images

Logan Browning courtesy of Getty Images and Gillian Jacobs image courtesy of


Unique touches that create an interesting outfit on the red carpet are tough to pull off.  You don’t want to wear a boring garment, but if you don’t edit, you risk looking like you’re wearing a costume rather than a chic look. Sadly, the recent trend of feathers on the red carpet veers deeply into costume territory. When feathers adorn a short dress, the wearer can sometimes look like they’ve donned a figure skating getup. Feathers on full-length gowns scream, “Everything, but the kitchen sink!” And, the silhouette of feathers on gloves; well, there are no words!!

Leave it!

Photo of Emily Blunt Courtesy of Tom and Lorenzo Photo of Jenny Slate courtesy of Getty Images

Photo of Emily Blunt Courtesy of and photo of Yara Shahidi courtesy of Just Jared


Ruffles have been making a comeback in a big way and they have been all over the red carpet. They are fun and can add layer and dimension; however, wearing ruffles can be tricky. Horizontal ruffles can create the illusion of width, so you want to be careful of where they hit you on the body.  Head to toe ruffles is a look reserved largely for those five and under; you know, young children. Ruffles work best as an accent. Many celebs are wearing them on their sleeves. As long as you keep an eye on proportions ruffles are fun and an easy look.

Rock it!


Photo of Karen Gillian courtesy of Getty Images and photo of Susan Sarandon courtesy of EPA


Spending your summer doing promotion on a red carpet is a world most of us will never experience. Stylists spend an inordinate amount of their time putting together the perfect photo friendly outfit and studios put together budgets that include comfortable cars and a driver eager to ferry the stars from one air-conditioned event to the other. Which is how they can indulge in one of the most ridiculous trends to appear on the red carpet in a while. Velvet? FOR SUMMER, REALLY!!   Velvet is a wonderful, but very warm. Embrace this trend and the only thing bigger than your dry-cleaning bill will be the bill from the ER when you pass out from heat stroke. This one is a huge NOPE.

Leave it! (At least until November)

—Cameron Grey Rose


New York International Bridal Week: Spring 2018

Images courtesy of

Images courtesy of

Every one loves a spring bride; especially in you are in New York City during the week of April 17. That’s right; New York International Bridal Week will soon be upon us. From April 20-25, some of the top bridal designers in the world will descend on New York City presenting the latest bridal trends.

Fashion Reverie will be front and center, bringing its viewing audience the latest collections from the top designers in the bridal market. This season expect some new additions to the Fashion Reverie roundup—Naeem Khan, Francesca Miranda, and Justin Alexander.

—Staff Spring 2017

 Yandy_Spring_2017For years the clothes displayed during New York Fashion Week: The Shows (NYFWS) weren’t available for purchase until months later. Designers are starting to change that to take advantage of the publicity from fashion week, livestreaming and to thwart knock off retailers like H & M. (The “See Now, Buy Now” business model.)

New York is a town that lives for Halloween with the Greenwich Village Halloween Parade and Bettlejuice themed bars. At Pier 59 in Chelsea, the enormously successful online retailer, the company that gave us the pizza rat costume last autumn, held NYFW’s very first Halloween-themed costume fashion show.

Collages938The small touches were extremely fun and creative. The gift bags were plastic pumpkin buckets filled with candy, cat printed tights and an elegant embroidered Venetian mask. (If only as much thought had been put into the clothes on the runway.)

One of the first looks was “Sexy Socialite” featuring a mask resembling snapchat filters. Cute, but the interpretation was so literal, “Millennials” will be confused by it and maybe offended. The emoji costumes were little more than an image on a leotard that looked uncomfortably tight.

Collages939Nearly every costume that strutted was dubbed with the moniker “Sexy.”Sexy Flapper, Sexy Mermaid, Sexy Pizza (that last one is real). Some of the costumes were indeed very sexy, but so many just seemed to be bras, panties, thigh high stockings, and animal’s ears. Even more disturbing was that the most of the costumes looked cheap. Like something you’d buy at a drugstore. Can you say, Ricky’s!!

Collages940But some of the more topical references highlighted the problems with presenting this collection almost two months before Halloween. Sexy Deadpool costume, does anyone remember that movie? It was released in February 2016. Still, some references are timely—sexy Hilary Clinton in her pants suit, minus the pants, and Donna T Rumpshaker. In a fun moment during the final walk, Donna T was literally running circles around Hillary, who was calmly waving to the crowd.

Images courtesy of

Images courtesy of

There were some beautiful, expensive looking costumes. The elegant Egyptian Goddess gown trimmed in gold was sexy without being too revealing. The sexy butterfly outfit was breathtaking. Though it consisted of little more than a black bra and panty set with a mesh overlay, the butterfly cape was so beautiful that it made the whole concept work. If you want sophisticated and timely, the sexy Ali Hamilton costume is perfect to show your love for the Broadway smash “Hamiliton.” I suggest you get it now, as it’s sure to be very popular.

-—Cameron Grey Rose


Fashion Reverie Exclusive Interview: Supreme Publicity’s James Murray


Shirt: 3.1 Phillip Lim (@31philliplim) Watch: Versace (@versace_official) Bracelets: Shanghai Tang (@shanghaitang) Hair Design: Frankie Salati (@frankayy24) Glam Squad (@glamsquad) Shu Uemura (@shuuemura) MUA: Glam Squad (@glamsquad) Photographer: Pierre Von Harper

Shirt: 3.1 Phillip Lim (@31philliplim)
Watch: Versace (@versace_official)
Bracelets: Shanghai Tang (@shanghaitang)
Hair Design: Frankie Salati (@frankayy24) Glam Squad (@glamsquad) Shu Uemura (@shuuemura)
MUA: Glam Squad (@glamsquad)
Photographer: Pierre Von Harper

New York Fashion Week can be celebratory, evocative, aspirational and awe-inspiring. It can also be chaotic, stressful and exhausting, particularly if you are an industry professional with lots of shows on your daily calendar. Still, every season all the hard work makes sense when you discover that new talent or are inspired by an exquisite collection that puts all the pieces together beautifully.

With New York Fashion Week: The Shows spring 2017 just a week away, Fashion Reverie sat down with James Murray, President of Supreme Publicity, and spoke with him about the exegesis of his burgeoning fashion PR firm and his projections for Supreme Publicity’s  clients for the upcoming season. Never one to mince words, James Murray candidly detailed the challenges and triumphs of Supreme Publicity, and why he is so good at what he does!!

Fashion Reverie: How did Supreme Publicity come into being?

James Murray: My background is in luxury. That said; I did fashion public relations for Seventh House PR for about a year and before I was with Seventh House PR I was with Gucci and Versace. Being that I have been in public relations for luxury houses and brands for some time I always had this plan to help newer, smaller luxury brands move forward. Unfortunately, a lot of these smaller luxury brands don’t have the resources to properly present their product to a wider audience. And, far too many of them fall through the cracks, so to speak, because they lack the resources and proper direction and strategy.

When I launched Supreme Publicity I wanted the agency to be different from any other fashion PR agency in New York City. I wanted to bring the latest and the greatest to the forefront of fashion. I started with one client and three months later I had seven clients.


FR: How long has Supreme Publicity been on the scene?

James Murray: Supreme Publicity launched in April 2015. So, we are about eighteen months old.

FR: How is Supreme Publicity different from other fashion PR firms in New York City?

James Murray: We are different in a lot of ways. We look at the individual needs of each client and come up with a specific strategy for each client that fit their individual needs. Most fashion PR firms fall into a pattern of treating their fashion clients the same with very little customization. Supreme Publicity realizes that each client has different goals and projections, so we cater to that.

Keeping Supreme Publicity as a boutique agency gives us the opportunity to give our clients the attention they really need. We also help our clients with everything from sales to consulting to even suggestions on what they should be focusing on from one collection and season to the next based on what their clients or potential audiences want. In fact, I would define Supreme Publicity as a brand-building factory.

FR: How are you helping brands that are not well known achieve market recognition in an environment that is oversaturated with so many brands?

James Murray: One of the challenges that we sometimes encounter with our clients is helping them find that balance between their vision and market viability. Sometimes we have clients that have collections that are couture but not necessarily retail friendly or marketable. So, our vision is to consult with clients from the very beginning and bring to them information we have acquired from trend and market forecasters and help them bring to market a fashion line that has its own distinct design aesthetic, but also has retail value.

Within a short amount of time we have developed a reputation of having clients that have garments that are very editorial. Some of the top fashion publications come to us looking to feature those garments in their print and online editorials. We want to continue to be able to provide that service to Vogue, Harper’s Bazaar, Marie Claire and other publications. At the same time, we want those clothes to be accessible to consumers. We spend a lot of time assisting our clients in finding that delicate balance and finding the right promotional strategy.

Malan Breton menswear spring 2017 images courtesy of

Malan Breton menswear spring 2017 images courtesy of

FR: Who are some of the new clients you’ve recently acquired for the spring 2017 season?

James Murray:  We recently signed Malan Breton who has been in the industry for over a decade. Malan is at a point in his career where his brand has a lot of licensing opportunities. Supreme Publicity is focusing on giving his brand more market viability.

We also recently signed Pritch London, a sexy innovative brand from London, which is now tapping into US markets. Their clothes are more contemporary and mainstream with separates that every woman would want; great crop tops, leather jackets, and slacks. Their price points range from $150 to more expensive items that are a part of their bespoke line. Their ready-to-wear line is at a higher-end price point but very well made and fashion forward.

Just Drew, designed by Andrew Warren, an up-and-coming NYC socialite who is connected to all the high society girls, is a new acquisition. The line is very young, fresh and modern. His design aesthetic is meant for making everyone feels like an “It” girl whether you live in NYC, Beverly Hills, or Kentucky. The line is about bringing the young socialite girl from major international fashion capitals and making that aesthetic available to everyone.

Sterling King is a luxury jewelry line. We signed her about five weeks ago and Supreme Publicity has already done desk sides with Vogue and WWD with the brand. The jewelry is unlike anything on the market right now. The jewelry is very wearable but highly creative with lots of standout pieces.

Images courtesy of DAMNsel

“Pussy Pouch” images courtesy of DAMNsel

FR: And your older clients.

James Murray:  We have had DAMNsel since our inception. They were very successful with the “Pussy Pouch,” which has been worn by a host of celebrities. The theme of their new collection is college campus rape cases. DAMNsel designs to challenge society and cause reflection.  It is controversial in a political sense while still being high fashion.  It is made to evoke conversation and create a stir.

We continue to represent Ev Bessar who has a raw, edgy aesthetic. Her debut collection was launched for fall 2016 and she was named by the New York Times as one of the new, young designers on the rise for New York Fashion Week.

Rinat Brodach has been with us for about five months. We dressed Twilda Swinton in her garments. She has recently been featured in British Vogue and pulled by Patty Wilson. She is getting a lot of traction in the market.

Images courtesy of Sterling King

Images courtesy of Sterling King

FR: How do you acquire clients?

James Murray:  I do get referrals on a weekly basis. But I am very selective with who I bring on. I have to really believe in a product and see market value in the brand in order to represent them. That said; most of the clients I have brought on I scouted using my own process. Supreme Publicity wants clients that have something special to say and have that “It” factor.

FR: What reward is there in getting your clients’ clothes on celebrities?

James Murray: A celebrity placement is one of the top-tier placements you can get for a brand. Media is so fueled with celebrities that product placement with celebrities is extremely important. That said; not every brand works for every celebrity, so at Supreme Publicity we target certain celebrities for our clients.  We are very careful which celebrities appear in our client’s garments.

When we placed the “Pussy Pouch” on Beyonce, that placement became very lucrative for DAMNsel. The images were everywhere and on the video went viral.

FR: How important is product placement in print and online publications, as well as film, television and music videos?

James Murray:  Product placement is really important. Product placement works best in online publications like,, and others. When you can get a product placement on a site like we can link to the designer’s e-commerce site and we can potentially get all of the audience from When a brand is more established, product placement in television and film is really great, but it doesn’t work that well for new, emerging brands.

Rinat Brodach images courtesy of Supreme Publicity

Rinat Brodach images courtesy of Supreme Publicity

FR: Can you give us a little preview for New York Fashion Week: The Shows (NYFWS) spring 2017?

James Murray:  One of our biggest shows will be with Rinat Brodach, who is based out of New York. It is a highly anticipated show, totally out of the box. She is one of our most innovative designers when it comes to construction and silhouette.

We are presenting Malan Breton in New York and London for spring 2017, as well as a presentation in New York for Just Drew.

We are also trying to change the typical fashion presentation. Many of the presentations during Fashion Week are just dull and listless. Supreme Publicity wants to change that. We want to make these presentations more of an exciting event.

FR: What process are you using to produce these shows for NYFWS?

James Murray: Some of our brands are launching in New York City for the first time during NYFWS. We have some accessories brands that are collaborating with clothing brands launching during NYFWS.  We are not producing the typical presentation that most industry professional experience during Fashion Week. That has been done before ad nauseum.  We are working with some very interesting brands that have unique and intricate visions and Supreme Publicity wants to give industry professionals an experience.

When we coordinating and planning shows for our brands we don’t release the date and time of the shows until IMG and the CFDA release the fashion calendar for that particular season. We want to make sure that our clients are perfectly situated on the fashion calendar so that they get the most amount of press.

Ev Bessar fall 2016 images courtesy of Supreme Publicity

Ev Bessar fall 2016 images courtesy of Supreme Publicity

FR: Many new brands prefer a runway show to a static presentation because it seems more glamorous. However, sometimes a presentation works better for a new brand than a runway show. How do convince a new brand which mode of presentation works best for them?

James Murray:  Because of the hype around a runway show, young designers tend to lean to that mode of expression; however, presentations are more ideal for a new brand because presentations give editors and stylists more extended time to see the collection as opposed to a runway show that lasts about 11 minutes.

It is very important for a new brand to showcase their design aesthetic and the clothes in the collection. Too often new brands get caught up in the scene or they hype of a runway show that often times is not valuable to the brand.  A presentation that could lasts up to two hours gives editors, stylists and industry professionals an opportunity to develop a one-on-one relationship with the clothing. With a presentation, industry professional can really begin to understand the DNA of the brand and have more of an experience. We also want give people as much time with the clothes as possible.

Just Drew fall 2016 images courtesy of

Just Drew fall 2016 images courtesy of

FR: How do you decide which industry professionals to invite to your clients’ shows/ presentations during NYFWS?

James Murray:  I get thousands of requests for invites to my clients’ shows. Supreme Publicity has a binder with notes on all the publications, print and online, that request invites. Three weeks before Fashion Week we send out the invites. We are very aware of  the show crashers  and the folks we want to just be a part of the scene but bring nothing to my clients. For the most part, they are denied access.

Additionally, we are only work with bloggers that have a huge following and are on a certain level. That said; Supreme Publicity only invites editors, stylists, VIPs and industry professionals that have a certain sophistication. We like a good mix of industry professionals and we like to work with people that we have worked with before. It is a very targeted process. Ninety percent of my job is putting my clients in front of the right people.

I know fashion PR firms that open their clients’ shows to the general public and it turns into a party, which can be celebratory and fun; however, at Supreme Publicity we are more focused on press and market recognition for our clients than entertaining the general public.

I have seen lots of club kids at fashion shows just kind of hanging out. If that works for that particular brand, so be it, but it not what Supreme Publicity is about!!

FR: What is your five-year projection for Supreme Publicity?

James Murray: One of our goals is to expand to Los Angeles and other fashion capitals.  Celebrities are so important to the fashion industry now, so having a presence in LA is essential.

We still want to remain a boutique agency. Supreme Publicity is not interested in acquiring 50 clients. You really cannot do your best work when you have so many clients. And for us, the client is our raison d’etre!!

For more information on Supreme Publicity, go to

—William S. Gooch











Visit Us On FacebookVisit Us On TwitterCheck Our FeedVisit Us On Pinterest
Copyright © 2012-2017 | Fashion Reverie Publications, LLC - All Rights Reserved