Features — Page 2

Fashion Reverie’s End of Season Fashion Quiz

June 29, 2026 by admin Leave a Comment

Image courtesy of lajolie.com

Though 2026 is only a little over halfway complete, it has been a very busy year. Our political landscape is as chaotic, almost cataclysmic, as we’ve ever witnessed. The same can almost be said about the fashion landscape. Some iconic fashion designers have transitioned to proverbial Elysian Fields and several brands have changed creative directorship.

In light of all these comings and goings in the fashion industry, Fashion Reverie has curated our seasonal fashion quiz. All of the questions on this fashion quiz are pulled from fashionreverie.com’s Fashion News Alerts. Enjoy.

1. What Netflix series hit that has a strong fashion focus is ending after its 6th season?

A) The Witcher

B) Bridgerton

C) Emily in Paris

D) The Sandman

2. Isaac Mizrahi has a new job. Where is this new position?

A) Lily Pulitzer

B) Anne Klein

C) Donna Karan

D) Target

3. Alysa Lui, gold-medal winner in figure skating at the 2026 Winter Olympics, recently signed with a major brand. Which footwear brand did Alysa sign with?

A) Puma

B) New Balance

C) Nike

D) Adidas

4. Which fashion PR maven had some nasty things to say about “America’s Next Top Model” Jay Manuel?

A) Deborah Hughes

B) Karen Bromley

C) Nora Lawlor

D) Kelly Cutrone

5. Which legendary fashion family has departed from its iconic Italian fashion brand?

A) The Armani family

B) The Missoni family

C) The family of Valentino

D) The family of Roberto Cavalli

6. Teyana Taylor has a breakout year winning a Golden Globe and being nominated for an Academy Award. She is also face of a new beauty campaign. Which cosmetic brand is she the face of?

A) Revlon

B) Estee Lauder

C) MAC Cosmetics

D) Covergirl

7. Which iconic brand caused controversy with their men’s spring 2027 show?

A) Dior

B) Louis Vuitton

C) Hugo Boss

D) Burberry

8. Which iconic Black American model is suing a major television network for defamation of character?

A) Beverly Johnson

B) Veronia Webb

C) Tyra Banks

D) Pat Cleveland

9. Which supermodel is on the cover of Wmagazine after an absence of almost two decades?

A) Gisele Bündchen

B) Christy Turlington

C) Kristy McMenamy

D) Karen Mulder

10. Which major US brand is being investigated by the EEOC over allegations that the company’s DEI (Diversity Equity and Inclusion) program discriminated against white workers?

A) Tommy Hilfiger

B) Levi’s

C) Nike

D) Reebok

11. Which pin as a means of protest was worn at the 2026 Grammys?

A) ICE OUT pin

B) DOWN WITH FACISM pin

C) NO WAR pin

D) AI SUCKS pin

12. Which fashion/entertainment magazine is rumored to be shutting down?

A) Interview magazine

B) W magazine

C) Dazed and Confused magazine

D) Paper magazine

Key: 1. Emily in Paris; 2. Target; 3. Nike; 4. Kelly Cutrone; 5. The Missoni family; 6. Revlon; 7. Louis Vuitton; 8. Tyra Banks; 9. Gisele Bündchen; 10. Nike; 11. NO WAR pin; 12. Interview magazine

Staff

LGBTQIA+ Fashion Designers and Their Gender-Bending Creations

June 27, 2026 by admin Leave a Comment

Image courtesy of instyle.com

Fashion has long been a powerful platform for self-expression, identity, and social change. Over the past decade, LGBTQIA+ visibility has become increasingly influential within the fashion industry, and is expressed in design aesthetics, casting choices, and brand narratives. Some designers embrace queer culture, some champion inclusivity, and others reference different aspects of LGBTQIA+ issues.

Below, Fashion Reverie surveys the work of Walter Van Beirendonck, Christian Siriano, LaQuan Smith, Joseph McRae, and Christopher John Rogers to examine how they challenge gender binaries and include LGBTQIA+ themes in their fashion collections.

Image courtesy of the respective brand

Walter Van Beirendonck began his fashion career in 1986 part of “The Antwerp Six” group of avant-garde fashion designers and graduates of Antwerp’s Academy of Fine Arts. Van Beirendonck was chosen to participate in curator Andrew Bolton’s iconic MET Costume Institute “Superheroes: Fashion and Fantasy” exhibit in 2008.

Key looks at the exhibit included an inflatable pink jacket and a suit showing extreme musculature, a nod to muscle top jocks. Throughout his career, he has paid homage to the victims of the AIDS epidemic and LGBTQ+ nightlife using provocative slogans and leather and latex for his bondage-themed clothing, his use of latex, a nod to safe sex practices. He told Curator Guide that his designs “have been gender fluid from day one!”

Images courtesy of vogue.com

Christian Siriano is a designer who has embraced inclusivity from his first collection at New York Fashion Week (NYFW) in 2008, only months after being crowned the Season 4 winner of “Project Runway.” His fall 2026 collection referenced Yves Saint Laurent’s iconic “Le Smoking” tuxedo from his fall 1966 Haute Couture collection, that caused shockwaves with the fashion establishment.

The tuxedo gained even more notoriety when photographer, Helmut Newton, immortalized it in his provocative photograph of model Vibeke Knudson for French Vogue in 1975. Controversy swirled around speculation if the model was meant to present as male or female. Siriano’s white suit was equally gender questioning, lesbian or asexual and just as open to interpretation. He touches on yet another facet of sexuality with his black barely-there vest and trousers, reminiscent of the oiled-up gay male dancers who perform at both gay and straight Chippendales strip clubs.

Images courtesy of vogue.com

LaQuan Smith has made a reputation for himself since his first collection in 2010, as a go-to designer for high-end sexy club clothes and is a celebrity favorite for party dressing. Clients include Kim Kardashian, La La Anthony, and Dua Lipa, to name only a few. Smith picked up where 90s Club Kid, Ritchie Rich, and Traver Rains left off with Heatherette–the glittery brand that defined clubbing a la Paris Hilton in the early 2000s.

While LaQuan’s clothes present a more refined take on what Heatherette began, he too, consistently shows hyper-sexualized versions of the female form, perhaps a nod to the glamorous femme/lipstick lesbian and drag sub-cultures. In his spring 2026 show, he repeatedly showed semi-opaque hoods on his models that evoked shades of BDSM, which Helmut Lang referenced in his iconic nineties collection shows.

Images courtesy of Joseph McCrae

Joseph McCrae, like Christian Siriano, gained fame on “Project Runway,” years later as a popular contestant on Season 21. McCrae made an impression with his gender-fluid silhouettes and stacked hats, which have become one of his signatures.

His mission, McCrae says, “is to blur the line between masculinity and femininity to create a safe space for daunting creativity and expression … a call to dismantle the boxes and binaries that try to contain us.” Fans include model/actress Liris Crosse, and outspokenly queer actor/writer/producer, Andrew Otchere who wore a custom McCrae jumpsuit to the 2026 Tony Awards that would look right at home as a look at a women’s runway show.

Images courtesy of vogue.com, oldnavygap.com, and hollywoodreporter.com, respectively

Christopher John Rogers (CJR)is known for his use of exuberant bright colors and exaggerated shapes. His unique brand of glam crosses over with both women and the queer culture as Nolan Miller’s over the top gowns for “Alexis Carrington” did in ‘Dynasty,” the eighties hit prime time soap opera.

The rainbow, the universal symbol of LGBTQ+ pride, pops up frequently in CJR’s spring 2026 collection and in his collaboration with Old Navy (Christopher John Rogers x Old Navy). The ruffle collared Pierrot sad clown, a celebrated queer art icon, is also frequently referenced at CJR. Costumes from the hit 2018 FX drama series, “Pose,” that highlighted the Black and Latino underground 80s underground transgender culture, also bear striking resemblance to this designer’s creations. In fact, “Pose’s” lead, Pray Tell, played by Billy Porter, would have approved of the CJR acid yellow gown ensemble Michaela Cole wore to the 73^rd Emmy Awards.

Vivian Kelly

African Models Versus Black American Models: Who’s Coming Out on Top?

June 25, 2026 by admin Leave a Comment

Maria Borges image courtesy of CNN

Fashion still has a long way to go in terms of racial diversity, but over the past decade, upwards strides have been accomplished. Edward Enninful became the first Black man to serve as editor-in-chief of British Vogue. Law Roach is revered as one of the top celebrity stylists in the fashion industry. Several Black designers have won the CFDA/Vogue Fashion Fund Award, providing financial resources and mentorship for young U.S.-based fashion designers.

While many of these roles are behind the scenes, one place where Black fashion industry professionals are front and center in visible diversity is modeling. As the faces of campaigns and on the runways, Black models are the first to catch the general public’s eye when the industry’s more diverse turn is evident.

While more strides are needed in terms of diversity among models, progress has certainly been made. Currently, it is rare for a major runway show to only have one Black model on the catwalk (in this day and age, it would also be a public relations nightmare). Despite the increase in Black models booking runway and campaign jobs, those pushing for diversity, equity, and inclusion in the industry have recently begun to notice that while there are more Black models, African models are seemingly taking precedence, while foundational Black American models are still not seeing the same level of acclaim.

A quick look at models.com‘s Top 50 models for both men and women give evidence that the majority of the Black models on the list, ranging from South Sudanese Achol Ayor to Nigerian Awwal Adeoti, are either African or first-generation African. That said, it appears that if you want to be at the top of the modeling industry as a Black model, one of the best things you can do is be born outside of the US.

Battle of Versailles image courtesy of cfda.org

This was not always the case for black models. The legendary Battle of Versailles, where five Parisian designers, including Yves Saint Laurent, Pierre Cardin, Emanuel Ungaro, Marc Bohan for Christian Dior, and Hubert de Givenchy, were pitted against five American designers, including Bill Blass, Halston, Anne Klein, Oscar de la Renta, and Stephen Burrows, to create sportswear, demonstrated this. The Americans ultimately came out on top, and it was particularly noticeable that they used ten Black models, including some of the greatest Black American models of the day, such as Pat Cleveland, Alva Chin, Norma Jean Darden, Billie Blair, and Bethann Hardison.

Veronica Webb image courtesy of iconicfocus.com

In the ’90s, Black American model Veronica Webb broke a glass ceiling when she signed an exclusive contract with Revlon, becoming the first Black model to do so with a major cosmetics company. During the ’90s, media personality and “America’s Next Top Model” founder and host Tyra Banks also made a name for herself as one of the most in-demand models of the decade, from walking the runways of Paris fashion shows to appearing on the cover of Sports Illustrated‘s Swimsuit Issue.

Karen Alexnder image courtesy of fashionsizzle.com

It was no easy feat for Black models to achieve the greatest and market saturation that Black models of the 1980s and 90s, despite how many glass ceilings that were broken in the latter half of the 20th century. Karen Alexander, one of the top Black American models of the ’90s, openly discussed how she would often hear that certain brands just weren’t using any Black models at all. She once said in an interview that she didn’t have the same opportunities as her white counterparts, such as supermodels Cindy Crawford and Christy Turlington.

Victoria Fawole and Yar Aguer images courtesy of H&M and Valentino

Even the major modeling agencies seem more interested in signing African models than Black American models. Yar Aguer, another South Sudanese model, is on models.com‘s Top 50 Women’s Models of 2026. She is currently signed with Next in New York City, one of the top modeling agencies known for its models ripping the runways of Paris and Milan. Aguer has recently walked the runway for Valentino and Victoria Beckham. Lagos-born Victoria Fawole, also among models.com‘s Top 50 Models of 2026, is signed with The Industry in New York City, another prominent modeling agency. Fawole has starred in campaigns for H&M and Stella McCartney’s brand collaboration, as well as Jil Sander’s Midnight Sun fragrance campaign.

Sameul Elie and Gideon Aneyi images courtesy of Simone Rocha and Tom Ford

On the men’s side of things, models like Lagos-born Gideon Aneyi and Ivorian Samuel Elie are also making waves among African male models. Elie has shot lookbooks for Tom Ford and Saint Laurent, while Aneyi recently walked for Fendi’s resort show and starred in Prada’s 2025 holiday beauty campaign. Elie is signed with Soul Artist Management in New York, one of the top male modeling agencies, while Aneyi is signed with Society in New York City.

Alton Mason image courtesy of Gucci

On the bright side of diversity in fashion, Alton Mason remains one of the highest-paid male models in the world, but it is worth noting that he is of Jamaican, Ghanaian, and Haitian heritage. At 56 years old, Naomi Campbell remains one of the most in-demand supermodels in the world, and she is of Jamaican and Chinese ancestry. Tyson Beckford, often described as the first black male supermodel, is of Jamaican and Chinese descent. In terms of the Black diaspora, following African models, Caribbean models are the next most in demand.

Naomi Campbell image courtesy of Burberry

Although African and Caribbean models continue to claim their spots among the most in-demand models, it’s clear that in terms of diversity, equity, and inclusion, fashion has a long way to go in increasing representation for Black American models. At present, there are no future Tyra Banks or Veronica Webbs on the horizon. For fashion to move forward in a more diverse direction, it will require greater representation of the entire Black diaspora.

—Kristopher Fraser

Fashion Reverie Celebrates Juneteenth 2026

June 19, 2026 by admin Leave a Comment

Fashion Reverie celebrates a Happy Juneteenth. For those who are not aware of this latest federal holiday, Juneteenth celebrates the date in 1865 when Union troops arrived in Galveston, Texas, and announced the end of slavery—more than two years after the Emancipation Proclamation was announced.

While President Lincoln signed the Emancipation Proclamation on January 1, 1863, it wasn’t immediately enforced in Confederate-controlled areas like Texas. It took until the end of the Civil War for Major General Gordon Granger to arrive in Galveston and read General Orders No. 3, officially notifying over 250,000 enslaved Black Texans they were free.

Juneteenth has been celebrated in African American communities for many decades but was not turned into a national holiday until 2021, signed into law by President Joseph Biden. Historically marked by prayer, spiritual singing, and reading the Emancipation Proclamation, festivities have evolved to include parades, family reunions, and historical reenactments.

—Staff

Is Generative AI Replacing Fashion Industry Professionals?

May 22, 2026 by admin Leave a Comment

At the University of Central Florida’s graduation on May 8, commencement speaker Gloria Caulfield, a prominent real estate executive, described generative AI to the graduating class of 2026 as the next industrial revolution. She was met with loud boos and disapproval. Generative AI has faced everything from reducing entry-level jobs to the education system and even the stock market, as companies like OpenAI have gone public.

Generative AI is defined as a subset of artificial intelligence that creates new, original content, such as text, images, audio, and video, in response to user prompts. Instead of just analyzing existing data, it uses machine learning models to learn patterns and generate entirely new outputs that mimic human creation. This is the type of AI that has built platforms, like ChatGPT, and has become widely talked about in the last several years.

Fashion is not immune to the effects of generative AI; however, it’s not having the same effect on us as the college education system, where professors are constantly stressed about finding ways to make sure students are writing their own papers and not using generative AI. But like all industries, both traditional corporate and creative, AI is transforming the fashion industry.

There is this concern, as there has been across all sectors of business, of whether or not generative AI is taking jobs. While there has not been a dramatic reduction in jobs due to AI, the rise of AI and the fact that we are in a recession (whether the U.S. Department of Labor wants to admit it or not) have led to a shrinking fashion industry, with hopes of a rebound. However, AI has caused a severe reduction in the number of entry-level jobs for fashion, as it has across other sectors, even law, tech, and finance.

Many entry-level professions in areas such as copywriting, trend analytics, digital marketing, and junior design roles have been reduced as generative AI has taken on many of the simpler tasks that would typically be assigned to an entry-level worker at a fashion company. Even in design studios, tasks like pattern making and grading have become accelerated by AI platforms such as Social Plus. Rather than rendering pattern marks completely obsolete, former pattern makers have pivoted to becoming optimization specialists, focused on fit and construction.

When it comes to aspects of luxury fashion design, many of those jobs remain safe. The major luxury houses are still looking for top human design talent from institutions such as Central Saint Martins and Parsons School of Design. Although there is a future where human design can be integrated with AI, as there are AI tools to help prototype test design concepts. At the end of the day, the human component to design is necessary. When it comes to haute couture, the requirements are so strict that dressmaking by hand is required and cannot be rendered by generative AI.

Backoffice roles related to administration, data entry, and customer service have seen AI integration, which is reducing the demand for more humans in these roles and entry-level roles. Still, design roles are expected to take the hardest hit from the rise of AI.

While the role of fashion designer still requires a unique touch and unique creative vision, and building a brand is building an entire world, the junior design roles are expected to see a major reduction in the next 3 to 5 years. Despite AI automating many simpler tasks often relegated to junior workers, this is not a situation where AI is expected to completely eliminate an entire workforce or industry, unlike the doom and gloom hanging over some other fields.

All aspects of fashion, from design to wholesale, if integrated with AI, require that it be known as a “human-in-the-loop,” where AI technology still requires a human approach to reach a project’s final outcome. Humans are also there to oversee the technology to ensure it is functioning correctly, with AI acting as an aid rather than a substitute for workers.

The human-in-the-loop model is not new either. Companies have been using AI to collect data on consumers for years to help personalize individuals’ shopping experiences, but at the end of the day, plenty of major stylists and sales associates still have jobs that can often make easier by knowing what their customers like.

Generative AI has garnered the fashion industry’s attention. In 2023, there was the first AI Fashion Week. Designers worldwide use generative AI and 3D visualization tools to create hyper-realistic garments and immersive virtual runway experiences. There was a competition component to this, where the winning designer got their designs produced and sold in real life by e-commerce retailer Revolve.

On the reverse side, AI can also lead to the creation of jobs in the fashion industry. 3D garment designers, who use software programs like CLO3D or Marvelous Designer, are on the rise to help build digital prototypes. There is a growing need for designers who can create clothing for avatars, virtual environments, and gaming.

More fashion executives are also encouraging their employees to explore AI and how they can integrate it into their jobs, rather than be left behind in this new aspect of the digital age. While it might seem scary, we’ve had this conversation before when everyone thought computers would completely take away jobs.

With generative AI’s ability to start automating certain aspects of fashion production and administrative tasks, the path to entry-level jobs in the industry might be smaller, and some roles might be eliminated, but AI doesn’t stand to decimate the entire global fashion ecosystem as is. Rather, there will be more AI integration within fashion jobs, and even the potential creation of some new jobs related to AI.

For many in creative industries, generative AI might seem like a big, bad evil, but despite some of its faults, it’s something that fashion can learn to live and build with rather than shy away from. The future is still fashionable, and AI won’t be the death of this longstanding multi-billion-dollar monolith known as fashion.

—Kristopher Fraser

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

Fashion Group International 2026 Rising Star Awards

April 24, 2026 by admin Leave a Comment

NEW YORK, NEW YORK – APRIL 16: (L-R) Fern Mallis, Mindy Grossman, Alyce Panico, and Maryanne Grisz attend the FGI 30th Anniversary Rising Star Awards at 583 Park Avenue on April 16, 2026 in New York City. (Photo by Jared Siskin/Patrick McMullan via Getty Images)

The Fashion Group International (FGI) marked a major milestone with the 30th anniversary of its Rising Star Awards, held at 583 Park Avenue. The annual luncheon brought together an influential mix of designers, executives, and creatives to celebrate emerging talent shaping the future of fashion, beauty, and beyond an ethos that aligns seamlessly with Fashion Reverie‘s focus on innovation and industry evolution.

Hosted by model and entrepreneur Coco Rocha, the event carried both energy and purpose. A standout moment came from keynote speaker Ruben Toledo, whose remarks highlighted the importance of artistic community and mentorship. His reflections underscored a recurring theme of the afternoon: the responsibility of established voices to uplift the next generation.

The guest list reflected FGI’s deep industry roots, with notable attendees including Fern Mallis, Ken Downing, and Marylou Luther, alongside designers Bach Mai and Carlos Campos. Their presence reinforced the importance of connection and continuity within the fashion ecosystem.

NEW YORK, NEW YORK – APRIL 16: Attendees pose onstage at the FGI 30th Anniversary Rising Star Awards at 583 Park Avenue on April 16, 2026 in New York City. (Photo by Jared Siskin/Patrick McMullan via Getty Images)

This year’s Rising Star honorees represented a diverse cross-section of creative disciplines. Jewelry awards, presented in partnership with Simon G. Jewelry, recognized Jamie Books (Mason and Books) and Ashley Moubayed (Don’t Let Disco). Accessories winners included Erin Saluti (Eittem) and the duo behind Brave Pudding. In sustainability, Chuks Collins stood out for his progressive approach to responsible design.

Beauty honoree Ashunta Sheriff-Kendricks was recognized for her influential work in inclusive beauty, while fashion categories celebrated Wangda Chen for menswear, Aiste Hong for womenswear, and Jeanette Limas for eveningwear each bringing a distinct perspective to contemporary design.

Industry leaders were also honored, most notably Mindy Grossman, who received the Lifetime Achievement Award, presented by Jeffrey Banks. Her recognition served as a reminder of the long-term impact of visionary leadership. Additional honors included the Media Impact Award for Paige DeSorbo and the Business Innovation Award for Justin Abrams.

NEW YORK, NEW YORK – APRIL 16: (L-R) Ruben Toledo and Maryanne Grisz attend the FGI 30th Anniversary Rising Star Awards at 583 Park Avenue on April 16, 2026 in New York City. (Photo by Jared Siskin/Patrick McMullan via Getty Images)

As FGI celebrates three decades of the Rising Star Awards, its mission remains clear: to provide a platform for emerging voices while fostering mentorship and industry growth. With past honorees such as Tory Burch and Jason Wu, the initiative continues to shape the trajectory of fashion proving that today’s rising stars are tomorrow’s defining forces.

Tijana Ibrahimovic

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