Features

Exploration of “Costume Art” as Theme of Met Gala

May 4, 2026 by admin Leave a Comment

Image courtesy of vogue.com

Happy Met Gala Monday, Fashion Reverie readers! The long-awaited first Monday in May is here, and the theme is “Costume Art,” with a dress code described as “Fashion Is Art.” This year’s theme is especially apt, and perhaps the most meta, as it marks the opening of the Costume Institute’s first permanent galleries. Tonight’s co-chairs are Beyonce, Venus Williams, and Nicole Kidman.

Anna Wintour, Vogue’s Global Editorial Director of Vogue and Chief Content Officer for Condé Nast, is at the helm of fashion’s biggest night year after year. This year marks her first Met Gala since stepping down as Editor-in-Chief of American Vogue after 37 years holding that position. Chloe Malle has since taken over as head of editorial content.

Image courtesy of vogue.com

The intersection of fashion and art has been the silent thesis of the Met Gala for decades, and that is being realized tonight. Costume art, in essence, is categorized by clothing or accessories designed with a story in mind. It can be traced for centuries through the folds of history of performance, and was there from the very beginning, innate, and essential. Think of theater, opera, and ballet long before cameras and red-carpet moments. Costume art treats fashion as a medium above all. Tonight, fashion is art, but it always was and always will be. Vogue and The Met shines light on that juxtaposition this evening.

Tonight, the Met Gala red carpet is a stage, as celebrities pay homage to their crafts in performing on and off screen, referencing iconic art pieces and moments of performance. Some of the most iconic looks from galas of yesteryear that draw on fashion as art include Rihanna’s Heavenly Bodies look from 2018, rich with religious symbolism. She wore an encrusted Bishop’s hat to reference the theme. Zendaya embodied a film character at 2019’s “Camp: Notes on Fashion” gala when she made a nod to Cinderella with her princess-like gown. That same year, Lady Gaga quite literally turned the Met steps into her stage, transforming before the eyes of the audience as she shed a layer of her look as she ascended the steps. The 2026 theme is a celebration of all bodies, as told by Vogue’s red-carpet co-host, Ashley Graham, alongside Cara Delevigne, who reminded the audience on the evening’s livestream on YouTube.

The joy that is found in the Met Gala comes from the interpretation, which both comes from embodying the theme, designing for it, and as we know it, spectating. Year after year, this event rewards the boldest, most adventurous of interpretations. Fashion as art as a theme shows the most impactful looks are not simply worn but performed, and tonight, the steps are the stage.

—Marley Gifford

The American and Footwear Apparel Association Celebrates Fifty Years

April 25, 2026 by admin Leave a Comment

Nina Flood image courtesy of Slavin Vlasic/Getty Images

The American and Footwear Apparel Association (AAFA) celebrate fifty years. And why should that mean anything to consumers and fashionreverie.com viewers? In a time where there is little stability and consistency, it is comforting to know that some institutions still hold true to their mission and purpose.

The American Apparel & Footwear Association (AAFA) The American Apparel & Footwear Association (AAFA) is the national trade association representing apparel, footwear and other sewn products companies, and their suppliers, which compete in the global market. Representing more than 1,100 world famous name brands, AAFA is the trusted public policy and political voice of the apparel and footwear industry, its management and shareholders, it’s more than 3.6 million U.S. workers, and its contribution of more than $523 billion in annual U.S. retail sales. AAFA drives progress on three key priorities: Brand Protection; Supply Chain and Sourcing; and Trade, Logistics, and Manufacturing. AAFA approaches this work through the lens of purpose-driven leadership in a manner that supports each member’s ability to build and sustain inclusive and diverse cultures, meet and advance ESG goals, and draw upon the latest technology.

Zac Posen and Katie Holmes image courtesy of Slavin Vlasic/Getty Images

In this 50^th year of the organization’s excellence and continued effort to represent management and U.S. workers, the AAFA celebrated the contributions of some key fashion industry players: Fabletics as Company of the Year, accepted by Adam Goldenberg, Co-Founder and CEO; Zac Posen as Designer of the Year; Timberland as Fashion Maverick, accepted by Nina Flood, Global Brand President; Avery Dennison as Global Innovator, accepted by Bill Toney, Vice President, Advanced Technology, Solutions Group; Trailblazer co-recipients  Josue Solano, CEO of BBC International and Seth Campbell, Corporate President of BBC International; AFIRM Group was honored as Eco-Steward of the Year, and the Icon Award was presented to Ruben Toledo.

President Seth Campbell accepting the evening’s dual Trailblazer honors for their work pioneering dynamic partnerships in the footwear sector. Solano reflected on the company’s proactive approach during recent global uncertainty, noting, “At BBC, we believe there is a time to play offense and there is a time to play defense. You would think that in the past five years where the world seems to be upside down, BBC would have taken the position to play defense.”

Ruben Toledo and Alina Cho image courtesy of Slavin Vlasic/Getty Images

“It’s remarkable to celebrate both the 50th anniversary of the American Image Awards and 250 years of American history. What unites us all is our shared thread of excellence in American fashion,” said Steve Lamar, President and CEO of AAFA. “Tonight, we honor iconic brands that have defined that excellence for generations, alongside new voices and innovations that are shaping the future of our industry. As we reflect on these milestones, one thing remains constant: change. What we do best is meet it head-on, rising to the challenge and continuing to innovate.”

Staff

The Fashion Influencer Role Is Changing

April 23, 2026 by admin Leave a Comment

Image courtesy of itplive.com

Fashion has always been about much more than the clothes we wear. It’s also about who gets to dictate what we wear, when, and why it matters. For decades, those decision makers were fashion magazine editors, designers, and models. Now, that power has shifted, and is now placed in the hands of anyone with a smart phone and an audience big enough to notice.

For the influencer-fashion landscape/relationship to change, social media and fashion must first be examined on their own/individually. The art of “influencing” in fashion is no novel concept. The first “influencers” we know today were not as accessible to us as the influencers we now know. We didn’t know the inner lives of the likes of Anna Wintour, Diana Vreeland, Grace Mirabella, Audrey Smaltz, and Kate Moss, in the ways we are invited into the lives of Alix Earle, the Jenners, and more.

The early 2000s were a much smaller group of fashion influencers than the thousands-even millions of users across popular apps Instagram, TikTok, and beyond. Instead of going from being “influenced” by an insular group of people somewhere in a tall building in a city you can’t afford, influencing can happen at micro levels. Now, “Momfluencers” in the Midwest are selling you the next best workout set from the comfort of their homes.

At the same time, brand budgets are booming. Tarte, a 26-year-old beauty brand flies a select group of influencers out on an all-expenses paid trip three to five times a year. The top influencers are flown out, put up in luxury accommodations, and the entire endeavor becomes a spectacle from lifestyle to beauty to fashion.

Image courtesy of yahoonews.com

Coachella is a perfect case study for the relationship between fashion, influencing, and consumerism. For years Coachella has felt like an influencer birthplace. A weekend designated for Insta-worthy photo ops, and curated outfits, YouTubers like Eva Gutowski helped popularize the Coachella “get ready with me” style videos with fashion hauls and makeup tutorials. What felt like a home-grown operation now feels like more of a brand strategy than ever, and it’s growing every year. This past month at Coachella, slews of influencers were flown out and paid by companies to stay in branded “houses” near the festival. There was the Poppi House, Alix Earle’s Reale Actives House, the Lola Blanket house, and more. Moreover, influencers are no longer styling themselves like Eva Gutowski was styling herself, they are hiring stylists and having full-on fittings leading up to their trip to the desert. What was once a post-worthy festival is now a highly engineered marketing strategy where every outfit, post, and moment is part of a larger consumer-based ecosystem.

Nowhere is this shift more apparent than on TikTok. Once a place for viral videos, TikTok has become more of a marketplace than ever, turning scrolling into profiting; a large-scale audit of TikTok feeds found that roughly 1 in 3 videos can be considered some form of advertising. Quite literally everything on the app is shoppable. Click the screen on ANY video, regardless, if it’s an app or not, and it identifies, finds a duplicate, and tries to sell you every identifiable product in the video. See a video of a funny cat playing with a toy? Click the video to shop the cat’s collar, toy, and the rug it is sitting on. TikTok is engineered so that influencing doesn’t feel like influencing, when it very much is.

Image courtesy of youtube.com

Ordinary clothing items are being marketed as “viral”, with micro influencers describing them as something to obsess over. For instance, a boys basic white Hanes tee shirt actually went viral for being “the perfect top to throw over a workout set”.

Image courtesy of 20th Century Fox/Everett Collection

shift comes at an opportune time for films like “Devil Wears Prada 2.” There is an iconic scene in the original 2006 film that explains the trickle-down effect in fashion in a simple yet perfect way. “It’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact, you’re wearing a sweater that was selected for you by the people in this room … from a pile of “stuff,” explained Miranda Priestly in a scene from “Devil Wears Prada.” It will be interesting to see how the second film might incorporate influencer marketing as it would be out of touch not to reference in a world where it is so rampant.

In modern media, there is no fashion without the influencer landscape now; like it or not. The power shift of what influences our fashion decisions is now partly in the hands of influencers. All of this to say, there is no time like the present to pare down one’s own personal taste and sense of self in a time where we are inundated with being told what to like.

Marley Gifford

What It Takes to Become a Fashion Stylist in 2026

April 23, 2026 by admin Leave a Comment

Image courtesy of Getty Images

In September 2008, celebrity stylist Rachel Zoe’s TV show “The Rachel Zoe Project” debuted on Bravo. The series followed Rachel Zoe, who was at the time the go-to celebrity stylist for some of Hollywood’s A-list stars, from Demi Moore to Anne Hathaway. For the first time, those beyond the fashion industry finally got to see what the world of fashion styling entailed.

Prior to “The Rachel Zoe Project” reaching the general American public, when most people heard the word ‘stylist,’ they thought of hair stylists. In the ‘00s, there was also a lot of media glamorizing other behind-the-scenes fashion professions. The blockbuster classic “The Devil Wears Prada” (which has a sequel releasing in May 2026) depicted the world of fashion magazines and what it meant to work as a fashion editor. TV shows like MTV’s “The Hills” and Bravo’s “Kell on Earth” depicted the hustle and bustle of fashion public relations.

Although many people started to see that there was so much more to the world of fashion beyond being a fashion designer or fashion model, Zoe’s TV show became a catalyst for many other TV shows following celebrity fashion stylists. Her former assistant, Brad Goreski, stylist to Demi Moore, Lisa Rinna, and Ashley Park, who went out on his own, starred in the Bravo spinoff “It’s a Brad, Brad World.” Jason Bolden, stylist to Oscar winner Michael B. Jordan, Taylor Zakhar Perez, and Storm Reid, starred in Netflix’s “Styling Hollywood.” Law Roach, stylist to Zendaya, Celine Dion, and Jeremy Pope, has starred in numerous reality series, from HBO Max’s “Legendary” to “America’s Next Top Model.”

Image courtesy of yellowbrick.com

While stylists serve as part of the glam team for entertainment talent, becoming a celebrity stylist has become as much of a dream job for people as becoming a Hollywood star. Contrary to popular belief, though, being a fashion stylist is not just about giving people clothes to wear.

For starters, there are different types of stylists. In 2026, most stylists, especially those based in either New York or Los Angeles, are doing everything. The range of services a fashion stylist offers could include celebrity red carpet, magazine editorials, e-commerce, private clients, fashion shows, and advertising campaigns. (Full disclosure: I myself have worked on and off as a stylist since 2017, and consistently as one since 2024.)

Like so many things in fashion, from the state of media to public relations, the business of styling has changed tremendously over time. Most don’t realize how dramatic the change has been unless they have actually worked as stylists, but for those looking to become stylists in 2026, it’s a very different landscape from how it used to look, and so many other things that people hope would change are unfortunately still the same.

Image courtesy of bloomsbury.com

Unlike so many other career tracks in fashion, there is no formal styling degree or a guidebook for how a career in styling should look. Whereas with other jobs in fashion, there’s often a degree to acquire, a ladder of titles to climb, and a traditional work structure to give an idea of how your future should look, there is no how-to guide for fashion stylists.

Mason Lyle, a Toronto-based stylist, began his styling career eleven years ago and has styled fashion presentations and runway shows for New York Fashion Week, as well as red carpet talent and magazine editorials. He began his fashion career as a designer but quickly switched to styling after one year in design.

“Styling came naturally to me, and I did intern with a few designers and a few stylists, where I was able to watch and learn,” Lyle said. “One of the biggest shifts I’ve seen in the industry is how Instagram changed everything, and everything went fully digital. Brands also now focus more on influencer culture rather than clients who would truly purchase.”

The advent of Instagram led to stylists, who were often unseen legends or very behind the scenes, having to evolve into influencers themselves and really brand themselves as their own one-person businesses. Gone are the days when stylists had physical portfolios. Now, Instagram and business websites showcasing their work are treated as their portfolios. Potential clients will even DM stylists for the opportunity to work together.

Image courtesy of fashionista.com

Styling has also turned into an entire creative business, which has been a blessing for creative agents. Top agencies representing some of the biggest fashion stylists include The Wall Group, The Only Agency, and FWRD Artists.

For independent stylists who are hustling for themselves, though, one thing Lyle stresses is the importance of a contract. “Contracts are very important for every client and every situation, and you should also know how much your time is truly worth.”

Image courtesy of youtube.com

One thing many stylists stress when dealing with clients nowadays is the importance of patience. Esther Lamour, a New York City-based celebrity stylist, has been in the industry for nine years. She was originally a schoolteacher, then attended the Fashion Institute of Technology in NYC to receive a certificate in styling.

While she’s been a stylist for almost ten years, she says one of the ways the industry has changed is that stylists are now expected to be jacks-of-all-trades. Where stylists once just had to manage wardrobe, they are now expected to act as full-scale creative production services.

“Stylists are sometimes expected to bring in the makeup artists, the hair stylists, and handle creative management in many cases,” Lamour said. “You have to learn how to do the business side of the business in addition to the artistic side; otherwise, you will sink before you swim.”

One thing Lamour says stylists in 2026 need to understand is how oversaturated the industry has become from many angles.

“Ten years ago, you could have everything you needed for a shoot by going to two or three showrooms, and most of the showrooms were either in New York or Los Angeles,” Lamour said. “Now you have showrooms in Miami, Chicago, and popping up in other cities. There are also a lot more stylists than there were ten years ago. All of this access, brought on by social media, has watered down the business of styling. Meanwhile, the work has become harder because we have to go to twenty showrooms to pull clothes for clients rather than two or three.”

Lamour also stressed how client expectations have increased over the years. “Clients are now expecting more things for free, and I have to clarify that the fee I charge just covers my services, and these clothes are on loan. There is also this idea that stylists sit in our own showrooms worth of clothes with every size available. Clients could come the day before an event expecting full-look styling, and it’s more challenging when they aren’t sample size because these showrooms often only carry runway sample sizes. They are expecting Chanel and champagne with no champagne budget.”

Image courtesy of JD Fashion Institute

Despite how the business of styling has changed, one thing Lamour stresses is that aspiring stylists shouldn’t get into this just for money or fame. “It’s a tough business,” she said. “If you’re going to do the job of a stylist, you have to do it because you love it, and you have to be passionate.”

For those aspiring to careers in styling, they now have to brand themselves on social media, deal with a highly competitive market where there are more fashion stylists than ever and realize that their job is now full-on creative direction rather than just acting as clothing secretaries. Client expectations have evolved, as everyone is aspiring to become the next red-carpet darling like Zendaya or Rihanna. The state of styling is evolving, and stylists must evolve with the times as they continue to try to pull great looks for clients.

—Kristopher Fraser

New York Bridal Week Spring 2027 Season Pre-Coverage

April 2, 2026 by admin Leave a Comment

Image courtesy of newyorktimes.com

It’s almost that time again; time for the cavalcade of exquisite white gowns in every form and silhouette. In guess you didn’t guess, New York Bridal Week (NYBW) is right around the corner. And this season’s NYBW promises to be one of the best in the history of NYBFW.

NYBFW has become of the premier events of the New York fashion season. And in some respect, NYBW is beginning to eclipse New York Fashion Week (NYFW).

One of the many things that stands out during NYBW is the plethora and intense variety of bridal silhouettes. From fit-to-flare gowns to mermaid gowns, and column gowns to princess gowns, there is something for everyone. Another difference from NYFW is the absence or almost absence of fashion influencers. The bridal market is not such an easy market that fits into influencers’ post that center around themselves and their lifestyle.

Images courtesy of myredglasses.com

Fashion Reverie will be front and center, covering the huge swarth of bridal collections which includes some of our favorites—NARDOS, Ese Azenabor, Mark Ingram, Zwillinger, Justin Alexander, Watters, Viktor & and Rolf, and many others. New to Fashion Reverie this season are Renhue, Lihi Hod, Tanner Fletcher, Verdin, and Men’s Warehouse.

Stay tuned for all the coverage. You will be enchanted and amazed!! New York Bridal Week takes place on April 7 through April 10, 2026.

—William S. Gooch

The Good, the Bad, and the Ugly in Netflix’s “Reality Check: Inside America’s Next Top Model”

March 5, 2026 by admin Leave a Comment

There

Image courtesy of Netflix

is so much that can be said about the competition reality show “America’s Next Top Model,” (ANTM) and much has been discussed in detail in the new Netflix documentary “Reality Check: Inside America’s Next Top Model.” Though some of the discussion in the highly rated documentary is negative.

Fashion Reverie has a special relationship with the hit television reality show because we know some of the judges from ANTM and have photographed several former contestants in editorial shoots. Though there has been a plethora of podcasts on the Netflix documentary, most of the podcasts are told from the perspective of lifestyle, pop culture, and entertainment experts, few from the perspective of fashion industry professionals.

Image courtesy of amazon.com

“America’s Next Model” premiered in 2003, and the reality competition show very quickly became a huge success, later becoming a global phenomenon in 180 countries with franchises in many countries, accumulating huge revenue from licensing deals. During the COVID-19 pandemic, with people experiencing limited in-person interactions, there was a lot of binge-watching of ANTM.

The re-examination of ANTM caused viewers to deeply question the relevancy and authenticity of ANTM. ANTM, in retrospect 20-plus years after its debut had some cultural, social, and racial challenges. Granted some of the standout problematic moments were created during a time where there was little focus on racial microaggressions, body shaming, and bullying, still, ANTM episodes remain problematic.

One of the most distressing and obvious elements of ANTM was the fact that ANTM was not an honest reflection of the fashion industry, but reality television. And as entertaining as the show was, very few of the contestants on ANTM went on to become top models, as the name implies. Winnie Harlow is one of the most successful contestants from ANTM, continuing to be featured in fashion editorials, campaigns, and walking the runways of top fashion designers/brands. Other successful ANTM contestants have mostly found fame on television and in films, namely Yaya Dacosta, Eva Marcille, Saleisha Stowers, and Analeigh Tipton.

Image courtesy of charlesandhudson.com, reddit.com, and youtube.com, respectively

A former ANTM judge explained to Fashion Reverie that the reality show was about 15% to 20% fashion, the rest was entertaining television. And because ANTM was reality television, the fashion industry did not take the contestants seriously as fashion models. Model contestants had difficulty getting model management representation after ANTM. Model Management agencies saw the ANTM contestants as reality television celebrities, not fashion models. (It was if the former contestants had a bright red ‘scarlet A’ around their necks.) To get work many former ANTM contestants had to change their names, hairstyles, and the color of their hair and get work in countries outside of the US.

Teyona Anderson, winner of Cycle 9, had to go to South Africa to get work. In a YouTube video, ANTM Cycle 6 runner up Joanie Dodds detailed her model journey after her appearance on ANTM. Strangely, she revealed that after Cycle 6 had taped, she was flown back to her hometown and was told not to take a regular job or go after modeling jobs until Cycle 6 premiered to protect any information that could come out about her particular cycle. She had to take an after-hours job cleaning offices until Cycle 6 premiered.

Dodds also detailed that after she moved to Los Angeles and signed with a major model management company, she was not able to secure any significant modeling work, only walking in Los Angeles Fashion Week for very little money ($200 a show) or no pay. Finally, she asked her agent to secure work for her in other countries. She began to book jobs in Hong Kong, where no one cared about her being a contestant on ANTM. Dodds made more money in Hong Kong in one month than she made in Los Angeles modeling, bartending, and in retail jobs.

In the Netflix documentary ANTM Cycle 6 winner Danielle Evans revealed that after her win she was unable to secure significant work in New York City. While living in the Ford Models’ house, every day she witnessed her fellow models going on go-sees, booking jobs, while the phone did not ring for her. A fellow housemate, top model Chanel Iman, finally asked her agent at Ford Models why Evans was not getting castings. Iman was informed that fashion designers/brands saw Evans as reality TV personality, not a fashion model. (Eventually, Evans did book jobs. Fashion Reverie saw her walking for Betsey Johnson during NYFW at Lincoln Center.) Still, Evans contends that Tyra Banks knew this was happening and did nothing to help former contestants with castings or bookings. In the documentary Evans feels her career was blighted by her association with ANTM. (Fashion Reverie discovered several years ago that a list was passed around in the fashion industry every ANTM cycle with the current ANTM contestants names and photos. Designers/brands were instructed not to hire ANTM contestants on the list.)

Remember, at that time in the early 2000s, until 10 years ago, reality television was seen as a last-ditch attempt to revive a lagging acting career or a desperate attempt to break into television and film, not a way to launch a career in fashion. ANTM Cycle 14 winner Krista White reveals that many of the former ANTM contestants worked very hard, pounding the pavement to achieve their goals with no assistance at all from Banks or the ANTM crew.

Image courtesy of buzzfeed.com

And then there is the controversy over the bizarre and insane photoshoots on ANTM. While some of the photoshoots were entertaining and thought-provoking, most of the images were unusable in a model’s portfolio. (Shooting models in couture gowns in a garbage dump. Really Tyra!!)

Your portfolio, or book as it is called in the fashion industry, is your selling ticket to major castings and bookings. Without a good portfolio your career goes nowhere, even if you are signed to a major model management agency. Post-ANTM models had to scuffle to get fashion photographers to shoot test shots for their books. These test shots came out of their own pockets, or the model management agency created the test shots for the models and billed them later with interest. Fashion photographers for test shoots can cost over $500 and that does not include make-up and hair.

Images courtesy of teenvogue.com, realitybitesgames.com, and pinterest.com, respectively

In the end some former contestants did have successful fashion careers, with most of that success happening abroad where casting directors and fashion brands did not view the models as only reality TV fodder. ANTM Cycle 10 plus-size model Whitney Thompson had a thriving modeling career in Europe and Asia, coming back to the States years after her ANTM win. ANTM Cycle 19 contestant Leila Goldkuhl found success mostly in Europe, walking for Alexander McQueen, Alexandre Vauthier, Alberta Ferretti, Balmain, Chanel, Fendi, Dolce & Gabbana, Elie Saab, Emanuel Ungaro, Emilio Pucci, Lanvin, Isabel Marant, Hermes, Jean Paul Gaultier, Giambattista Valli, Marc Jacobs, Moschino, Nina Ricci, Oscar de la Renta, Prada, Roberto Cavalli, Salvatore Ferragamo, Shiatzy Chen, Valentino, Vera Wang, Versace and Zuhair Murad. And ANTM Cycle 6 contestant Molly Sue Steenis-Gondi became a very established model in Europe and Asia with covers for Vogue Russia, Vogue Italia, Vogue Nippon, Madame Germany, Madame Figaro, and others.

So, now you may wonder what was good about ANTM? Well, it was very entertaining television, and the longevity and ratings proved that. Also, it did expose the public to some small aspects of the fashion industry, thus increasing the visibility of the fashion industry. Still, does the good outweigh the bad? Hmm, let the gods decide that!!

William S. Gooch

The 2026 Blue Jacket Fashion Show

February 10, 2026 by admin Leave a Comment

Image courtesy of spotlighthamptons.com

Fashion and charity often go hand in hand. And scheduling a fashion charity event on the eve of New York Fashion Week (NYFW) fall 2026 season makes a lot of sense in that fashion industry professionals have not yet exhausted their bodies and brains hustling and bustling from show to show.

The Blue Jacket Fashion Show seeks to raise awareness and financial support for prostate cancer which adversely affects black men at a very high rate. The Blue Jacket Fashion Show is the brainchild of Frederick Anderson. And in this 10^th year anniversary, Anderson received sponsorship from Johnson & Johnson with support from LISC and Man Cave Health. The Blue Jacket Fashion Show benefits Zero Prostate Cancer.

Zero Prostate Cancer is on a mission to improve and save lives from prostate cancer through advocacy, awareness, education, and support. Zero Prostate Cancer is the nation’s #1 provider of prostate cancer resources and the voice of the prostate cancer community–advancing a future where detection is early, support is unwavering, and care is accessible to all.

Images courtesy of Getty Images

There were several sports figures, musical artists, actors, fashion luminaries, and a variety of celebrities that walked in this 10^th anniversary show. Standouts were Rico Ross, Ty-Ron Mayes, Carson Kressley, Ja Rule, Chris Noth, and Mario Cantone.

Staff

Emerging Designer Spotlight: Heginz Janvier of Science Project Company

February 6, 2026 by admin Leave a Comment

New York Fashion Week (NYFW) is upon us, and with the release of the fashion calendar there are the usual household names like Michael Kors, Coach, and Tory Burch. But in addition to those familiar designers, there is also a slate of new and emerging talent making their mark at NYFW for the first time. Among them is Heginz Janvier of Science Project Company, a New York–based independent brand launching this season as part of New York Men’s Day.

The showcase for new and emerging designers occurs in two parts: a morning session and an afternoon session, each featuring several designers. This season, Science Project Company will present in the afternoon, marking another milestone for Janvier as he grows his design business and pursues his dreams as a fashion designer.

Science Project Company has been evolving since the global COVID-19 pandemic lockdown. Janvier, who originally came from a finance background and worked as an accountant, decided to try his hand at fashion design. The brand started as a side project before Janvier committed to it full time. Now in its sixth year, Janvier feels he’s finally seeing the results of his efforts.

“Showing at New York Fashion Week is an opportunity I’ve been working toward for some time,” Janvier said. “For the last year or two, I’ve been trying to figure out ways to get my foot in the door and show at New York Fashion Week. I’m very excited to participate in New York Men’s Day, and my team has been hard at work putting this together. We’re all super excited to participate in Fashion Week this season.”

When Janvier launched the brand, he was testing different designs and seeing what customers responded to. He began by creating small capsule collections, and just last year, he decided to take a seasonal approach to his collections. His upcoming NYFW presentation marks his second full-season collection.

Like many young brands, Janvier admits to facing the challenges common among emerging designers. Starting a business is never easy, but between unclear jobless claims and a tumultuous global financial system, young brands face an even steeper uphill battle.

“One of the biggest challenges young brands are facing is financial; starting a brand is not for the weak,” Janvier said. “Running a brand is not for the mentally weak. Between inflation and tariffs, there are big barriers to entry for emerging brands. When you don’t have the capital behind you, it can sometimes be demotivating, but it’s important to stay grounded and make smart financial decisions for your business. Science Project Company is completely self-funded by me, which motivates me because I’ve literally put my all into this. I’ve invested all my hard-earned money into it, and I need to see this through.”

One of Janvier’s hopes for his brand after showing at NYFW is that, in addition to further platforming the label, it will lead to a chain reaction—resulting in future invitations to show again and opportunities to position his brand alongside more established names on the calendar. Janvier’s upcoming collection also marks an entirely new era for the brand.

“This upcoming fall 2026 collection is vastly different from the first few things we’ve done as a brand,” Janvier said. “Last year, I took a step back from a lot of what the brand had done in the past and tried to reevaluate it from a higher level. I wanted to create pieces that were missing from the market—things my team and I actually wanted to wear.”

Janvier describes the upcoming New York Fashion Week collection as an expansion of the products Science Project Company released last year. He also attempted to create more styles than he has in the past in honor of his NYFW debut. He stressed that he didn’t go overboard, noting that as a smaller brand, he’s limited in how many looks he can realistically produce.

When it comes to his target customer, Janvier says his clothes are “for someone who is intentional about the way they dress. They might not be the life of the party, but they demand respect from a fashion perspective.”

Images courtesy of scienceprojectcompany.com

Preparing for NYFW has been a learning experience for Janvier, and he says he appreciates his team more than ever. Currently, the majority of production is done overseas in China, with additional manufacturing taking place in New York’s historic Garment District, as well as Brooklyn and Los Angeles. Janvier says if he could offer one piece of advice to emerging designers, it would be to start small.

“Instead of making big collections that can burn a hole in your pocket, start with small capsule collections, build your presence on social media, and allow your brand to develop naturally,” he said. “Don’t try to force a certain image or aesthetic. Your best work will come naturally.”

Science Project Company will show on February 11 from 4:30 to 6:30 p.m. as part of New York Men’s Day. The brand will be part of a quartet of designers presenting, including Wangda, Christopher Lowman, and Monday Blues Studio.

—Kristopher Fraser

New York Fashion Week Fall 2026 Preview

February 6, 2026 by admin Leave a Comment

Image courtesy of fashionweekonline.com

New York Fashion Week (NYFW) fall 2026 is only a few days away. And this NYFW promises to be different. What hasn’t changed is not having a single venue where most of the fashion shows or presentations are housed.

Still, there is change afoot. And that change includes the realization that many alleged fashion influencers are only promoting themselves and their brand. That doesn’t mean that fashion designers/brands are moving completely away from fashion influencers. It does mean that designers/brand are using a lot more scrutiny, only connecting to influencers that are true fashion industry professionals.

Though Ralph Lauren announced a few seasons ago that influencers were no longer welcome at his shows/presentations. I believe this statement was taken out of context. There is a place for fashion influencers. They do add value to brands, but only if they are deeply embedded in the fashion industry.

For NYFW fall 2026 there are several well-known designers/brands that are not showing. This list includes Marc Jacobs, Tommy Hilfiger, Monse, Sally LaPointe, Ralph Lauren, Alexander Wang, Brandon Maxwell, and Jason Wu. This absence of key players is an indication of how NYFW has lost some of its prestige and glamor. The CFDA needs to come up with a strategy to circumvent the bleed of top fashion designers/brands from NYFW before NYFW goes the way of Los Angeles Fashion Week, a fashion week that no longer attracts any international or global brands.

Image courtesy of people.com

That said, there are fashion designers/brands that are debuting at the NYFW fall 2026 season, and this include but is not limited to 7 For All Mankind by creative director Nicola Brognano, Alix of Bohemia, Andrew Curwen, Caroline Zimbalist, Contessa Mills, MANY, TAABE DESIGNS, Cult Gaia, Hilá, J. Press, Jasper, Mel Usine, Menyelek, Ossou, Pipenco, Moshe Yossel, and Veejay Floresca. In addition to this influx of NYFW debuts, Public School returns to the NYFW calendar. Dao-Yi Chow and Maxwell Osborne continue to helm Public School. And lastly, the Derek Lam Collection returns to NYFW. After Derek Lam left his eponymous brand in 2023, there was concern if the well-loved brand would continue. Robert Rodriquez has assumed the creative directorship of the Derek Lam Collection after dissolving his namesake brand in 2020.

Fashion Reverie will be primed and ready to bring our viewers all the happenings at NYFW. NYFW takes place on February 11 through February 16. Stay tuned!!

William S. Gooch

2026 Winter Olympians with Style

February 4, 2026 by admin Leave a Comment

As the 2026 Winter Olympics unfold in Milan-Cortina, it’s time to drop the image of sweaty athletes testing their strength and replace it with the polished looks many of the sports enthusiasts’ wear. The games don’t just showcase the world’s greatest athletes, though; there is plenty of that. Many Olympians also have an incredible and distinct style that is uniquely theirs. From fashion statements in figure skating to unique outfits outside of the games, here are 2026 Winter Olympians whose style we’re so excited to see.

Image courtesy of people.com

Lindsey Vonn

The American Ski legend is set to continue competing even on a torn ACL this coming season. But it isn’t her raw athleticism we’re paying attention to; it’s her signature style. From glamour campaigns in WWD and perfectly pressed suits off the slopes, Lindsey Vonn seamlessly blends high fashion with professionalism.

Vonn also has a fashion line V Capsule by Vonn. This collection is designed in Milan and made in Italy. The collection merges luxury craftsmanship with contemporary design, elevating mountain culture through motion.

Image courtesy of theguardian.com

Guillaume Cizeron

Ice dancers are often known for their fashion sense, and for this Frenchman, it’s no different. Cizeron continually innovates in his on-ice style, with each costume telling a story. His current partner is Laurence Beaudry. His technical dance with Beaudry is to Madonna’s “Vogue” and their costumes reflect that.

Amber Glenn

The standout American figure skater not only captivates audiences with her flawless movements and jaw-dropping techniques, but also with her detailed costume designs and intricate make-up that never seems to smudge.

Image courtesy of vogue.com

Chloe Kim

When it comes to this American snowboarder, the slopes truly become her runway. Her snowsuits might be simple, but her off-duty looks? A perfect blend of avant-garde details and casual chic style.

The two-time Olympic gold medalist in Olympic Snowboard has her own collection, the Chloe Kim Collection. The collection focuses on riders who demand performance with personality, every piece brings Chloe’s signature energy to the mountain. She has also been featured in Vogue in 3 fashion eras.

Image courtesy of midahitech.com

Paul Poirier

This Canadian ice dancer never fails to give Olympic audiences a stunning fashion performance (or performance in general). His on-ice outfits consistently blend elegance and creativity, and the glittering details make his performances as visually stunning as possible.

Team Mongolia

When it comes to Olympic fashion, we’d be remiss not to mention the Mongolian team. Outfitted with designs by Goyol Cashmere for both the ceremony and off-duty style, you can expect some stunning looks from every Olympian on this team.

Image courtesy of Ralph Lauren

Team USA

For a classically American take on the Olympics, Team USA has partnered with Ralph Lauren and Nike to create uniforms that blend classic Americana with modern athletic aesthetics.

—Sydney Yeager