MTV VMAs Fashion: Where’s the Meat?

Lady Gaga’s meat dress. Lil’ Kim’s matching purple jumpsuit, wig and pasties. Lil Nas X’s black feathered hoop skirt and headdress. The MTV Video Music Awards used to be a reliably outrageous red carpet, with plenty to gawk—and squawk—about.

Not so much this year.

The 2026 VMAs were light on major stars and surprisingly tepid in the style department, with few of fashion’s biggest brands appearing particularly invested—even when it came to dressing their own global ambassadors. There wasn’t much risk-taking, either, or the kind of gloriously bad taste that has historically made the VMAs so much fun.

Lisa of Blackpink, a global brand ambassador for Louis Vuitton, bypassed the house for the red carpet, wearing a corseted red dress by The Attico under a crimson faux-fur coat by Chinese designer Quine Li. Sabrina Carpenter, who has collaborated closely with Dior on everything from her Coachella stage wardrobe to the Met Gala, also went elsewhere, in a vintage blush Dolce & Gabbana gown to collect her Best Collaboration award with Madonna for Bring Your Love.

Even some of the evening’s loveliest looks underscored how far the VMAs had drifted toward conventional awards-show glamour. Raye shimmered in a crystal-encrusted, draped Georges Hobeika couture gown, channeling the retro Hollywood glamour that has become her signature. She looked great. But where was the fashion that made you wonder what on earth you were looking at?

MTV debuted a new award, the Artist Director Honors, with Taylor Swift as its inaugural recipient — a move that gave the superstar a reason to show up. She looked downright demure by VMA standards in a black velvet and crystal-mesh halter gown by Tamara Ralph, with just a hint of seduction in the sheer back.

Teyana Taylor brought a bit more heat in sheer black, feather-trimmed Zuhair Murad couture, while Normani flirted with spectacle in Robert Wun couture, with a liquid-metallic bodice and gloves, an enormous sculptural flower and a pleated black mermaid skirt.

And then there was Sombr, one of the few who actually seemed to understand the assignment. A global Valentino ambassador, he instead dared to bare his chest in a glam-rock, faux-skunk coat and flared deadstock leather pants by homegrown L.A. luxury brand ERL, designed by Venice-based Eli Russell Linnetz, who has become an increasingly potent red-carpet force.

I love that Linnetz tapped fellow Venice creative Tom Binns to collaborate on the jewelry. The crystal-studded “SEX” belt buckle was apparently Sombr’s idea and had a wonderfully sleazy, MTV-era quality to it, hearkening back to Madonna’s infamous early 1990s Sex era, while also bringing to mind the “Boy Toy” belt buckle from her 1984 VMAs Like a Virgin look.

Sombr kept the ERL look for his cameo during Madonna’s show opener, before changing things up for the evening’s George Michael tribute. There, he sang Faith and Father Figure wearing the studded leather motorcycle jacket Michael himself wore on his 1988 Faith tour — a piece of pop history that turned out to be one of the night’s better fashion moments.

Madonna was the undisputed star of the evening, opening the show in Saint Laurent — one of the few mega brands with a significant presence on the red carpet — with a black satin mini trench, corset, bodysuit and thigh-high boots. Her relationship with creative director Anthony Vaccarello goes way back. In 2022, Saint Laurent reissued her 1992 Sex book and staged an exhibition and party around it at Art Basel Miami, and this past June, Madonna and Vaccarello co-hosted Club Confessions/Club Saint Laurent following his Saint Laurent men’s show. Madonna dominated the night with seven wins, including Artist of the Year.

Charli XCX was another of the evening’s Saint Laurent women, wearing Vaccarello’s gothy-looking sheer black tulle bandeau and black velvet skirt on the red carpet before changing into a tiny Dsquared2 LBD, fishnets and platforms to join Madonna onstage.

Despite the lackluster fashion (and largely lackluster show), viewers found reasons to tune in. The VMAs drew 8.43 million viewers across CBS and MTV, up 51% from last year and marking the show’s biggest same-day audience since 2015, as reported by Variety. Viewership actually peaked above 15 million during Madonna’s opening act.

So perhaps luxury fashion should take another look. The VMAs may no longer be the anything-goes style circus of the meat-dress days, but with audiences growing again, there’s an opportunity for designers to help make them provocative — or at least deliciously tacky — again.

Spring 2027: Clothes to Lift the Spirits

With Milan Fashion Week wrapped and Paris in full swing, Spring 2027 fashion is coming into focus with clothes to lift the spirits, including more color, more embellishment and, thankfully, more personality.

Even the practical pieces have punch (and there are plenty of practical pieces), with sporty windbreakers, rugby shirts and bombers turning up alongside bra tops (so many bra tops) and other lingerie touches, fringe, big earrings and an increasingly persuasive argument that the statement skirt is the piece to build a wardrobe around next spring.

At Gucci, Demna continued to refine his vision, abandoning some of the weirdness that’s bogged down his previous collections for something that felt more accessible. He transformed the convention center into a vast Gucci store for his runway to underscore what is perhaps the biggest trend of the season: commercialism, as the luxury industry tries to climb out of its slump.

He sent out a cast of wealthy eccentrics (no, not Tom Brady this time) that ranged from ladies who lunch to private school rebels à la The Shards, with rugby shirts, tartan kilts, chunky bombers and giant, low-slung horse-bit belts combined with sharp tailoring and slinky evening dresses that nodded to the Tom Ford years.

Maria Grazia Chiuri loosened up at Fendi, too, adding a bit of color and a streak of rock ’n’ roll bohemian decadence to her sophomore outing, with leopard prints, lace-edged romper shorts and bralettes, beaded fringe and long black dresses with grommet details.

Milan’s only major creative-director debut was at Moschino, where Sunnei designers Loris Messina and Simone Rizzo took over after Adrian Appiolaza’s departure. The pair staged their first show on the rooftop of a parking garage, sending people dressed in everyday clothes streaming in the opposite direction of the models in a clever bit of fashion theater that suggested Moschino belongs on the street, not just the runway. There was some Franco Moschino-worthy humor in the exaggerated proportions (that padded muscle tee) and arty prints, but also surprisingly real clothes in amazing color combos.

At Bottega Veneta, Louise Trotter moved away from some of the heaviness of her first seasons into soft balloon pants and gossamer shirts, openwork crochet and lace knits, and gorgeous dresses and skirts made from fine strips of fringe, all in a beautiful palette of lilac, butter yellow, electric purple and red. And the more wearable pieces still spoke to the extraordinary handwork the house can do.

Bottega also delivered Milan’s biggest celebrity moment: Jacob Elordi, a brand ambassador, sitting front row to watch his girlfriend Kendall Jenner close the show. Awww!

The final word belonged to Armani, as it always does in Milan. A year after Giorgio Armani’s death, his niece Silvana Armani titled her second Giorgio Armani collection Evolution, bringing slightly stronger shoulders and a hint of sex appeal into the house’s famously relaxed tailoring. There was sporty suiting, including Bermuda shorts, tuxedos and tuxedo dresses, along with fringe and flat shoes, moving the house codes forward without abandoning the man who created them. (Indeed, Armani was immortalized in the portrait print on a black-and-white sequined bomber.)

Then it was on to Paris, where Anthony Vaccarello had his golden moment at Saint Laurent.

For Spring 2027, he staged the kind of cinematic spectacle you might expect from the man who also heads Saint Laurent Productions, with three enormous chandeliers suspended over a glossy black runway, the Eiffel Tower sparkling behind it, Charlotte Gainsbourg singing for a finale and a collection that progressed through shade after shade of gold before fading to black.

The clothes were equally decadent, with gold safari jackets and bombers; coat dresses with power shoulders and jeweled buttons; ethereal black gowns; gilt brocade and lamé; and snake-shaped heels. With speculation swirling that Vaccarello may be nearing the end of his decade-long tenure at Saint Laurent, the whole thing had the look of a spectacular final scene.

Jonathan Anderson went in a far more casual, everyday direction at Dior, toning down some of his more sculptural experiments in favor of lighter, softer chiffon tailoring and floaty skirts, easy knitwear, striped shirting and sporty pieces, like a khaki barn jacket edged in lace. It was a convincing answer to what the archetypal femininity of Dior’s 1947 New Look might mean to women nearly 80 years later — and in a warming world.

At Dries Van Noten, Julian Klausner offered another iteration of the upbeat, slightly retro, eclectic femininity that has been gathering steam. He incorporated vintage movie-poster prints, striped polos, paper-bag-waist skirts and loads of brooches and beads into clothes that felt glamorous without being precious. Great shoes, too — seems like the brand is intent on growing that category.

So far, the throughline from Milan to Paris has been optimism and clothes that make it fun to get dressed. But Paris Fashion Week isn’t over yet, with more of the season’s biggest shows still to come next week.

Horror Gets Its Close-Up at the Academy Museum

The Academy Museum of Motion Pictures is getting into the spirit of the spooky season with The Horror Show, an immersive crowd-pleaser of an exhibition that explores how things that go bump in the night — and keep us up at night — are portrayed on the silver screen.

The exhibition sets the tone — literally — at the outset with an aural presentation of some of the haunting strains and sound effects that create the mood for horror films. From there, six chambers branch off a dark hallway lined with vintage horror movie posters from Nosferatu to Sinners, each room dedicated to exploring a horror theme through props, costumes, production materials and movie clips, with occasional nods to the historical context and societal anxieties reflected in horror films.

The crypt-like Gothic chamber unpacks the vampire mythos by serving up Gary Oldman’s sinewy Vlad the Impaler armor from Bram Stoker’s Dracula, designed by Eiko Ishioka, and the richly embroidered crushed velvet outfits designed by Sandy Powell for Brad Pitt and Tom Cruise in Interview with the Vampire. Also here is what is perhaps the hero piece of the whole exhibition: the cape Bela Lugosi wore in Universal Pictures’ 1931 Dracula, which the actor kept after production wrapped and continued to wear in public appearances until his 1956 death. It is displayed for the first time after an extensive restoration.

In the psychological chamber, a room as stark as a hospital hallway, the horrors begin with Hermann Warm’s almost Edvard Munch-like concept art for the 1920 German film The Cabinet of Dr. Caligari, which gave visual form to the disorientation that permeated Germany after World War I. Nearby is a selfie op with Mrs. Bates from Psycho, reflecting the tension in the exhibition between the serious and the silly.

More psychological horrors are illustrated by costumes like Jack Nicholson’s Milena Canonero-designed plaid shirt from The Shining (the red accent color, it turns out, portends bloodshed); Anthony Hopkins’ terrifying Hannibal Lecter look from The Silence of the Lambs, strapped to a hand truck and conceived by the brilliant Colleen Atwood, complete with a taut-skin-like hockey mask by Ed Cubberly; the Nino Cerruti suit Christian Bale wore in American Psycho; and Kathy Bates’ Misery looks by Gloria Gresham. The latter two are made all the more terrifying because of how ordinary they seem and how easily they cloaked the monsters beneath.

The Science Lab is a prop-heavy, costume-light exploration of technology-induced horror, the centerpiece of which is an impressively towering (and drooling) Xenomorph from Alien: Romulus. (There’s also a prop operating table from Young Frankenstein and the iconic lightning-white-streaked wig worn by Elsa Lanchester in the 1935 film Bride of Frankenstein.)

Over in the clapboarded Slasher chamber, an amusing cabinet of weapons and masks ranges from Michael Myers to Ghostface, while Freddy Krueger’s fedora, red-and-black striped sweater and razor hand are on display nearby.

The Religion chamber, like the Gothic one, is heavy on the high-style costumes carrying narratives both pure and possessed, including a Ruth E. Carter-designed dance hall costume worn by Wunmi Mosaku in Sinners, displayed next to the expansive flower dress Florence Pugh wore at the climax of Midsommar, designed by Andrea Flesch.

The room right next door showcases all things Ghost, including the single creepiest set piece of all time on display — the grinning prop toy clown from Carol Anne’s closet in Poltergeist.

An old-school computer console is set up for visitors to explore the genius website created to promote 1999’s The Blair Witch Project, complete with realistic crime photos and police reports. It’s a fun touch, marking the entrance of the horror genre into the Information Age. It’s quite an advance from the marketing tactic featured in Weegee’s famous black-and-white photo of a full movie theater watching House on Haunted Hill in 1959. An innovative promoter in his own time, filmmaker William Castle devised a stunt called “Emergo,” in which a plastic skeleton flew above the audience on a wire during the film’s climax.

“The Horror Show” at the Academy Museum of Motion Pictures, 6067 Wilshire Blvd., through July 27, 2027.

Rolex Keeps Time At NYFF

Rolex has long been part of Hollywood, both on-screen (Sean Connery’s Submariner in Dr. No and other Bond films, and Paul Newman’s Daytona in the racing film Winning, to name two notable appearances) and off, with its high-profile presence at the Oscars.

The watchmaker has also deepened its relationship with the film community as presenting partner of the 64th New York Film Festival, where this year it is backing everything from the opening-night premiere of Paper Tiger to the Filmmaker Lounge overlooking Lincoln Center.

Among the directors represented at this year’s festival are Martin Scorsese and Jia Zhang-Ke, both Rolex “Testimonees” (the company’s term for its ambassadors). They are part of a roster that also includes James Cameron, Leonardo DiCaprio and Zendaya.

At the festival, Rolex is also presenting the world premiere of a new 4K restoration of Michael Powell and Emeric Pressburger’s 1950 Gone to Earth. The project came to life through The Film Foundation, the nonprofit Scorsese founded in 1990 to preserve important films, which Rolex has supported since 2017.

NYFF is just the latest addition to Rolex’s roster of film partnerships. The brand has supported the Academy of Motion Picture Arts and Sciences since 2017, including as a sponsor of the Oscars, where it hosts the Greenroom, and is a founding supporter of the Academy Museum of Motion Pictures.

The 64th New York Film Festival runs through Oct. 12 with 119 films — 75 features and 44 shorts — from 46 countries.

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Milan’s Fashion Flurry

Milan Fashion Week opened Tuesday with a celebration of the skirt, a Vogue World extravaganza set at the Galleria Vittorio Emanuele II and a flurry of industry news suggesting that Italian fashion is not done with its period of reinvention just yet.

Setting the tone for the week at Prada, Miuccia Prada and Raf Simons put the skirt front and center — literally — every one of the collection’s 63 looks had one. It was fitting for Mrs. Prada, as she’s always called, who has long worn the traditional garment as a personal uniform and reinvented it dozens of times through the years of her collections, with surrealist lipstick prints, painterly postcard prints, dip-dye ombrés, crystal and mirror embellishments, and much more.

This time, the brand didn’t suggest a single skirt look so much as an argument for the skirt as a canvas — and perhaps a battleground, with some models clenching their skirts in their hands as they walked.

The skirts came in a multitude of styles — knee-length, pleated and A-line; straight sheer plissé, masquerading as leather and latex; wrap skirts secured with crystal-embroidered Velcro or with translucent layers revealing florals and plaids underneath. The skirts were worn all kinds of ways — lots with bralettes, some with sweaters and shirts, others with leather jackets. In other words, something for everyone.

While there was much to like and wear, I miss the days when Prada shows didn’t look back so much as look forward, giving us something more meaty to think about.

Front row guests included Uma Thurman, Naomi Watts, Michelle Williams and Emilia Clarke, along with Hunter Schafer, who carried the skirt story into the evening, wearing a Prada bra top and embellished skirt to Vogue World: Milano, which took over the Galleria Vittorio Emanuele II on fashion week’s opening night, setting the runway amid the famous shopping arcade’s boutiques and cafes.

The fifth Vogue World, following editions in New York, London, Paris and Hollywood, was a tribute to Italian fashion’s creativity and craftsmanship.

The clothes referenced everything from Renaissance artistry to La Dolce Vita to Italy’s tailoring heritage, and looked toward the digital fashion future with a gimmicky scene that had robots walking the runway. (Guessing we’ll see more of that when Vogue World: San Francisco happens next year.)

True to form, the event had star and star-athlete power (though perhaps not as much as in other years). Jennifer Lopez walked the runway in Dolce & Gabbana with tennis champ Lorenzo Musetti; Cardi B wore Versace; Alicia Keys, who also gave a surprise performance, appeared in Francesco Risso’s Bureau of Imagination; and Ejae made her modeling debut in a sculptural archival Roberto Capucci gown, while Pamela Anderson, Dakota Johnson, Monica Bellucci, Taraji P. Henson, Jason Momoa and Naomi Campbell were among the guests in the seats.

Meanwhile, at the Diesel Spring 2027 show, Glenn Martens staged a rave-like runway farewell after six years as creative director, turning his final show into a celebration of sexy, subversive club culture à la Berlin’s Berghain. Performers from the Marseille collective (LA)HORDE, planted among the audience, began kissing, writhing and head-banging as the show descended into controlled chaos.

The clothes followed suit, with Diesel’s signature denim subjected to the trompe-l’oeil treatments, laser cutting and distressed finishes that have been Martens’ signatures, while skirts and shorts grew progressively more brief and models adopted a morning-after look with smeared lipstick and makeup.

Talk about going out with a bang.

There was big Milan fashion news happening off the runway, too. Donatella Versace, who stepped down as chief creative officer of her family’s company in 2025, used the beginning of fashion week to announce her surprising next act: a joint venture with L.A.-based Revolve Group to create a new independent beauty and fashion brand. And Dario Vitale—the designer who briefly and spectacularly succeeded her at Versace before departing following Prada Group’s acquisition of the house—joined another Italian sartorial stalwart, Emporio Armani, as creative director.

Italian Film Director Luca Guadagnino Designs For Zara

Luca Guadagnino may be fashion’s favorite film director at the moment, but he’s as likely to be designing a room (or a runway set) as directing a movie.

The director of Call Me by Your Name, Challengers, Queer, After the Hunt and the upcoming Artificial has spent nearly a decade working in interiors through Studio Luca Guadagnino, the Milan design practice he founded in 2017, creating residences, hotels and retail spaces with the same attention to color, texture and environment that characterizes his films.

Of course, he has overlapped with fashion, too. Guadagnino’s creative relationship with Jonathan Anderson is particularly close. Anderson designed the costumes for Challengers, Queer and the upcoming Artificial, while Guadagnino and his go-to film production designer Stefano Baisi designed the runway set for Anderson’s first Dior women’s ready-to-wear show in October 2025, with a monumental inverted Louvre pyramid.

Now Guadagnino and Baisi are bringing their passions somewhere even more accessible with Baisi Guadagnino for Zara Home, launching worldwide Sept. 26.

The collection encompasses more than 200 designs including furniture, lighting, tableware, rugs, decorative objects and fragrance, alongside Zara ready-to-wear, effectively allowing customers to inhabit, and dress for, a Guadagnino film. (And let’s be real, it’s accessible to a point; prices range from $40 to $460 for clothing and up to $18,000 for furniture.)

Conceived as an “Atlas of Desire,” the collection pulls from a number of sources, including Viennese Secessionism, French Art Deco and Brazilian Modernism, and many of the pieces (both for the home and the closet) are quite chic, from plush sofas to colorful gowns, glittery brooches to botanical print sneakers.

The collaboration is accompanied by a short film directed by Guadagnino, starring Jamie Bell, Chase Sui Wonders, Michael Stuhlbarg and Patricia Arquette. The collection will also come to life during a two-day installation at Milan Fashion Week.

Baisi was working in interiors when he joined Studio Luca Guadagnino in 2017, and Guadagnino eventually brought him into film, asking him to make the leap into production design starting with Queer.

It’s a very cool collab, and yet another indicator of Zara’s ambitions to go upmarket, following collections with Bad Bunny, Willy Chavarria and the upcoming one planned with John Galliano, if it goes forward.

Though I can’t recall seeing a project fusing fashion, interior design and Hollywood at this scale before, the crossover is not unprecedented. L.A.’s Tony Duquette was the ultimate creative multi-hyphenate, moving from film sets and costumes, to fantastical interiors, fine jewelry, furniture and decorative arts. One of my favorite high-low fashion collaborations of all time was with Duquette’s estate and Coach back in 2012, which yielded some fabulous costume jewelry I still wear today.

It’s all about world-building.

David Lynch’s Moody, Ominous L.A. on Display at Pace Gallery

There’s something about the work of the late filmmaker David Lynch — dark, moody and ominous — that always seems even more powerful when it’s served up as a counterweight to the eternally sunny disposition of Los Angeles.

And that’s just what’s happening at Pace Gallery, where David Lynch: L.A. showcases photos (and one very bizarre-looking lamp) created between 1979 and 2008 that riff on “the myth and mystery of Los Angeles and its emotional landscape … the dream of the city and its archetypes: the ingénue, the shapeshifter, the beauty and darkness.”

It’s the first presentation of Lynch’s work in his adopted hometown (born in Missoula, Montana, he moved to L.A. in 1972) since his 2025 passing. Anchoring the three-room exhibition are five large-scale photographs from a series called Figures and Smoke. Featuring tightly cropped images of women’s mouths framed in vivid red lipstick, slightly agape as they exhale smoke, they’re as captivating as any moving pictures to his credit.

This room is also home to the most overtly L.A. of all the photos, depicting decaying city architecture from decrepit pool halls to a charred Thrifty drugstore facade, all of them devoid of people but, thanks to the director’s peculiar talent, full of emotion.

The standout, especially given the oeuvre Lynch is famous for, is a silver gelatin print (untitled, 1979) that depicts the ticket booth of an Art Deco-style movie house, a swirl of details from the starburst-patterned ceiling to the small sign in the ticket window that, if you squint, you’ll see has the showtimes for the horror films They Came From Within and Dawn of the Dead.

Also in the mix are black-and-white images that explore a more intimate topography: that of the female form; shadow-shrouded close-ups of hips, lips and faces. Prints from his “Couch Series” feature a reclining nude and wisps of smoke, but with the female form multiplied, manipulated, layered and blurred to the point where she all but disappears. In one work titled “Smoke on a Couch” (1992), she does, leaving behind just the telltale tendrils of what looks like exhaled cigarette smoke.

If you’re not familiar with Lynch beyond his film and TV work (Blue Velvet, Twin Peaks, Mulholland Drive), consider this a good, 35-work starter pack in advance of future exhibitions since, as the press materials note, the Los Angeles County Museum of Art is in the early stages of preparing a David Lynch retrospective.

“David Lynch: LA,” through Dec. 23 at Pace Gallery, 1201 S. La Brea Ave., Los Angeles.

Meet the Artist Behind the (LACMA) Curtain

If you’ve been to the Los Angeles County Museum of Art’s new David Geffen Galleries, you’ve already seen the handiwork of Japanese designer Reiko Sudō — in the form of the floor-to-ceiling chrome-sputtered curtains that pull off the nifty trick of letting in the SoCal sunlight while protecting the priceless works of art at the same time.

Now, with the opening of Textile Alchemy: The Art of Reiko Sudō & NUNO (ironically, not in the Peter Zumthor-designed building where her custom creation hangs, but in the Resnick Pavilion across the plaza), you’ll get a chance to take a deep dive into the world and extraordinary work of the artist behind the curtain.

NUNO is the Japanese textile collective led by Sudō (the word nuno translates as cloth, fabric or material), and a recreation of the original NUNO store that opened in Tokyo in 1984 serves as a central hub for the exhibition, displaying shelved bolts of fabric with dangling price tags on one side (not for sale) and an assortment of gorgeous bags, scarves and pieces of clothing (very much for sale) on the other.

Arranged thematically around that hub are more than 100 limited-edition textiles, as well as garments, drawings, sketches, tools, raw materials and videos of textile weaving in progress projected against the gallery walls. The word “alchemy” in the exhibition’s title feels apt, since the yardage of fabric hanging tapestry-like on the walls feels almost magically transformed through the use of some seriously mind-boggling experimental materials and manufacturing techniques that go beyond simple variations of warp and weft.

Think textiles made from slices of abalone shell, resin-coated newsprint or copper telephone wire that are baked, burned out using acetic acid, stencil-dyed or sputtered with chrome molecules in a technique borrowed from auto parts.

The Sustainability and Reuse section has textiles made using thread made from kibiso, the traditionally discarded coarse outer surface of the silkworm cocoon, and others using fabric remnants that were essentially disassembled — their threads unraveled, respun and rewoven to incredible effect.

The Experimentation section features pieces that truly push the limits of what’s possible (and what’s fabric, actually), including Sudō’s Metal series, which uses industrial coatings from the auto industry to create glittery, metallic but pliable fabric.

This includes Stainless Steel Gloss (aka Sputter Gloss and Sputtering Gloss), 1994, the textile that originally inspired those LACMA curtains. The original is a polyester plain weave sputter-plated with iron, nickel and chrome. Nearby is the version that hangs in the Geffen Galleries, formally known as LACMA × NUNO Sputtered Chrome Matte, 2025, the result of a yearslong development process to find a version that wasn’t flammable. (You can buy a $135 origami-folded bag made of the same fabric in the NUNO shop and online at LACMA.)

The entire exhibition is filled with “how did they do that?” exercises in experimentation. Some of the most memorable include Hane Organza (1993, in collaboration with Tsuguo), a double-layer organza with hand-inserted guinea fowl feathers that appear to float ephemerally, and Circle Bricks (2024, in collaboration with Hyōdō Orimono), a merino wool jacquard that leaves the loom as a fabric patterned with multicolored ovals but, once finished in a hot-water bath, shrinks into something more akin to springy crepe — with the ovals transformed into circles.

“Textile Alchemy: The Art of Reiko Sudō & NUNO” through March 7, 2027, at LACMA, 5905 Wilshire Blvd., Los Angeles. 

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Emmys Fashion Mostly Fizzles

The world is a lot less sparkly this week.

Bob Mackie, the costume designer, fashion and entertainment legend, died Monday after an astounding six-decade career, with an impact (and delicious stories) that stretched from the days of Marlene Dietrich and Judy Garland to Miley Cyrus and Zendaya.

His designs appeared on TV, in film, on concert and Broadway stages, in Vegas revues, on red carpets, magazine covers and the New York runways. And his workroom in Los Angeles rivaled any Paris couture house.

I’ve been working on a project about Mackie that has had me thinking a lot about how his particular gift was in enhancing the personalities of the celebrities he worked with, from Cher to Elton John, helping them become distinct performers with looks so deeply embedded in the public imagination that it’s difficult to separate the person from the Mackie.

Which may be why, with that top of mind, I found this year’s Emmys red carpet to be so incredibly bland. We all know by now that the red carpet is a revenue stream for Hollywood stars, who receive big paydays to wear a particular luxury brand, even if it doesn’t do anything to build their own style personality. (FWIW, Mackie never paid anyone to wear anything.)

And on Monday, many of the brands seemed to be serving themselves more than the stars they were dressing, from Shailene Woodley’s ill-fitting Balenciaga Fall 2026 couture spangled gold pants, plunging periwinkle blue top and sheer burgundy opera gloves, paired with an oddly serious hairstyle, to Rhea Seehorn’s Louis Vuitton red crepe dress with a draped collar and bodice, which read more off-the-rack.

There was a sameness to the silky bias-cut slip dresses (Elle Fanning in custom Ralph Lauren seafoam green and Sarah Pidgeon in custom lilac Chanel) and icy pastels (Katherine LaNasa in a light-blue chiffon Vuitton cape-back dress and Emilia Clarke in a lilac silk faille Prada cape-back dress) that we haven’t seen on the red carpet since the early 2000s. I get that we’re in a moment of minimalism, but I wish it had translated into something more striking and less bridesmaid.

There wasn’t much in the way of embellishment to delight the eye, aside from Zendaya’s dazzling, Mackie-worthy Prada nude tulle dress with a train, fully embroidered in crystals and beads. Also, her pixie cut was the winningest hair of the night.

Two of the most charming dresses had bow effects. Carey Mulligan’s strapless blue-and-white printed gown with a draped neckline, raw edges and a deconstructed bow in the back was by The Row, which seldom does red carpet, so it automatically gave her bragging rights. Ayo Edebiri’s custom Chanel tea-length gown, with sculpted bows on both the back and the front, came in a striking color combination of pale blue and red.

Kudos to Louisa Jacobson for showing some personality with tailoring, choosing a cropped black evening jacket and high-waisted, wide-leg evening pants, paired with a white cotton-silk waistcoat and ribbon grosgrain scarf by Haider Ackermann for Tom Ford.

Cynthia Nixon’s sculptural but floaty burgundy pleated chiffon Issey Miyake dress and Keri Russell’s Khaite black leather column dress (with to-die-for onyx Buccellati earrings) also had a point of view. Russell is actually one who has cultivated a streamlined, modern red-carpet personal style that is all her own.

Similarly, on the men’s side, Colman Domingo can always be counted on to peacock in vibrant hues, executed with the help of Valentino designer Alessandro Michele. Unlike some designer-muse relationships, these two do seem to complement each other.

On the trending front, I liked how Adam Brody brought the silk scarf to the red carpet with his Prada floral silk tie, poplin shirt and navy mohair double-breasted suit.

But Celine won the night for menswear, showcasing an impressive range of double-breasted tailoring, from Oscar Isaac in a cream jacket and very au courant cummerbund contrasted with black trousers, to Dan Levy in a classic double-breasted black tuxedo with a tonal floral brooch, to Mark Ronson in an all-black double-breasted tuxedo with a shorter jacket and wide-leg trousers. They all looked great and distinctive.

Much of the jewelry was as minimal as the fashion, with last awards season’s bejeweled men’s brooches all but gone and most necklaces leaning toward dainty rather than statement. Two pieces that did stick with me? Zendaya’s Mikimoto pearls-and-petals diamond earrings and Grace Gummer’s incredible Boucheron choker, worn with the best Dior of the night: a micro-pleated gown with floral and pearl embellishments and Poiret-style fluidity.

New York Fashion Weeks Highs and Lows

At the Spring 2027 New York Fashion Week shows, the conversation about clothes was all but overshadowed by one about conduct. The alarming video of Council of Fashion Designers of America CEO Steven Kolb physically restraining and covering the mouth of a PETA protester who disrupted the COS show over its use of wool burst the fashion bubble, casting a pall over the week and putting the future of American fashion’s powerful trade association leader in question.

Kolb apologized, saying his actions were inappropriate, and took a voluntary leave of absence while the CFDA investigates. PETA initially considered filing a police report but now plans to meet with him. It was a surreal sideshow during a week that was notable for looking back and forward and showcasing a new generation of female designers.

Coach celebrated its 85th anniversary with Stuart Vevers’ slouchy tailoring giving way to grunge-glam sequins and whimsical leather party hats, while Wes Gordon marked Carolina Herrera’s 45th anniversary with nearly 30,000 yellow tulips at Lincoln Center and a polished parade of Herrera’s signature polka dots, ruffles, crisp white shirts and even a print inspired by Andy Warhol’s portrait of Mrs. Herrera herself.

Ralph Lauren opened the week by setting the tone for a new mood of refined romance with cutaway jackets, corsetry, faded denim, florals and lace, while Thom Browne closed the week with what he does best: fashion as theater, including a giant chrysalis, caterpillars and exquisite tailoring, shirting and gowns alive with ladybugs, butterflies and other insects.

Henry Zankov, meanwhile, made an energetic debut as artistic director of Diane von Furstenberg, putting a new spin on the brand built by the wrap dress, adding body-skimming jersey separates, stripes and lively prints.

One of the happiest developments was the new generation of female designers dominating the week. Leading the pack, and keying into the season’s romantic new mood, Tory Burch continued her runway evolution with ladylike pencil skirts, embroidered cardigans, ruffled scarves and stacked necklaces celebrating the joy of getting dressed. Meanwhile, Catherine Holstein showed a surprisingly softer side of Khaite, trading the label’s hard edge for embroidered lace and floating mousseline edged in ruffles.

Among the new generation of female power players, Rachel Scott occupies one of the most impressive positions, simultaneously leading her own label, Diotima, and writing the next chapter at Proenza Schouler. Her second Proenza runway felt more confident, challenging the codes established by Jack McCollough and Lazaro Hernandez to achieve clothes with more freedom and ease, while at Diotima she pushed her vocabulary beyond crochet into new material experiments, with fluid flounced dresses and extraordinary three-dimensional organza details.

The bench was even deeper with up-and-coming female designers. Daniella Kallmeyer balanced tailoring with languid knits and tactile embellishment. Ashlynn Park of Ashlyn demonstrated her architectural patternmaking skills through ingenious draping. L.A. designer Jamie Haller made her official NYFW debut with a head-to-toe wardrobe of everyday relaxed luxury, great denim, ruffled tops and cashmere sweaters. And at fellow L.A. label High Sport, Alissa Zachary expanded beyond the cult Kick pant into sophisticated tailoring, poplin shirts and sexy dresses with a surf-meets-street inspiration.

Overall, color and embellishment were everywhere, along with sheerness and romantic ruffles.

Among the most useful ideas were the throw-on pieces capable of transforming clothes already in the closet. Cummerbunds and wide sash belts wrapped the waist at Herrera, Kallmeyer and elsewhere; scarves worn as neckties and belts; and apron-like overskirts for pants offered quick and easy ways to change a silhouette for spring.

There was almost as much — maybe even more — action at the parties at New York Fashion Week as there was on the runways.

Designer Willy Chavarria marked the launch of his moto-inspired Ugg collection with the Aztec Rebels Latino motorcycle club taking to the streets in the footwear. And Pamela Anderson was the guest of honor at the Wes Gordon-hosted Carolina Herrera 45th Anniversary party, a one-night-only revival of Mortimer’s, Herrera’s favorite restaurant from the 1970s and ’80s, all the way down to a recreation of the original wall art.

Montblanc celebrated 100 years of its leather goods at Crane Club with “Love Story’s” Paul Anthony Kelly and others mingling around an oversized installation of the German brand’s hero product, the Writing Traveler briefcase. And Bulgari ambassadors Lisa and Anne Hathaway sparkled at the Bulgari party, which began with the unveiling of a public art installation titled “auruBOROS” by Berlin-based Plastique Fantastique, as part of a celebration of the jeweler’s Serpenti collection.

But the most intriguing NYFW-adjacent happening was the announcement of a two-year partnership between Dior and Hollywood entertainment company A24, of “Marty Supreme,” “Uncut Gems” and “Everything Everywhere All at Once” fame.

Dior became the premier partner of A24’s historic Cherry Lane Theatre in New York, with the two companies planning to collaborate on programming that brings together filmmakers, performers, designers and artists.

The partnership feels like a natural progression for Hollywood-obsessed creative director Jonathan Anderson, whose first women’s ready-to-wear show for Dior opened with a cinematic nod to Marlene Dietrich, a longtime Dior client. Then in May, he brought Dior to Hollywood itself, staging the house’s Resort 2027 collection outside LACMA’s new David Geffen Galleries, where vintage cars and film-noir lighting made the runway feel like a movie set.

Anderson has also become a film costume designer in his own right through his close creative partnership with director Luca Guadagnino. He made his costume-design debut with 2024’s “Challengers,” dressing Zendaya, Josh O’Connor and Mike Faist, and followed it with period wardrobe for “Queer,” starring Daniel Craig and Drew Starkey. He is also the costume designer for Guadagnino’s upcoming “Artificial,” starring Andrew Garfield as Sam Altman.

The Dior-A24 partnership began last week with a celebration of the first anniversary of the theater’s reopening under A24, attended by Grace Gummer, 070 Shake, Sarita Choudhury, Francesca Scorsese and more.

Justin Vivian Bond performed “Both Ends,” a one-night work inspired by poet and playwright Edna St. Vincent Millay, one of Cherry Lane’s founders. Anderson designed the costumes for the performance, including dressing Bond in an archival Paul Poiret piece — a connection to Millay, who wore Poiret, as well as to Anderson’s own Poiret-inspired Dior Winter 2026 collection.

Beyond a conventional luxury sponsorship, Dior and A24 plan to develop programming together across film, theater and live events, champion emerging and established talent and support opportunities for students to engage with filmmaking and theater. It’s an intriguing Hollywood-fashion precedent, and I can’t wait to see how it turns out.

Breakfast at Tiffany’s Arrives in Southern California

Tiffany & Co. has opened the Blue Box Café by Daniel Boulud at South Coast Plaza, bringing the jeweler’s elegant all-day dining concept back to the Costa Mesa luxury shopping destination, this time under the direction of the acclaimed French chef.

The restaurant concept dates to 2017, when Tiffany opened its first Blue Box Café at its Fifth Avenue flagship in New York. Boulud took over its culinary direction when the Landmark store reopened in 2023.

The California edition has a similar celebratory spirit while evoking a sense of place through extraordinary local ingredients. Signature dining experiences include “Breakfast at Tiffany’s” and “Tea at Tiffany’s,” alongside an all-day menu created by Boulud and his culinary team.

The signature “Breakfast at Tiffany’s” incorporates organic flour from Sonoma County, apricots from the San Joaquin Valley, organic eggs from San Diego, seasonal fruit from Corona del Mar and Sonoma dairy. Later in the day, the menu turns more French, with Spaghettini au Caviar, Saumon aux Épices, Volaille aux Champignons and Soufflé Glacé aux Framboises.

It’s a little Fifth Avenue fantasy transplanted to Orange County.

Tiffany & Co. Blue Box Café by Daniel Boulud, 3333 Bristol St., Costa Mesa, Calif.

Celine’s New L.A. Home

Celine has opened a 5,500-square-foot, two-level flagship at 309 Rodeo Drive, bringing together men’s and women’s ready-to-wear, leather goods and accessories, as well as Celine Haute Parfumerie, Beauté and Maison. In the window, a gleaming, twisty red car sculpture adds a surreal note, while inside there are some particularly rare trophies: exclusive versions of the Nino, Luggage and Frame bags in exotic leathers, alongside a generous assortment of printed silks and scarves, chic black tailoring and vividly colored jeans that jump out from the racks.

A veteran of the Phoebe Philo era at the house who most recently led Polo Ralph Lauren, American designer Michael Rider made an acclaimed debut as Celine’s creative director in July 2025 with a wardrobe that mixed Parisian bourgeois polish with American prep — and quickly established a look that has reverberated through fashion. His playground-bright palette of tomato red, cobalt blue and Kelly green helped push primary colors to the forefront, made all the more desirable against beautifully cut black coats and tailoring. Silk scarves were everywhere — tied at the neck, tucked beneath blazer lapels, looped through belts and dangling from bags — helping propel the accessory back into fashion.

Harry Styles has become one of the most visible advertisements for Rider’s menswear, bringing the designer’s relaxed tailoring and low-profile footwear into the spotlight, while the glove-like Celine Jazz Shoe has become a fashion story of its own.

The Rodeo flagship gives that expanding universe an appropriate luxe setting. Warm Oyster Calacatta marble is mixed with vintage wood furniture and antique bronze shelving, while a speaker installation by Matéo Garcia adds a contemporary note. Upstairs, the VIP salons with aged-oak chevron floors evoke a Parisian Haussmann apartment. Works by Jean Fautrier, Andy Warhol, David Armstrong and Kai Nielsen are installed throughout, making the store feel like the perfect expression of the eclectic Celine world Rider is rapidly making his own.

Celine, 309 North Rodeo Drive, Beverly Hills, Calif.

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The post Even Zendaya Couldn’t Stop Emmys Fashion From Fizzling appeared first on TheWrap.

Nominees, presenters and other Hollywood favorites gathered ahead of Sunday’s ceremony, with actors from this year’s most acclaimed series like “Widow’s Bay,” “Shrinking,” “Abbott Elementary” and “The Pitt” showing off their looks before heading inside the Peacock Theater in Downtown Los Angeles for the 78th Primetime Emmy Awards.

The red carpet offers an early glimpse at the night’s fashion, from classic gowns and sharply tailored suits to more daring looks and statement-making accessories. As the arrivals continued, TheWrap tracked the evening’s biggest red carpet moments.

Scroll through the gallery below to see what the stars are wearing at the 2026 Emmys.

Elle Fanning

Florence Pugh

Shailene Woodley

Dakota Fanning

Rhea Seehorn

Sunrise Coigney and Mark Ruffalo

Megan Stalter and Maddie Allen

Mariska Hargitay

Chase Infiniti

Emmy Rossum

Emilia Clarke

Sepideh Moafi

Colman Domingo

Fiona Dourif

Lukita Maxwell

Taylor Dearden

Chris Perfetti

Noah Wyle

Noah Wyle and Sara Wells

Julianne Hough

Jean Smart

Odessa A’Zion

Hannah Einbinder

Zendaya

Kate O’Flynn

Sarah Pidgeon

Charles Melton

Charles Melton

Brenda Song and Macaulay Culkin

Claire Danes

Claire Danes and Hugh Dancy

Keri Russell

Keri Russell

Matthew Rhys and Keri Russell

Isa Briones

Law Roach

Quinta Brunson

Nicole Kidman

Sarah Michelle Gellar and David Boreanaz

Emma D’Arcy

Carey Mulligan

Lena Hall

Eunice Bae

Thomas Doherty

Selena Gomez

Alan Cumming

Denée Benton

Kaley Cuoco and Tom Pelphrey

Oscar Isaac

Paul Anthony Kelly

Julia Garner

Jessica Williams

Shabana Azeez

Supriya Ganesh

Abby Elliott

Chris Perfetti

Ciara Miller

Derek Hough

Lisa Rinna

Niecy Nash-Betts

Desi Lydic

Grace Gummer

Adam Brody

Valerie Chu

The post Emmys Red Carpet 2026: Elle Fanning, Florence Pugh and the Year’s Biggest TV Stars appeared first on TheWrap.

Below you’ll find our gallery of portraits of performers and filmmakers who swung by TheWrap’s studio for interviews and photos, including Michelle Yeoh, Sarah Paulson, Jodie Comer, Luke Evans, Megan Rapnioe, Patricia Arquette, Dianne Wiest, Mike Leigh, Josh Hartnett, James McAvoy, Sean Penn, Cole Sprouse, Harry Melling, Zooey Deschanel, Caleb Hearon and more.

Peruse our Toronto International Film Festival portrait gallery below, with photos by photographer O’shane Howard, and keep this page bookmarked as we’ll be adding more photos throughout the fest.

And catch up on all of TheWrap’s TIFF coverage here.

Inde Navarrette, actress, “Obession”

Curry Barker, director, writer, editor, “Obession”

Curry Barker, director, writer, editor; Inde Navarrette, actress, “Obession”

Antonio Banderas, actor, “Up Against It”

Trudie Styler, director, “Up Against It”

Eva Birthistle, actress, “Up Against It”

Trudie Styler, director; Eva Birthistle, actress; Eden Hamilton, actress; Antonio Banderas, actor; Mickey Sumner, actress; Selena Tan, actress, “Up Against It”

Eden Hamilton, actress, “Up Against It”

Mickey Sumner, actress, “Up Against It”

Eva Birthistle, actress; Antonio Banderas, actor; Eden Hamilton, actress, “Up Against It”

Selena Tan, actress, “Up Against It’

Penelope Cruz, actress, “Bunker”

Penelope Cruz, actress; Florian Zeller, director, writer, producer; Javier Bardem, actor, “Bunker”

Florian Zeller, director, writer, producer, “Bunker”

Aimee Lou Wood, actress, “The Idiot(s)”

Małgorzata Szumowska, director, “The Idiot(s)”

Johnny Flynn, actor, “The Idiot(s)”

Michał Englert, director, “The Idiot(s)”

Johnny Flynn, actor; Małgorzata Szumowska, director; Aimee Lou Wood, actress; Michał Englert, director, “The Idiot(s)”

Lea Seydoux, actress, “The Unknown”

Niels Schneider, actor, “The Unknown”

Arthur Harari, director, writer, “The Unknown”

Lea Seydoux, actress; Arthur Harari, director, writer; Niels Schneider, actor, “The Unknown”

Sandra Wollner, director, “Everytime”

Ira Sachs, director, writer, “The Man I Love”

Boyd Holbrook, actor; Reed Van Dyk, writer, producer; Hiam Abbass, actress; Kenneth Branagh, actor, “Atonement”

Kenneth Branagh, actor, “Atonement”

Boyd Holbrook, actor, “Atonement”

Hiam Abbass, actress, “Atonement”

Reed Van Dyk, writer, producer, “Atonement”

Lily James, actress, “Bad Lieutenant: Tokyo”

Takashi Miike, director, “Bad Lieutenant: Tokyo”

Shun Oguri, actor, “Bad Lieutenant: Tokyo”

Shotaro Mamiya, actor, “Bad Lieutenant: Tokyo”

Shotaro Mamiya, actor; Lily James, actress; Shun Oguri, actor; Takashi Miike, director, “Bad Lieutenant:Tokyo”

Dane DiLiegro, actor, “River”

Jane Levy, actress, “River”

Jessica Rothe, actress, “River”

Joshua Giuliano, director, writer, “River”

Max Mattern, actor, “River”

Jessica Rothe, actress; Dane DiLiegro, actor; Joshua Giuliano, director, writer; Jane Levy, actress; Max Mattern, actor, “River”

Kristen Raath, actress, “Future Tense”

Lawrence Maleka, actor; Jenna Cato Bass, writer, director; Kristen Raath, actress, “Future Tense”

Lawrence Maleka, actor, “Future Tense”

Lawrence Maleka, actor, Kristen Raath, actress, “Future Tense”

Jenna Cato Bass, writer, director, “Future Tense”

Esmeralda Pimentel, actress; Gael Garcia Bernal, director, writer; Jorge Salinas, actor, “Hombre al Agua”

Gael Garcia Bernal, director, writer, “Hombre al Agua”

Esmeralda Pimentel, actress, “Hombre al Agua”

Jorge Salinas, actor, “Hombre al Agua”

Guy Pearce, actor, “Ink”

Jack O’Connell, actor, “Ink”

Jack O’Connell and Guy Pearce, actors, “Ink”

Liz Watts, producer, “Tenzing”

Genden Phuntsok, actor, “Tenzing”

Jennifer Peedom, director, producer, “Tenzing”

Jennifer Peedom, director, producer; Genden Phuntsok, actor; Liz Watts, producer, “Tenzing”

Yoh Yoshida, actress, “Ha-Chan, Shake Your Booty!”

You, actress, “Ha-Chan, Shake Your Booty!”

Rinko Kikuchi, actress, “Ha-Chan, Shake Your Booty!”

Josef Kubota Wladyka, writer, director, “Ha-Chan, Shake Your Booty!”

You, actress; Josef Kubota Wladyka, writer, director; Rinko Kikuchi, actress; Yoh Yoshida, actress, “Ha-Chan, Shake Your Booty!”

Leopold Hughes, producer; Giancarlo Esposito, actor; Noah Segan, director, writer; John Turturro, actor; Will Price, actor, “The Only Living Pickpocket in New York”

Noah Segan, director, writer, “The Only Living Pickpocket in New York”

Will Price, actor, “The Only Living Pickpocket in New York”

Giancarlo Esposito, actor, “The Only Living Pickpocket in New York”

John Turturro, actor, “The Only Living Pickpocket in New York”

Fred Hechinger, actor, “A Long Winter”

Andrew Haigh, director, writer, producer, “A Long Winter”

Fred Hechinger, actor; Andrew Haigh, director, writer, producer, “A Long Winter”

Ed Helms, actor; Jay Baruchel, actor; Michael Dowse, director, writer, producer; Jennifer Wilson, producer, The Stunt Driver”

Ed Helms, actor, “The Stunt Driver”

Jay Baruchel, actor, “The Stunt Driver”

Michael Dowse, director, writer, producer, “The Stunt Driver”

Leah Nelson, director, writer; Sarah Leavitt, writer; Abbi Jacobson, voice actor; Seth Rogen, voice actor, producer; Lauren Miller Rogen, producer, “Tangles”

Seth Rogen, voice actor, producer, “Tangles”

Abbi Jacobson, voice actor, “Tangles”

Lauren Miller Rogen, producer, “Tangles”

Sarah Leavitt, writer, “Tangles”

Leah Nelson, director, writer, “Tangles”

Andrew Rhymer, director; Annie Murphy, actress; Scarlett Bermingham, director; Cooper Raiff, actress, “All That She Wants”

Andrew Rhymer, director; Annie Murphy, actress, “All That She Wants”

Annie Murphy, actress, “All The She Wants”

Annie Murphy, actress; Cooper Raiff, actor, “All The She Wants”

Rachel Morrison, director, “Love of Your Life”

Guy Nattiv, director; Lily James, actress, “The Liberation”

Lily James, actress, “The Liberation”

Guy Nattiv, director, “The Liberation”

Ruth Madeley, actress, “Being Heumann”

Sian Heder, director, writer, producer, Ruth Madeley, actress, “Being Heumann”

Milo Quifes, actor; Guitarricadelafuente, actor; Carlos González, actor; Javier Calvo, director, writer, producer; Javier Ambrossi, director, writer, producer; Miguel Bernardeau, actor, “La Bola Negra”

Javier Calvo and Javier Ambrossi, directors, writers, producers, “La Bola Negra”

Miguel Bernardeau, actor, “La Bola Negra”

Carlos González, actor, “La Bola Negra”

Milo Quifes, actor, “La Bola Negra”

Guitarricadelafuente, actor, “La Bola Negra”

Virginie Efira, actress, “All of a Sudden”

Lauren Miller Rogen, director, writer, producer; Seth Rogen, actor; Anna Kendrick, actress, “Babies”

Anna Kendrick, actress, “Babies”

Seth Rogen, actor, “Babies”

Lauren Miller Rogen, director, writer, producer, “Babies”

Javier Bardem, actor; Victoria Luengo, actress; Rodrigo Sorogoyen, director, writer, “The Beloved”

Javier Bardem, actor, “The Beloved”

Victoria Luengo, actress, “The Beloved”

Summer H. Howell, actress; Mike Flanagan, director, showrunner, “Carrie”

Summer H. Howell, actress, “Carrie”

Mike Flanagan, director, showrunner, “Carrie”

Amanda Seyfried, actress; Scoot McNairy, actor; Tim Blake Nelson, writer, director, producer, actor, “The Life and Deaths of Wilson Shedd”

Tim Blake Nelson, writer, director, producer, actor, “The Life and Deaths of Wilson Shedd”

Scoot McNairy, actor, “The Life and Deaths of Wilson Shedd”

Taraji P. Henson, producer; Barry Avrich, director, writer, producer; Darlene Love, subject, “Darlene Love: I Know Where I’ve Been”

Taraji P. Henson, producer, “Darlene Love: I Know Where I’ve Been”

Darlene Love, subject, “Darlene Love: I Know Where I’ve Been”

Elizabeth Chai Vasarhelyi, director, producer; Jim Morrison, subject; Jimmy Chin, director, producer, “Everest: The Other Side”

Jimmy Chin, director, producer, “Everest: The Other Side”

Elizabeth Chai Vasarhelyi, director, producer, “Everest: The Other Side”

Jim Morrison, subject, “Everest: The Other Side”

Lea Seydoux, actress; Marie Kreutzer, director, writer, “Gentle Monster”

Marie Kreutzer, director, writer, “Gentle Monster”

Lea Seydoux, actress, “Gentle Monster”

Domhnall Gleeson, actor; Rooney Mara, actress; Kate Mara, actress; Orlando Bloom, actor, “Bucking Fastard”

Orlando Bloom, actor, “Bucking Fastard”

Rooney Mara and Kate Mara, actresses, “Bucking Fastard”

Valentin Campagne, actor; Emmanuel Macchia, actor; Lukas Dhont, director, co-writer, “Coward”

Lukas Dhont, director, co-writer, “Coward”

Valentin Campagne and Emmanuel Macchia, actors, “Coward”

Olivia Cooke, actress; Anton Corbijn, director; Alden Ehrenreich, actor, “A Talent for Murder”

Alden Ehrenreich, actor, “A Talent for Murder”

Anton Corbijn, director, “A Talent for Murder”

Olivia Cooke, actress, “A Talent for Murder”

India Amarteifio, actress; Chuko Esiri, director, writer, producer; Ayo Edebiri, actress; David Oyelowo, actor; Arie Esiri, director, producer, “Clarissa”

Ayo Edebiri, actress, “Clarissa”

David Oyelowo, actor, “Clarissa”

Arie Esiri, director, producer, “Clarissa”

India Amarteifio, actress; Ayo Edebiri, actress, “Clarissa”

Chuko Esiri, director, writer, producer, “Clarissa”

Taron Egerton, actor; Jessica Henwick, actress; Charly Clive, actress; Jonathan Schey, director, writer, “Everybody Want to F*ck Me”

Taron Egerton, actor,“Everybody Want to F*ck Me”

Charly Clive, actress,“Everybody Want to F*ck Me”

Jessica Henwick, actress, “Everybody Want to F*ck Me”

Jonathan Schey, director, writer, “Everybody Want to F*ck Me”

Bassam Tariq, director, writer, producer; Adia, actress; Giancarlo Esposito, actor; John Cho, actor; Mahershala Ali, actor, “Your Mother Your Mother Your Mother”

Mahershala Ali, actor, “Your Mother Your Mother Your Mother”

Giancarlo Esposito, actor, “Your Mother Your Mother Your Mother”

John Cho, actor, “Your Mother Your Mother Your Mother”

Adia, actress, “Your Mother Your Mother Your Mother”

Bassam Tariq, director, writer, producer, “Your Mother Your Mother Your Mother”

Stephan James, actor; Anthony Ippolito, actor; Kiki Seto, actress, “I Play Rocky”

Anthony Ippolito, actor, “I Play Rocky”

Kiki Seto, actress, “I Play Rocky”

Stephan James, actor, “I Play Rocky”

Liam Neeson, producer, “The Lost Children of Tuam”

Frank Berry, director; Liam Neeson, producer, “The Lost Children of Tuam”

Frank Berry, director, “The Lost Children of Tuam”

Nico Hiraga, actor; Chase Infiniti, actress; Jason Isaacs, actor; Christopher Briney, actor; Alex Dillard, actor; Chloe Bailey, actress; Niki Byrne, director, writer, “The Julia Set”

Jason Isaacs, actor, “The Julia Set”

Alex Dillard, actor, “The Julia Set”

Niki Byrne, director, writer, “The Julia Set”

Chloe Bailey, actress, “The Julia Set”

Nico Hiraga, actor, “The Julia Set”

Christopher Briney, actor, “The Julia Set”

Chase Infiniti, actress,, “The Julia Set”

Suzie Miller, writer; Cynthia Erivo, actress; Susanna White, director; Daniel Ings, actor, “Prima Facie”

Cynthia Erivo, actress, “Prima Facie”

Susanna White, director, “Prima Facie”

Daniel Ings, actor, “Prima Facie”

Suzie Miller, writer, “Prima Facie”

Rhys Ifans, actor; Laura Linney, actress; John Madden, director, “Onwards and Sideways”

Rhys Ifans, actor, “Onwards and Sideways”

Laura Linney, actress,“Onwards and Sideways”

John Madden, director, “Onwards and Sideways”

Buddy the Dog, actor; Robert Vince, director, “Air Bud Returns”

Buddy the Dog, actor, “Air Bud Returns”

Robert Vince, director, “Air Bud Returns”

Andrew Scott, actor; Billie Piper, actress, “Elsinore”

Andrew Scott, actor, “Elsinore”

Billie Piper, actress, “Elsinore”

Nathan Zellner, director, producer; Lily-Rose Depp, actress; Kelvin Harrison Jr., actor; David Zellner, director, writer, producer, “Alpha Gang”

Kelvin Harrison Jr., actor, “Alpha Gang”

Lily-Rose Depp, actress, “Alpha Gang”

Nathan Zellner, director, producer; David Zellner, director, writer, producer, “Alpha Gang”

Lewis Brophy, actor; Kim Bartley, director; Carla Tous, actress, “Lemonade”

Carla Tous, actress, “Lemonade”

Lewis Brophy, actor, “Lemonade”

Kim Bartley, director, “Lemonade”

The cast of “Purgatory”

Abby Elliott, actress, executive producer, “Purgatory”

Ruby McGurrin, actress, executive producer, “Purgatory”

Jack Innanen, actor, executive producer, “Purgatory”

Lindsay Lanzillotta, director, “Purgatory”

John Reynolds, actor, “Purgatory”

Lukita Maxwell, actress; Joshuah Melnick, actor; Alexandra Pechman, director, writer, producer; Iris Apatow, actress; Delaney Rowe, actress; Daniel Zolghadri, actor, “Magazine”

Iris Apatow, actress, “Magazine”

Daniel Zolghadri, actor, “Magazine”

Delaney Rowe, actress,“Magazine”

Lukita Maxwell, actress,“Magazine”

Joshuah Melnick, actor, “Magazine”

Will Sharpe, voice actor; Phyong Mai Nguyen, director, “In Waves”

Will Sharpe, voice actor, “In Waves”

Phyong Mai Nguyen, director, “In Waves”

Milcania Diaz-Rojas, voice actress; Knyght Darius Jack, voice actor; Louise Bagnall, co-director, “Julian”

Milcania Diaz-Rojas, voice actress, “Julian”

Louise Bagnall, co-director, “Julian”

Knyght Darius Jack, voice actor, “Julian”

James McAvoy, actor, “Faith”

Smylie Bradwell, actor, “Faith”

Paul Andrew Williams, director; Dominic Tighe, producer; Smylie Bradwell, actor; Danny Page, producer; James McAvoy, actor, “Faith”

Dominic Tighe and Danny Page, producers, “Faith”

Paul Andrew Williams, director, “Faith”

Alice Bailey Johnson, actress; Mike Leigh, director, writer; Paul Jesson, actor; Marion Bailey, actress; and Kate O’Flynn, actress, “Tender Loving Care”

Mike Leigh, director, writer, “Tender Loving Care”

Alice Bailey Johnson, actress, “Tender Loving Care”

Paul Jesson, actor, “Tender Loving Care”

Marion Bailey, actress, “Tender Loving Care”

David Harbour, actor; Courteney Cox, director, producer; Patricia Arquette, actress, “Evil Genius”

Patricia Arquette, actress, “Evil Genius”

Courteney Cox, director, producer, “Evil Genius”

David Harbour, actor, “Evil Genius”

Jesse McKeown, director, showrunner, executive producer; Charlie Heaton, actor; Mackenzie Davis, actress; Jessica Rhoades, executive producer; Josh Hartnett, actor, “Below”

Josh Hartnett, actor, “Below”

Mackenzie Davis, actress, “Below”

Charlie Heaton, actor, “Below”

Jessica Rhoades, executive producer, “Below”

Tye Sheridan, actor, “The Housewife”

Ben Shirinian, director, “The Housewife”

Luke Evans, actor, “The Housewife”

Michael Imperioli, actor, “The Housewife”

Tye Sheridan, actor; Michael Imperioli, actor; Luke Evans, actor; Ben Shirinian, director, “The Housewife”

Sarah Paulson, actress; Cody Fern, director, writer; Dianne Wiest, actress, “Closing Night”

Sarah Paulson, actress,“Closing Night”

Cody Fern, director, writer, “Closing Night”

Dianne Wiest, actress, “Closing Night”

Ziwe, host, “Ziwe”

Mark Vins, host, “Brave Wilderness”

Rosalind Eleazar, actress; Saskia Reeves, actress; Christopher Chung, actor; Aimee-Ffion Edwards, actress; Ruth Bradley, actress, “Slow Horses”

Gary Oldman, actor, executive producer, “Slow Horses”

Ruth Bradley, actress, “Slow Horses”

Christopher Chung, actor, “Slow Horses”

Saskia Reeves, actress, “Slow Horses”

Aimee-Ffion Edwards, actress, “Slow Horses”

Rosalind Eleazar, actress, “Slow Horses”

Martin Freeman, actor; Michelle Yeoh, actress; Roshan Sethi, director, writer, “Surgeon”

Michelle Yeoh, actress, “Surgeon”

Martin Freeman, actor, “Surgeon”

Roshan Sethi, director, writer, “Surgeon”

Anna Diianchuk, subject,; James Marcus Haney, director; Nikoletta Stoianova, subject; Dianna Agron, executive producer; Tetyana Diianchuk, subject; Sean Penn, executive producer, “Black Sunflowers”

James Marcus Haney, director, “Black Sunflowers”

Tetyana Diianchuk, subject, “Black Sunflowers”

Anna Diianchuk, subject, “Black Sunflowers”

Nikoletta Stoianova, subject, “ Black Sunflowers”

Christopher Scott, actor; Loren Gray, actress; Rebel Wilson, director, writer, producer; Randall Park, actor, “Girl Group”

Rebel Wilson, director, writer, producer, “Girl Group”

Christopher Scott, actor, “Girl Group”

Randall Park, actor, “Girl Group”

Loren Gray, actress, “Girl Group”

Kiko Mizuhara, actress; Eugene Kotlyarenko, director; Cole Sprouse, actor, “Vintage Violence”

Eugene Kotlyarenko, director, “Vintage Violence”

Kiko Mizuhara, actress, “Vintage Violence”

Cole Sprouse, actor, “Vintage Violence”

Herbert Nordrum. actor; Hans Petter Moland, director; Asta Kamma August, actress, “Growth of the Soil”

Asta Kamma August, actress, “Growth of the Soil”

Hans Petter Moland, director, “Growth of the Soil”

Jodie Comer, actress; Harry Melling, actor; Theo Rhys, director; Joss Holden-Rea, actor, “Stuffed”

Jodie Comer, actress, “Stuffed”

Harry Melling, actor, “Stuffed”

Joss Holden-Rea, actor, “Stuffed”

Theo Rhys, director, “Stuffed”

Zooey Deschanel, actress; Caleb Hearon, writer, actor; Kris Rey, director “Trash Mountain”

Zooey Deschanel, actress, “Trash Mountain”

Caleb Hearon, writer, actor, “Trash Mountain”

Kris Rey, director “Trash Mountain”

Sul Kyung-gu, actor; Jeon Do-yeon, actress; Cho Yeo-jeong, actress; Zo In-sung, actor, “Possible Love”

Jeon Do-yeon, Cast, “Possible Love”

Zo In-sung, Cast, “Possible Love”

Cho Yeo-jeong, Cast, “Possible Love”

Sul Kyung-gu, Cast, “Possible Love”

The post Courteney Cox, David Harbour, Michelle Yeoh, Ziwe and More at TheWrap’s TIFF Portrait Studio | Photo Gallery appeared first on TheWrap.

The Venice Film Festival’s Serious Fashion for Serious Times

With fewer young Hollywood stars and studio blockbusters screening at the Venice Film Festival, there were fewer of the barely-there gowns and viral-bait fashion moments we’ve come to expect.

Perhaps it was a reflection of a more serious mood, befitting the politically charged times and the stunning lack of female representation in the competition, where only two of the 21 films are directed or co-directed by women, compared with six last year.

The festival was presided over by a woman, at least. Jury president Maggie Gyllenhaal, a filmmaker herself, called the imbalance a “systemic problem,” adding, “It’s been such a short time that women have had the opportunity to make films at all. It will take some time to get used to the fact that many women make movies quite differently than men do.”

Of course, women remain central to the glamour of the red carpet in Venice, even as they remain underrepresented behind the camera.

Best Dressed

Madame President was the festival’s best-dressed in my book, a study in confident, understated, grown-up glamour, from her impeccable black suit and loafers by The Row, which she wore to a jury photo call with a Bulgari Ginkgo clutch in hand, to the sleek Celine gown she paired with the brand’s cult lace-up ballet flats for the premiere of “Ink.” (At least we’ve evolved past the infamous 2015 Shoegate incident at the Cannes Film Festival, where security guards blocked several women from a red-carpet premiere for wearing flats instead of high heels.)

Styled by Sandra Amador, Gyllenhaal had some fun with ruffles, too. Her custom Balenciaga couture black taffeta high-low gown was ’80s redux in a controlled way, and her Chloé eggplant-hued taffeta cropped ruffle top with black trousers was romantic within the realm of tailoring.

Black and White All Over

Speaking of tailoring, the black-and-white trend has been going for well over a year on the red carpet, but Phoebe Waller-Bridge perfected it in Venice, wearing a stunning, crisp white, floor-skimming blouse with black trousers by Michael Rider for Celine, whose vision of evening-wear ease was striking in the setting.

Sister act Kate and Rooney Mara also stepped out in black-and-white, with Kate in an archival 2024 Armani Privé gown with a pearl embellishment and Rooney in a custom black Louis Vuitton satin dress with a sculpted floral bubble hem. Both were more traditional notions of glamour, certainly.

Most Bridal Inspo

I liked the modern wedding vibe of Mariana di Girolamo’s custom white Chanel off-the-shoulder top and drop-waist lace skirt for the premiere of “Wild Horse Nine.” I bet it will be influential with brides-to-be.

Wildcard That Stole Our Hearts

And as predicted, John Malkovich was the fest’s wildcard in the best way, with stylist Jeanne Yang steering his quirky style choices, from Jonathan Anderson’s Elizabethan-inspired ruffled Dior collared shirt to Bode’s white suit and crossover tie, which he paired with his own bohemian kilim mules. The best-dressed man even made it back to the U.S. in time to receive a career honor at the Telluride Film Festival over the weekend, with his traveling man-bag in tow!

Fashion’s Counterprogramming

While the lack of female filmmakers in the Venice Film Festival competition underscored how much work remains to be done, fashion provided some counterprogramming, using its platform to center women and their stories.

Miu Miu presented “Avec Kim,” a new film in its Women’s Tales series, directed by Claire Denis and starring Suzanne Lindon and Kim Gordon, as part of the Giornate degli Autori program, with a private dinner at Ca’ Corner della Regina attended by Gyllenhaal, Pamela Anderson, Francesco Casetti, Emma Corrin, Zoey Deutch, Mona Fastvold, Luca Guadagnino, Susan Sarandon, Chloé Zhao and more.

Armani Beauty and Cartier also had starry events. Meanwhile, the 17th Annual DVF Awards honored extraordinary women, including actor and activist Jane Fonda; Prime Minister of Barbados Mia Amor Mottley, S.C., MP; Pulitzer Prize-winning photojournalist Lynsey Addario; founder and CEO of Food4Education Wawira Njiru; and author, advocate and domestic violence survivor Gisèle Pelicot.

“These women are the very best of humanity,” said philanthropist, author and fashion icon Diane von Furstenberg who took the stage at the Teatro Carlo Goldoni to welcome guests to the awards. “Gloria Steinem, the superwoman feminist icon and my very dear friend passed away. As we commit to continue to follow her path, I would like to dedicate this evening to her,” she said of the superwoman who died last week, and was honored with a DVF Award herself in 2014.

Fonda also recalled her legacy in her remarks, adding, “I do believe that she lives on in the changed lives of so many women including my own.”

“Sterling Point” is Must-See Fashion TV

The clothes on Amazon’s hit “Sterling Point” are almost as addictive as the show and the scenery (which had me searching Vrbo listings in Muskoka, Canada, by Episode 2).

Set between New York City and the moneyed cottage country of Muskoka, Canada, the show serves up Chanel and Dries Van Noten alongside $500 Bode, MM6 and Vivienne Westwood T-shirts, Jacques Marie Mage glasses, a cheeky “PMS” sweatshirt among its thrift store finds and more obscure labels that have sent viewers furiously trying to track them down online.

The high-low mix is deliberate, says Toronto-based costume designer Marissa Schwartz, who grew up spending summers in Muskoka and experiencing firsthand the way wealth presents itself there. Even among the most privileged, she tells WrapStyle, there’s an informality that’s a contrast to the more overt fashion signaling of the show’s New Yorkers.

Take Annie’s arrival in Muskoka, wearing a spectacular terracotta Dries Van Noten coat. Schwartz ordered the coat online, choosing it as much for its storytelling ability as its fashion impact. It was lightweight enough to stuff into a bag, warm enough to double as a blanket on a plane and able to be peeled away as Annie’s journey unfolds. Its sheen and unusual color also made it feel both luxurious and, Schwartz says, just slightly “inappropriate for Muskoka,” underscoring Annie’s fish-out-of-water status.

According to Schwartz, Chanel entered the picture through Margot Robbie, whose LuckyChap production company is among those behind “Sterling Point.” The French house reached out and ultimately opened a dialogue that Schwartz says was refreshingly free of pressure. “We cared so much about it not feeling like product placement,” she says. “It genuinely was just like, what works, what makes sense for story.”

Among the pieces that make cameos are a spring 2023 black and white lace archival Chanel dress Annie borrows from Denise in Episode 2, which Schwartz selected from options provided by the house; a Chanel 22 hobo bag; and a Première chain watch.

But the secret sauce of “Sterling Point” is in the layers. A “heavy, heavy volume” of the costumes is thrifted, Schwartz says, sourced everywhere from Toronto vintage stores Smoking Vintage and Nouveau Riche to Clutter Porch in Muskoka. “Finding things in the world that have lived a life and have a story and have wear and tear just lands more authentically on camera,” she said.

That approach is particularly effective with the show’s Gen Z characters. Oona’s vintage rings are meant to look accumulated over a peripatetic life, while a “Recreation” T-shirt looks like a novelty piece but turns out to be a $500 Bode piece. It was in the script that Rory would be a “Bode boy,” Schwartz explained of the style-minded show from writer/director Megan Park.

There are also some fun discoveries. One lacy top generated so much online sleuthing that a fan warned Schwartz, “I fear there is a Reddit thread.” It came from Unanswered Mystery, a South Korean label Schwartz found through New York boutique Shop Pêche — and the costume department had dyed it purple, making the internet hunt particularly difficult.

One of the most gratifying things about the show is how many people have reached out about it, Schwartz said, adding that she’s also excited that Canada is getting the recognition it deserves on shows like “Sterling Point,” “Heated Rivalry” and “Off Campus.” “We’ve had a bustling industry for decades, but with ‘Sterling Point’ we are highlighting Canada as Canada, not hiding it, and showing the world how beautiful our country is.”

Executive produced by Stephanie Savage of “The O.C.” and “Gossip Girl” fame, the show is cleverly written with a lot of sincerity and laughs. It’s already been renewed for a second season. Here’s hoping Schwartz is back for another summer, too.

Buck Mason Women’s Rising

Buck Mason has built a formidable business by convincing men that the perfect T-shirt, chino and pair of jeans are worth obsessing over. Founded by Sasha Koehn and Erik Allen Ford in a 350-square-foot Venice garage in 2013, the Los Angeles brand has grown into a modern American menswear powerhouse. Now it is also making a more concerted play for women.

Leading the charge is Rachel Wilder Hill, Buck Mason’s EVP of design and merchandising for women, who joined in 2024 after a career that has included senior creative roles at A.L.C., Frame and Joie, as well as an earlier stint as co-creative director of Haute Hippie. Her mission is not to reinvent Buck Mason so much as translate its rugged Americana for the female body. “The pillars of this brand,” she told me at a recent dinner hosted by Buck Mason, “are quality, timelessness and California.”

For Fall 2026, that means vintage-inspired denim, hand knits from Peru, cashmere, lingerie-inspired silks, shrunken striped Oxford shirts, World War II officer’s chinos recut to flatter women and a shearling bomber jacket.

A 1950s Hanes T-shirt was the foundation for the Toughknit program of midweight layering pieces, developed over a year and a half using fabric made at Buck Mason’s Pennsylvania mill.

Vintage remains the starting point, and Wilder Hill is a big collector herself, but she is interested in improving on it. For example, a bulky Cowichan sweater has been rendered lightweight and lofty, while scratchy 1960s J. Press-style Shetland sweaters are reimagined in soft alpaca and optimistic pink and blue hues, she explains. Prices range from about $50 to $850.

The collection’s romantic California mood is echoed in a gorgeous fall campaign launching Sept. 17 that was inspired by Dorothea Lange’s 1973 book “To a Cabin” and the rustic Steep Ravine Cabins perched on the bluffs just south of Stinson Beach in Marin County, where Buck Mason received rare permission to shoot.

For Wilder Hill, that landscape embodies the particular Americana she wants for Buck Mason women’s: less East Coast preppy establishment, more Western freedom in nature. “There’s this rugged pioneer spirit that only California can offer,” she said, pointing to Hollywood, ranch wear and surf culture as traditions united by a rule-breaking instinct.

That vision is increasingly getting a space of its own. Buck Mason now has roughly 55 stores, according to Wilder Hill, with a growing number devoted exclusively to women. The retail expansion is accelerating, with new women’s stores planned in New York’s SoHo neighborhood and Malibu. Closer to home, the latest are at the newly reopened Palisades Village, where Buck Mason is expanding its presence with separate freestanding men’s and women’s stores — a sign that what began as an offshoot of a successful menswear business is increasingly becoming a brand in its own right.

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The post Venice Film Festival’s Muted Red Carpet Fashion Is a Sign of the Times appeared first on TheWrap.

Photography by Nagi Sakai
Fashion Editor Natasha Royt

After six years with Marian Brook, Louisa Jacobson knows that a character’s transformation is rarely announced all at once. It reveals itself in smaller gestures: the way she moves through a room, the decisions she claims as her own — and even the clothes she chooses to wear.

Jacobson was cast in The Gilded Age in September 2019 and began filming in 2021 following COVID delays. Now shooting the series’ fourth season, she has spent much of her early career inhabiting Marian’s world: a meticulously constructed vision of late-19th-century New York in which old fortunes collide with new ambitions and women negotiate the narrow boundaries of the lives available to them.

Recalling July’s Emmy-nominations morning, when the series landed eight total nods, the actress told WrapStyle that being with the cast and crew for the big news brought an extra “sparkle” to filming the new season.

LOUISA JACOBSON WEARS COAT BY ECKHAUS LATTA. RINGS ALL BY POMELLATO. 

That growing confidence extends beyond Marian’s professional life. After being repeatedly tested by romance, convention and the expectations of others, Jacobson sees a new resolve in her character — particularly when confronted by circumstances she cannot reveal ahead of the coming season.

“This thing that happens is really hard,” she teased. “But Marian is still going to take control of what she can control, own that decision and continue moving forward.”

Jacobson’s connection to Marian’s world is intensified by her own relationship with New York. She has lived in the city since childhood, but the historical research surrounding The Gilded Age has changed the way she sees its streets.

“Working on the show has deepened my appreciation for the city,” she says. “It has connected me to the past in this beautiful way and reminded me that there is still so much to learn from it.”

LOUISA JACOBSON WEARS SHIRT, SWEATER, SKIRTS, SOCKS, SHOES AND CUFFLINKS, ALL BY PRADA. EARRINGS BY POMELLATO.

That awareness of creative lineage extends beyond acting. The daughter of a sculptor, Jacobson grew up drawing with her father and studied live-model drawing in college. She still occasionally attends sessions at the Art Students League. She has also explored theater from behind the scenes, serving as assistant director of her friend Maia Novi’s play Invasive Species, and finds other forms of expression through dance and fashion.

For Jacobson, these interests are interconnected: different ways of looking closely at people, movement and the worlds they inhabit. And as Marian claims a larger life for herself, Jacobson is doing something similar — exploring not only who she is as a performer, but everything else she may be capable of creating.

“I think we finally see Marian thriving and really coming into her own,” she says.

The same might be said of the woman playing her.

This is sponsored content.

DRESS BY BOTTEGA VENETA. EARRINGS BY POMELLATO

DRESS BY ALAÏA. EARRINGS BY POMELLATO. 

JACKET, PANTS AND SHOES, ALL BY BALENCIAGA. RINGS ALL BY POMELLATO. 

TURTLENECK, SHIRT, JACKET, PANTS, SHOES AND BELT, ALL BY CELINE. EARRINGS BY POMELLATO. 

COAT AND SHOES, BOTH BY DIOR. EARRINGS BY POMELLATO.

Credits

HAIR: BLAKE ERIK
MAKEUP: MIA JONES
PHOTO EDITOR: TIEN TIENNGERN
FASHION MARKET EDITOR: DAN VICTORIA GLEASON
PRODUCER: DAISY ROBINSON
DP AND CAMERA: TONY CORELLA
DIRECTOR OF PHOTOGRAPHY: SNAKE GARCIA
PHOTO ASSISTANTS: SHANE ROONEY, DIEGO RODRIGUEZ AND DAISUKE YOSHIDA
FASHION ASSISTANT: JESSICA AHIALEY
PRODUCTION ASSISTANT: OLIVIA CORDERI.

TheWrapBook – Issue 06 – The Art of Television

The post Louisa Jacobson Comes Into Her Own appeared first on TheWrap.

John Galliano Bows Out 

Well, that didn’t last long.

One month after the Metropolitan Museum of Art announced that its 2027 Costume Institute exhibition and Met Gala would be devoted to John Galliano, the museum has scrapped the plan following backlash over the designer’s history of antisemitic and racist remarks. The Met and Galliano announced jointly on Monday that “John Galliano: Horizons” will not proceed as planned. A replacement and new theme for the 2027 Met Gala will come later.

When the exhibition was announced, I wrote about the complicated proposition of giving Galliano the Costume Institute treatment. His creative influence is difficult to dispute. Over four decades, at his own label and at Givenchy, Dior and Maison Margiela, he became one of fashion’s great storytellers and technicians, modernizing the bias cut, mixing historical periods and references with abandon and helping usher in the era of the fashion designer as global celebrity. His darkly romantic Spring 2024 Maison Margiela couture collection, staged under a bridge on the Seine, was among the best shows in recent memory.

But the exhibition was never going to be only about clothes. In 2011, Galliano was fired from Dior after being caught on video making antisemitic remarks during a drunken tirade in a Paris bar; he was subsequently convicted of hate speech in a French court. In the 15 years since, he has maintained his sobriety, apologized and met regularly with Jewish leaders and rabbis, efforts that have been publicly recognized by the Anti-Defamation League. Though an allegation of more recent racist behavior has come to light, which the designer has denied.

He also engineered a remarkable professional comeback, one supported over the years by Vogue’s Anna Wintour. Galliano has once again been embraced by Hollywood celebrities. As just one example, Kim Kardashian attended the 2024 Met Gala wearing a custom Maison Margiela design by Galliano, and the two were photographed together at the event. He also secured a deal for a Zara collection due out this fall (TBD if that still goes on).

The Met seemed prepared to confront his whole unvarnished history rather than sidestep it. Press materials said the exhibition would examine how “aesthetic achievement, ethical accountability and institutional recognition intersect.” That was an intriguing proposition to me at a moment when museums are increasingly reconsidering and recontextualizing how they present artists and objects with difficult histories. I also suggested that the exhibition should address Galliano’s ugly history of cultural appropriation, particularly in his Dior collections. Indeed, fashion should take more accountability for many things, including racism, sexism, sizeism and worker exploitation, even when it would prefer to gloss over them.

But as the weeks passed, there was a contradiction to the whole idea that became harder to ignore. How could the Costume Institute critically interrogate Galliano while the Met Gala celebrated him at the same time?

Criticism also intensified from Jewish leaders, deep-pocketed museum donors and New York officials, as reported by The New York Times. And Galliano ultimately bowed out, or at least that’s how it was positioned, saying that he remained accountable for the pain caused by his words, particularly to Jewish and Asian communities, and acknowledging that “an exhibition honouring my work would be painful for some.”

Wintour, who is also a Met trustee, called his decision “very courageous” and said he had her full support, without acknowledging any responsibility for her part in the planning. Costume Institute curator Andrew Bolton also acknowledged “the pain and concern this exhibition has caused” and supported abandoning it.

Still, canceling the exhibition doesn’t resolve the larger question it raised. Galliano is hardly the only fashion designer with a troubling personal history; Coco Chanel’s wartime activities are perhaps the most obvious example. Museums should be places where contradictions of beauty and horror can be examined. But perhaps the lesson is that examining them and celebrating them are two different things.

Adrian’s Hollywood Fashion Legacy Celebrated

Few designers did more to invent the look of early Hollywood glamour and carry it from the screen into American closets than Gilbert Adrian.

A new exhibition titled “Adrian: Designing Hollywood, Dressing America,” on view at the ASU FIDM Museum in Los Angeles through Dec. 12, brings together more than 50 rare garments and accessories to chart his trajectory from teenage prodigy to MGM costume chief to Beverly Hills couturier.

While still a fashion student studying in Paris, Adrian was discovered by the great composer Irving Berlin, who persuaded him to come to New York, where he started designing for Broadway shows at the age of 19. Not long after, silent film star Rudolph Valentino and his wife, Natacha, noticed his genius and brought him to Hollywood.

As head of costume design at MGM from 1928 to 1941, he created looks for more than 250 films and helped create the images of some of the era’s greatest stars. For Joan Crawford, he exaggerated her shoulders and sharpened her silhouette, helping turn her into an emblem of modern female power. For Jean Harlow, one of the defining fashion figures of the 1930s, Adrian used bias-cut satins and shimmering fabrics to amplify her sensuality.

“The Harlow dress in the exhibition defines 1930s Hollywood glamour–candlelight silk charmeuse, bias cut,” FIDM chief curator and exhibition creator Kevin Jones told WrapStyle. “She wore it in ‘Bombshell’ which gave her the nickname ‘the blonde bombshell.'”

His credits ranged from dramas and comedies to musicals like “The Wizard of Oz,” and the simple screen credit “Gowns by Adrian” became its own mark of fantasy and glamour. Among the other costumes on display in the exhibition are gowns worn by Greta Garbo in “Queen Christina” and by Norma Shearer in “Marie Antoinette.”

Adrian understood early that what audiences saw at the movies could influence what they wanted to wear in real life. Hundreds of thousands of copies of his frothy white “Letty Lynton” gown sold after Crawford appeared in the 1932 film, and soon after, Macy’s established “cinema shops” to sell film fashions.

When he left MGM in 1941, he opened Adrian Ltd. on North Beverly Drive in Beverly Hills, where he translated the drama and precision of his screen work into couture and ready-to-wear, including sculptural evening wear, architectural tailoring and exuberant prints.

His couture salon attracted a who’s who of Hollywood women, including Shearer, Greer Garson, Marlene Dietrich, Slim Keith and Adrian’s wife, actress Janet Gaynor. And his ready-to-wear was sold through some of the country’s most prestigious stores.

“He was a master of proportion and fit onscreen and in real life,” said Jones. “The oversized drama of Joan Crawford onscreen would have looked ridiculous in real life, but he was able to bring that to his ready-to-wear clothes, which were so popular around the country that each city had an exclusive store for Adrian. In Dallas, it was Neiman Marcus and the suits were so popular, the buyers couldn’t keep them in stock. And they weren’t cheap; they started at $134 in the 1940s.” 

Although Adrian never won an Oscar because the Academy Awards did not recognize costume design until 1948, he did earn the respect of the New York fashion establishment, winning the coveted Coty American Fashion Critics’ Award in 1945. When World War II shut down the Paris fashion salons, he became part of a new generation of designers creating an independent American fashion identity, a story showcased in the exhibition. “America was able to come to the fore without comparisons to Paris,” said Jones.

The exhibition also has a sketch from Adrian’s final project, the 1960 original production of Lerner and Loewe’s “Camelot.” Before finishing the costumes, the designer died of a heart attack, and the work was completed by the legendary L.A. multimedia designer Tony Duquette. The two had worked together on the film “The Women,” and Duquette designed Adrian’s Beverly Hills couture salon, “changing out the decorations seasonally, to mimic the seasonality of the East Coast to influence people psychologically to buy,” said Jones.

How fabulous!

“Adrian: Designing Hollywood, Dressing America” through Dec. 12, ASU FIDM Museum, 919 S. Grand Ave., Los Angeles.

At Last, Boutique Lodging Arrives in Gorgeous Carpinteria 

Carpinteria is kind of the Goldilocks of SoCal beach towns: a just-right seaside spot that isn’t as overdeveloped or overcrowded as its neighbor Santa Barbara, 12 miles to the north, but still has an impressive assortment of places to eat, shop and explore — not to mention one of the best stretches of sandy beaches anywhere in the Golden State (that’d be Carpinteria City Beach).

And now, thanks to the recently opened Rincon Rooms, it’s got a super-stylish lodging option to match. With just six boutique guest rooms and contactless entry, it feels tucked away but accessible. Located in an otherwise residential building just three blocks off Linden Avenue and under a mile from that top-notch beach, it’s not too far away from all the things that make Carpinteria fun to visit. And with chic amenities (Sferra linens and mattresses, bath products by Salt & Stone and candles by Flamingo Estate), you’ll feel like you’re sitting in the lap of luxury without exactly having to pay for it. (Midweek room rates start at $305.)

In an era where the interior of every Airbnb, Vrbo and boutique hotel tends to suffer from a palpable same-same blandness, each of the individually appointed rooms has a warmth and California coziness that makes staying in just as enjoyable as exploring the environs.

That’s the handiwork of interior designer Amanda Masters of Amanda Masters Design, whose work includes several Soho House pop-up Oscar villas in L.A., boundary-pushing displays at lingerie boutique Coco de Mer, and residential projects in Montecito, the Hollywood Hills and beyond. (The Rincon Rooms are the brainchild of Masters and her husband, Justin Klentner, the CEO of Western Built Construction.) Masters has filled the rooms with walnut doors and paneled walls, vintage brass and British-inspired antique fixtures, handmade ceramics and original artwork by local artists and friends.

If you stay in Room 5, for example (as I did on a recent weekend getaway), you’ll gaze upon framed vintage topographical maps of the coast overprinted with the bright orange words “SURF” or “POLO” (the Santa Barbara Polo & Racquet Club is three miles up the road) by A&G Creative, and horsey framed photo prints by photographer Matt Albiani.

If something in the room strikes your fancy — from the art on the walls and collected objects on the nightstand to the vintage furniture and furnishings themselves — you’re in luck, because most of it happens to be for sale.

If you do escape the specific gravity of your Rincon Room, you can’t go wrong with Brass Bird Coffee just down the street for breakfast eats (during brunch recently, we spotted Conan O’Brien taking calls a few tables away) or Little Dom’s Seafood a little farther away on Linden (where the olive oil martini is a must-have).

Rincon Rooms, 4745 Carpinteria Avenue, Carpinteria, Calif.

TheWrapBook: The Art of Television 2026 Features Cover Star Sarah Pidgeon

TheWrapBook: The Art of Television 2026 has landed just in time for Emmys week, featuring “Love Story,” “The Comeback,” “I Love LA” and more.

“There was a time when cinema was our clearest reflection of the culture. Today, that conversation increasingly belongs to television,” co-editorial directors Andrew Wren and Michaela Dosamantes write in their introduction to the limited edition, bi-annual art book.

“Perhaps it’s the rhythm of the medium itself. Television unfolds over weeks and months rather than hours, allowing characters to evolve with a complexity that mirrors our own lives. It has become the place where we wrestle with questions of identity, ambition, power, intimacy and belonging — not as fixed ideas, but as ongoing negotiations. The most memorable series of the past year don’t offer easy answers. Instead, they invite us to sit with contradiction.”

Breakout “Love Story” star Sarah Pidgeon covers the issue as part of a “Faces of 2026” portfolio photographed by Roman Koval. She is pictured with Lamorne Morris (“Spider-Noir”), Justine Lupe (“Nobody Wants This”), Rhea Seehorn (“Pluribus”), Paul W. Downs (“Hacks”), Gerran Howell (“The Pitt”) and more. Pidgeon does double duty, also appearing in a glamorous layout alongside Paul Anthony Kelly, Grace Gummer and the rest of the cast of “Love Story.”

Writer Kat Herriman considers the history of TV-centric contemporary art, from Lucio Fontana’s punch-hole paintings turned into a broadcast in 1952, to Nam June Paik using the screen itself as a material in 1963, to pioneering video artist Paul McCarthy subverting the medium starting in the 1970s and beyond.

Meanwhile, Brian Grazer gives a tour of his art-filled home. Among the Richters, Warhols and a Murakami he bought over Instagram, the legendary Hollywood producer shares advice from Steve Martin that has guided his lifelong collecting: Buy what you love.

After the final season of “The Comeback,” Lisa Kudrow reflects on how age has softened her character Valerie’s desperation and why saying goodbye might not really be goodbye at all.

And L.A. artist Elmer Guevara, whose paintings return to the landscape of the city again and again, reinterprets the characters from HBO’s beloved satire “I Love LA” in his own hand.

It’s a fun — and stylish — read.

TheWrapBook: The Art of Television 2026 is available to order here.

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The Art of Television 2026

Faces of 2026

A museum in Los Angeles, a gallery in New York and 12 of the year’s most compelling actors. At LACMA and Sprüth Magers, we photographed the performers who defined this season of television—and asked them what art has to do with it.

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A Love Story

The stars of FX’s record-breaking show have brought Camelot’s most talked-about romance back to life, capturing its glamour, longing and inevitable heartbreak.  

read more

Being Louisa

As Marian Brook on HBO’s The Gilded Age, Louisa Jacobson has spent three seasons transforming from a penniless ingenue into a woman slowly finding her place among New York’s elite. 

Franco Franco

James and Tom Franco were born a few days shy of two years apart, to parents who met as painters at Stanford and then both stopped. Their sons didn’t. 

Performing the Self

When posting yourself online becomes a job, who’s really doing the watching? 

Coming Soon

Valerie’s Reflection

For 20 years, Lisa Kudrow has embodied Valerie Cherish in fleeting bursts—three seasons spread across as many decades. After The Comeback’s final run, Kudrow reflects on how age has softened Valerie’s desperation into something closer to grace, and why saying goodbye to a character this enduring might not really be goodbye at all. 

Holding the Line

Antiheroes are out. TV has handed the lead to exhausted professionals patching institutions too broken to fix. 

L.A. Confidential

I Love LA has spent its first season skewering and celebrating the ambition, chaos and codependency that comes with trying to make it in Los Angeles.

READ NOW

Aurel Schmidt, Trash Dolls

Since 2019, Aurel Schmidt has drawn her Trash Dolls: figures assembled from the detritus of downtown New York—plastic baggies, candy wrappers, human hair, the odd Swarovski crystal. 

Material World

Inside the invented universes of four of the year’s most transporting shows, built from real brick, salvaged fuselage, 3D-printed marble and hardware that could pass for NASA’s.

Little Screens Everywhere

As the world moves increasingly online, contemporary artists and institutions are seemingly becoming more and more enamored with television’s rapidly outmoding place in our homes and our hearts—as a rash of TV-centric exhibitions this year suggests.

A Curious Eye

Oscar-winning producer Brian Grazer opens his Los Angeles home to talk Warhol, Richter and a Murakami he bought over Instagram.

COMING SOON

Members Only

Sometimes, the sweet thing you’re after is actually poison.

In Memoriam: James Burrows

The television legend directed more than 1,000 episodes of TV and won 11 Emmys, but few viewers ever knew his name. The Cheers co-creator, who died in June at 85, spent five decades perfecting the multi-cam sitcom.

Buy an original print copy of TheWrapBook vol. 6 HERE.

TheWrapBook Digital Edition

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FACES OF 2026

A museum in Los Angeles, a gallery in New York and 12 of the year’s most compelling actors. At LACMA and Sprüth Magers, we photographed the performers who defined this season of television—and asked them what art has to do with it.

Photography by Roman Koval
Fashion Editor Chris B. Kim

Lamorne Morris, Spider-Noir

Diego Calva, The Night Manager

Ken Leung & Myha’la 

Justine Lupe, Nobody Wants This

Morgan Spector, The Gilded Age

Rhea Seehorn, Pluribus

Rebecca Hall, The Beauty

Alessandro Nivola & Sarah Pidgeon

Gerran Howell, The Pitt

Paul W. Downs, Hacks

Credits

FASHION MARKET EDITOR: DAN VICTORIA GLEASON
PRODUCER: DAISY ROBINSON
DP AND CAMERA: TONY CORELLA
DIRECTOR OF PHOTOGRAPHY: SNAKE GARCIA
BOOKINGS DIRECTOR: EMILY VOGEL
PHOTOGRAPHY ASSISTANT: ARIC VAN HALEN
FASHION ASSISTANTS: TONY SOTO, JEN RIM, EDDIE CARMELO AND JUAN TAPIA
PRODUCTION ASSISTANT (LA): JOSH CRANE
PRODUCTION ASSISTANT (NY): RAYA HABBAL
SPECIAL THANKS: LACMA, SPRÜTH MAGERS LOS ANGELES AND SPRÜTH MAGERS NEW YORK.

Roman Koval

is a Ukrainian-born, Los Angeles–based photographer. His portraits play sharpness against blur, push color to saturation and let light leak across the frame, giving his pictures the intimacy of memory.

TheWrapBook – Issue 06 – The Art of Television

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