Hermès Goes Hollywood Glam

Julia Louis-Dreyfus cozied up to Melinda French Gates in the front row, Natasha Lyonne slid in at the very last minute and Miley Cyrus shimmied in her seat to the finale song “Bette Davis Eyes.”

There was star power aplenty at the Hermès Fall 2026 “Chapter Two” show in Bel Air last week. Both off the runway and on it too, with women’s artistic director Nadège Vanhée showing her most glamorous collection to date, and one that felt very L.A.

The hilltop location just above the Hotel Bel-Air made for some logistical headaches. But the cinematic golden-hour vantage point made up for the long wait for golf carts and shuttles.

The event had been in the works for a year, and the show’s pavilion structure was built over the course of a month. Bathed in golden-hour yellow paint, or jaune flave, the set ushered in a softer vision of Hermès ready-to-wear.

Since 2024, the brand has been taking its women’s RTW collection on the road, stopping in New York, Shanghai and now L.A., with each destination informing the designer’s work.

For this chapter, Vanhée zeroed in on the dress, specifically a gorgeous strapless duchesse satin design that seemed destined for the red carpet. Signaling a new direction for the leather-centric house, the dress came in several colors, including rouge tango, modeled by Karen Elson. All were styled with super-chic matching satin evening boots, which feel like a trend in the making.

The propositions for glam nights continued with fluid gowns in velvet or scattered with starry embroidery, jewel-tone silk coats and suiting.

Meanwhile, the elements of practice and performance inherent to Hollywood came through as Vanhée drew inspiration from the world of dance, touching on rehearsal wear with side-tie silhouettes and groovy sparkly-knit jumpsuits with flared legs. (Groovy and Hermès are two words I never thought would meet.)

The house’s signature leather was reimagined with a lighter touch, as buttery blousons layered over sensual velvet dresses, for example, while Western-detailed, boxy zip-front jackets with matching shorts felt very L.A. rock ’n’ roll.

The event underscored the reality that the U.S., even with all its troubles, is a key market for luxury brands navigating the industry slowdown, though it should be said that Hermès is already doing much better than most. The show followed L.A. destination presentations from Dior at the Los Angeles County Museum of Art and Gucci and Louis Vuitton in New York in the last few weeks.

The U.S., specifically L.A., is also the celebrity-fashion power center, of course, and the night’s lineup of dressier looks made it clear that Hermès is getting more serious about Hollywood dressing.

Several celebrities have been priming the pump, with director Chloé Zhao wearing a Spring 2026 Hermès bodycon dress at Cannes last month, actor Toheeb Jimoh choosing a sleek pinstriped Spring 2026 Hermès men’s suit for a screening of “Sheep in the Box” at Cannes, and Cyrus donning a glossy black Hermès coat at the iHeartRadio Music Awards back in March.

Adding to the celebrity dressing potential, there’s already a lot of anticipation for what’s next in Hermès menswear with British designer Grace Wales Bonner taking the reins–and making history as the first Black woman to lead a major European fashion house. Her first show will be in January 2027.

Zegna Does Malibu Without the Clichés

ZEGNA turned the Malibu Pier into a runway on Friday night, bringing a taste of the Med to the Pacific with its Spring 2027 show.

Silver-haired style setter Stellan Skarsgård, Oscar-winning composer Ludwig Göransson, Rami Malek, Mahershala Ali, Paul Dano and many more from the Hollywood set took their seats in beach chairs for the parade of luxe leisurewear from Italian designer Alessandro Sartori.

The Italian art of villeggiatura, or escaping — truly escaping — to the seaside for the summer season, was Sartori’s starting point for what he does best: a relaxed but refined lineup, one that would be right at home at Nobu just down the PCH.

Soft tailoring and stripes were the foundations of the collection. Shirt jackets, safari jackets, duster coats and beachy cardigans were casually layered over shorts, while terry-cloth pullovers and color-blocked windbreakers offered more overt nautical references. Blazers with adjustable belts and shirts with interchangeable collars underscored the functional aspect of the clothes.

The palette was surf-and-sand, and ease was the prevailing mood, but never at the expense of elegance. Instead, the designer explored how summer dressing can look spontaneous and polished at the same time, taking on coastal L.A. without falling into palm-tree and surfboard clichés.

“I wanted to express a ZEGNA take on summer,” Sartori said. “Our vision of leisure dressing is rooted in a cultivated attitude and a discerning gaze that is profoundly Italian, yet open to the world.”

H. Lorenzo’s New Guard Flagship 

Fashion’s new guard is alive and well at the new H. Lorenzo flagship on Beverly Boulevard. The 9,000-square-foot, gallery-like space is a garden of edgy delights from hard-to-find and up-and-coming global and L.A. brands. There’s Paris-based enfants terribles Matières Fécales, who created Sarah Paulson’s memorable “One Percent” Met Gala gown; London-based goth designer Dilara Findikoglu, who recently collaborated with Khy after Kylie Jenner’s stylist discovered the designer here; and Paly Hollywood, whose art-to-wear pieces are co-designed by James Franco.

One of L.A.’s formative fashion boutiques, H. Lorenzo was a Sunset Boulevard institution for 42 years. It was founded by Lorenzo Hadar, who helped bring cutting-edge European and Japanese clothing to L.A. in the 1980s — literally — beginning with a “cash-and-carry” model that saw him bringing Yohji Yamamoto, Issey Miyake and Comme des Garçons pieces back in his suitcase to sell to customers.

The store’s reputation grew, attracting a who’s who of celebrities over the decades, from James Brown and Michael Jackson to Tupac Shakur, Drake, Cardi B and Justin Bieber. It also became a go-to destination for stylists and costume designers looking for the newest looks, including Ruth E. Carter and Euphoria costume designer Natasha Newman-Thomas.

Now, Lorenzo’s son Mac Hadar is heading the business day to day, and the store has relocated to Beverly and Robertson boulevards. “We wanted to inject new energy into the company and just evolve,” Mac said on a busy Wednesday afternoon at the store, as shoppers rolled in for Paly hoodies and Sekrit Saints leather jackets, trying things on and pronouncing them “fire” and “cool as f–k.”

“We try to add at least a 15 to 20 percent new brand mix to our roster every season … and be one step ahead of the curve,” said Mac, who also merchandises H. Lorenzo’s archive store on Santa Fe Avenue in downtown L.A., curating 40 years of vintage so it feels relevant to the moment.

The flagship was designed in collaboration with Italian architect Oliviero Arch Baldini, who has created all the H. Lorenzo stores. It’s minimal, but packs a punch.

“We love the racking system in this space. It feels like there is a lot of metal, but with the clothing on it, it almost floats,” said Mac, explaining that the front of the store is intended to be a rotating design installation, starting with a Japanese curation of custom tatami tables, hand-painted fans, pottery and other objets d’art, all of which are for sale.

On the racks and shelves, shoppers can find Elena Velez’s wasteland-cool sweats, Chopova Lowena’s punky princess skirts, Kapitol’s cult-favorite Japanese-Americana workwear jackets, Doublet’s moss-embroidered jeans, Stephen Jones’ haute hats, Maison Margiela’s tabi shoes and Ashley Williams’ surreal paper roll bracelets.

Mac is also envisioning the new, larger space as a community space—and it already has been, hosting the kickoff for an exclusive collaboration with Ann Demeulemeester last month. “We wanted to introduce the space before it was open,” Mac said. “And we’re planning on doing things like movie screenings and activations that bring people together in ways beyond just a clothing drop with a DJ.”

H. Lorenzo, 8801 Beverly Boulevard, West Hollywood, CA 90048

Rare Exhibition of Chinese Fashion  Opening at LACMA

Opening June 14 at the Los Angeles County Museum of Art, “Fashioning Chinese Women: Empire to Modernity” is a rare showcase of Chinese fashion in the U.S., dazzling with textiles and embroidery so exquisite they have to be seen IRL, as well as stories of cross-cultural influence and trailblazing 3D-printed mannequins created by designer Jason Wu to represent Chinese physiques, hairstyles and skin tones.

The exhibition is also rare in that it is largely based on a single collection donated to the museum by Berkeley-based Chinese American artist Chere Lai Mah, who spent more than four decades preserving garments belonging to her mother, mother-in-law and other relatives who traveled regularly between Fresno, Calif., and Hong Kong to buy their clothing.

Augmented with pieces from the museum’s permanent collection, “Fashioning Chinese Women” includes 70 garments tracing the evolution of Chinese dress within China, from the loose, densely embroidered and decorated robes of the late Qing dynasty (1644–1911) to the sleek qipaos of Republican Shanghai (1912–1949) and the globally influential cheongsams of postwar Hong Kong.

The show touches on how political reforms brought narrower silhouettes, while global trade and imported materials led to textile innovations, including Art Deco-inspired machine lace and devoré velvets.

The exhibition explores the rise of the qipao as a symbol of modern Chinese fashion during the mid-20th century, when tailors refined the silhouette using Western dressmaking techniques. Among the highlights are two 1949 versions sewn by Susan Mah herself, made from whimsical mid-century California rayon fabrics that reflect her dual Chinese American identity, and three bold, colorful, 1960s-era graphic knee-length cheongsam shift dresses from the fashionable wardrobe of socialite Aileen Chiang Pei, stepmother of architect I. M. Pei.

The show also touches on historical figures who shaped how Chinese dress was perceived and copied abroad, including Anna May Wong, the Hollywood actress who brought Chinese glamour to the silver screen and into the public consciousness in the 1920s, and the stylish First Lady of the Republic of China, Madame Chiang Kai-shek, who wore a modernized qipao on her 1943 goodwill tour to America and helped raise the visibility of Chinese Americans, including speaking to a capacity crowd at the Hollywood Bowl.

“Fashioning Chinese Women: Empire to Modernity,” June 14–Oct. 12, Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles, CA 90036.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post Hermès’ Nadège Vanhée Shows Her Most Glamorous Collection Yet appeared first on TheWrap.

“Marilyn Monroe: Hollywood Icon” Is Really a Fashion Exhibition, a Good One

It’s the summer of Marilyn, with events around the world celebrating the centennial of Marilyn Monroe’s birth on June 1, 2026, from the Palm Springs lookalike contest featuring 1,037 Marilyns, to Julien’s Auctions’ “100 Years of Marilyn” featuring her Elizabeth Arden “Pink Spark” lip pomade and pink patterned Emilio Pucci blouse among other ephemera.

The “Marilyn Monroe: Hollywood Icon” exhibition, now on view, is part of the broader celebration, with a curatorial focus on how the glamorous but tragic figure shaped and controlled her own image. How much control she actually had remains a matter of debate. But the exhibition offers an impressive array of fashion, from on-screen gowns and jeans to a proto-Skims waist trainer and elegant everyday looks from midcentury Los Angeles brand Jax.

The exhibition is sponsored by Chanel, which supplied a rare 1950s-era bottle of Chanel No. 5 displayed alongside Marilyn Monroe’s famous quote: “What do I wear to bed? Why, Chanel No. 5 of course.”

Monroe certainly knew what she was doing giving that provocative quote to Life magazine in a 1952 interview, adding, “I don’t want to say nude, but it’s the truth.”

The endorsement was not paid, a fact that may surprise modern audiences. Monroe later became a celebrity ambassador for Westmore Hollywood Cosmetics. More recently, in 2013, Chanel collaborated with her estate to use archival recordings of Monroe’s voice in a fragrance campaign.

While Marlene Dietrich and Audrey Hepburn traveled to Paris to collaborate with couturiers on their on- and offscreen looks, Hollywood’s studio costume designers shaped Marilyn Monroe’s bombshell persona, with William Travilla collaborating with Monroe on eight films. Their craftsmanship rivaled anything being done in Europe at the time, as this work demonstrates.

The star of the show is Travilla’s strapless hot pink silk satin gown and gloves, which Monroe wore to perform “Diamonds Are a Girl’s Best Friend” in “Gentlemen Prefer Blondes” (1953). The dress, which has its own gallery, retains its vivid color in person as it appears onscreen. Travilla incorporated felt, boning, ostrich feathers and horsehair to help the garment maintain its shape, and it has held up impressively over time.

Interestingly, it was not the first choice for the scene; Travilla designed a more risqué, Taylor Swift showgirl era-like costume consisting of a bejeweled two piece and bodysuit, which is also on display.

But during the film’s production, Monroe’s nude photos from 1949 surfaced in the press, and the studio thought it best for her to wear something more conservative. She showed them, delivering one of the most seductive performances in Hollywood history even in a more modest outfit.

The Travilla from “The Seven Year Itch” (1955) is also on display — more precisely, a Travilla-made replica of the pleated halter gown famously lifted by a breeze from a subway grate. The look became synonymous with Monroe’s iconic status, later immortalized in a larger-than-life cutout above Times Square.

I was fascinated to learn that early in her career, before achieving financial success, Monroe often borrowed costumes from studio wardrobe departments for her red carpet appearances. 

A gold lamé halter dress made by Travilla for “Gentleman Prefer Blondes” was deemed too revealing and only shown briefly from behind in the film. Monroe had the designer modify it for her to wear off-screen for photos and appearances including the 1953 Photoplay Awards. 

Monroe is often remembered as a pioneer of the “naked dress.” Most famously in audio recordings of her 1962 performance of “Happy Birthday, Mr. President,” when she wore a shimmering sheer Jean-Louis gown, gasps can be heard from the audience. She also helped cement the halter dress as a symbol of glamour and played a role in popularizing denim for women in the 1950s through her on-screen looks in “The Misfits” and other films.

But her style didn’t always find favor with the press. In 1951, a prominent female newspaper columnist publicly called Monroe “cheap and vulgar” for wearing a low-cut red dress to a Beverly Hills Hotel party, writing that she would look better in a potato sack. Monroe took it in stride, asking Travilla to design a potato sack dress for her, and wearing it for a 1952 studio-staged photo shoot. 

Amidst all the sequins and glamour in the show, her personal attire is particularly revelatory, including her waist, jaw and chin trainers, which are among several underpinnings on display that feel a bit exploitative to look at even all these years later.

Her everyday wardrobe reflected what might be described as quiet luxury: curvy but unadorned little black dresses, a green silk jersey Pucci top paired with black pants, and black Ferragamo heels. One look that stood out in particular was a ballet-pink silk jersey dress with a full chiffon skirt that felt remarkably modern-looking and brought to mind Alaïa.

It was by Jax of Beverly Hills, which dressed much of Hollywood at the time in second-skin slacks, knitwear and jersey dresses defined by a casual elegance. Jax was one of Monroe’s favorite stores and among the first to showcase Rudi Gernreich’s designs.

Monroe also turned to Jax for the silk pajamas she wore in “The Seven Year Itch” (1955), which are also on display and remain strikingly chic today.

In her last interview, in July 1962 with Life magazine writer Richard Meryman, published in full in the new book “Marilyn: The Lost Photographs: The Last Interview” (Weldon Owen), Monroe spoke thoughtfully about her approach to style and fame.

“Normally I just wear whatever, but when I’m in a crowd and I’m going to be recognized, I’m more careful the way I dress,” she said at the time. “I mean, more carefully dressed for the occasion. There are certain times I feel that the public should see me at my best. I’m not going to go running around like a dog. I feel I wouldn’t want to let anybody down and I wouldn’t want to disappoint them. Fantasy is important for people, and so I think in that way.

“Sometimes wearing a scarf and a polo coat and no makeup and with a certain attitude of walking, I go shopping or just look at people living. But then, you know, there will be a few teenagers who are kind of sharp, and they’ll say, ‘Hey, just a minute. You know who I think that is?’ And they’ll start tailing me. And I don’t mind. I realize some people want to see if you’re real.”

“Marilyn Monroe: Hollywood Icon” through Feb. 28, 2027 at the Academy Museum of Motion Pictures, 6067 Wilshire Blvd, Los Angeles, CA 90036.

Marilyn’s Beauty Regimen Inspires New Skincare Brand

Marilyn Monroe continues to influence fashion and beauty, as seen in the launch of Icon Skincare, a new brand inspired by a piece of memorabilia acquired by Hollywood collector and beauty executive Bryan Johns, founder and president of iS Clinical, a brand popular among A-list clients.

Johns and his business partner, Alec Call, launched the venture with a Marilyn Monroe 100th birthday celebration at the Academy Museum on Monday night.

The direct-to-consumer brand was born after Johns discovered Hollywood’s Golden Era esthetician Madam Renna, who treated the faces of Monroe, Clark Gable, Ava Gardner and Elizabeth Taylor, among others.

Renna was known for her custom formulas, her husband Dr. Campbell’s “bloodless facelift” technique, and her signature use of royal jelly, all of which have been incorporated into Icon Skincare’s formulations.

The nine-piece collection features cleansing, resurfacing, hydration and brightening products with signature blends of sustainably sourced botanicals, antioxidants and acids, with royal jelly playing a prominent role to nourish the skin and offer a radiant glow.

Johns began exploring Renna’s legacy after noticing the beauty pioneer’s name on a signed Monroe photograph he acquired at auction, on which Monroe wrote, “To Madam Renna, thank you for what you’ve given me, your work and your interest.”

He later learned that it was Renna who helped refine Monroe’s chin enough to satisfy director John Huston, leading to her casting in “The Asphalt Jungle” (1950), her breakout film. Renna reportedly treated Monroe from the late 1940s until Renna’s death.

Among the same box of ephemera Johns acquired was a notebook containing Renna’s formulas. “That’s what started it,” he said of the journey to develop Icon Skincare, which does not use Monroe in its marketing beyond the origin story.

As he told the Marilyn-dressed crowd gathered for cocktails on the Dolby Family Terrace—including Dita Von Teese, January Jones, Sharon Lawrence, celebrity facialist Shani Darden and makeup artist Gregory Arlt—the brand is “about how an icon like Marilyn Monroe can inspire us to discover and reveal icon energy inside.”

Icon Skincare, $32 to $68,  is available exclusively at iconskincare.com.

East Coast Prep Meets West Coast Skate at Noah

Design power couple Brendon Babenzien and Estelle Bailey-Babenzien have opened an L.A. clubhouse for their brand Noah.

Located in the Sycamore District, a retail hotspot already home to Nili Lotan, Jacques Marie Mage and Just One Eye, the 5,000-square-foot space marks the New York-based brand’s fourth store and its first on the West Coast. Accessible via an alley off Sycamore Street and tucked into a courtyard shared with the Jeffrey Deitch Gallery, the new location reflects Noah’s blend of seaside style, Ivy League prep, skate culture and surf influence, with an emphasis on community.

“To a young kid dealing with cold weather, rain and snow for chunks of the year, it looked like the streets were paved with gold,” Babenzien, who grew up in Long Island, N.Y., said of his early perception of California. “Every magazine was featuring skaters and surfers in California. All of what California was offering us got absorbed, compounded and layered on top of a basically preppy, and sometimes punk, sometimes hip-hop style, defining a new Northeast attitude.”

That collision of influences has long defined Noah, the label Babenzien launched with his wife, Estelle, in 2015 after spending more than 15 years as design director at Supreme. (He also spent five years as creative director of J.Crew menswear before departing the brand in February.) Estelle brings plenty of design experience of her own, from working with Donna Karan on her Madison Avenue flagship to designing Adrian Grenier’s brownstone.

She was responsible for the interiors, with architectural direction from Studio Murnane, translating Noah’s easygoing style into a chic space that invites visitors to linger. The design features a custom Blue Island piece by Shin Okuda of Waka Waka; lighting by Estudio Persona; wallpaper created by Graham & Brown and artist Kate Berry; rugs by Salam Hello; and fitting room curtains made from UK Sailmakers sails.

There is a full kitchen, a Sony-sponsored screening area and soundstage, and an in-store skate bowl designed by Machine Histories.

I stopped by on Saturday, and while no one was shredding, plenty of people were shopping Noah’s collection (priced from $22 to $1,598), which includes colorful Oxford button-downs, seersucker tailoring, rugby shirts, Japanese-crafted denim, chinos, madras windbreakers, board shorts and soft tees. Among the highlights were a limited-edition chain-stitched “Los Angeles” T-shirt created for the opening and another featuring a graphic of the California quail, the state’s official bird. Also on offer were maritime-themed knickknacks, Noah sneaker collaborations with Converse and Catch Ball, and sharp-looking Noah x Timex Moon Phase watches.

Noah, 911 N Orange Dr., Los Angeles, CA 90038.

Catherine Opie’s Cool Blue Period

As the summer weather heats up in L.A., gallery-goers will find a cool respite at Regen Projects in Catherine Opie’s new exhibition of photographs, “Holding Blue.”

The show features the L.A. artist’s recent works capturing Norway’s dramatic landscape bathed in the deep blue light that envelops the Arctic Circle during the polar winter.

Opie road-tripped through the region in early 2024 in search of the phenomenon known as “blue hour,” which she depicts in a series of large-scale photographs titled “Norway Mountains.”

The images capture unfiltered light in countless shades of blue, contrasted with craggy earth and glassy ice in what Opie describes as “a meditation on environmental fragility.” Her experience of Norway’s fjords, structures and everyday scenes is also documented in other works on view.

Opie describes her photographs of Norway’s mountains as portraits, developed through extended observation, with the artist spending days with each peak before making an image. The resulting works capture the many shifting moods of the landscape.

The majesty at the edge of the world is humbling, as are the scenes of life amid the frozen isolation. “Circle of Ice,” which features tiny huts lit from within and perched on a precarious swirl of ice, calls to mind the transient Minnesota communities depicted in Opie’s 2001 “Icehouses” series.

There are variations on color, including “Munch Sky,” which features a dramatic red sunset reminiscent of the skies in works by Norwegian artist Edvard Munch, including “The Scream.”

This is one of five exhibitions focused on Opie this year. Her work is appearing simultaneously across Europe, with a career-spanning survey at London’s National Portrait Gallery set to travel to Edinburgh’s Royal Scottish Academy, alongside exhibitions opening in Kassel, Germany and Trondheim, Norway.

“Holding Blue,” until July 3 at Regen Projects, 6750 Santa Monica Blvd., Los Angeles.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post ‘Marilyn Monroe: Hollywood Icon’ Is Actually a Fashion Exhibition – a Really Good One appeared first on TheWrap.

Sir Paul Smith and Gabriela Hearst Launch Dreamy Collab in L.A.

Fashion designers Sir Paul Smith and Gabriela Hearst have a similar always-on energy, infectious enthusiasm and commitment to doing the right thing, not to mention their common love of tailoring and color.

So it made perfect sense when the two announced they were collaborating on a limited-edition collection, which they launched last week with a dinner soirée in L.A.

After being introduced by mutual friend Wesley Schultz, lead singer of the folk band The Lumineers, the designers first became pen pals.

“He has the joyfulness of a kid and the humbleness of a great,” Hearst said of Smith. “I’ll text him and he’s at the shop on a Saturday. Once a shopkeeper, always a shopkeeper.”

When she suggested they work on something together, Smith’s first thought went to his father Harold’s photographs, which he credits with giving him a lifelong appreciation for detail that has served him well since launching his brand in 1970. Hearst was keen on the idea and eager to tap into Smith’s process of photo-printing on fabric, which he pioneered in the early 1990s.

She visited him in London at his famed studio and personal cabinet of curiosities, chock full of toys and oddities in every square inch. “People send him things from all over the world because he’s just so cool,” she said.

There, the designers settled on two landscape photographs of the British countryside from the 1950s and ’60s — a mountain and a waterfall — translated in brilliant ombré color onto tailoring, slip dresses, Nina bags and hand-knit sweaters by Manos del Uruguay, the nonprofit cooperative supporting economic independence for women in rural communities that Hearst frequently works with.

It was Smith’s idea to launch the collab in L.A., where the Instagram-famous pink wall outside his Melrose Avenue boutique is a bona fide local landmark and his fanbase of Hollywood celebrities and stylists runs deep.

“You’ve got to sit down now, it’s the law,” he joked, helping guests to their seats on the terrace of Penthouse 64 at the Chateau Marmont.

A starry group of creatives came out for the dinner, including John Boyega, Diplo, Mamie Gummer, Jessica Alba, Quinta Brunson, Edward Norton, Quannah Chasinghorse, Tom Parker Bowles, Sean Baker, Michael Stipe, Warren Alfie Baker, Jeanne Yang, Paul Smith executive chairman Ewan Venters and Gabriela Hearst president Michelle Cohen. And the lucky ones were wearing pieces from the collab.

“Cheers to this lady! And to me!” Smith said, toasting the group. “Steal the napkins!” he added, referring to the keepsakes with similar ombré patterns to the collection.

Over dinner, the conversation touched on the Greater Together L.A. summit earlier in the day, which brought together British leaders representing 230 companies in an effort to grow trade between the U.K. and U.S. (Paul Smith was one of the speakers). There was also chatter about Cannes, where juror Chloé Zhao wore several looks by Hearst. The director has become something of a muse to the designer, who said, “Things that move her are the same things that move me.”

Fashion Hits the Hollywood Walk of Fame

It’s not often that a fashion designer hits the Hollywood Walk of Fame, which is why I did a double-take when I saw Donatella Versace introducing Miley Cyrus at her star induction ceremony last week.

“A fighter, a rebel and a force for good,” Versace said of Cyrus, her friend, who has often worn her designs on the red carpet. “You champion kindness and equality and you are one of the hardest working people I know … Just remember if any of you step over Miley’s star, do it with attitude and of course major heels.”

Anya Taylor-Joy also spoke about Cyrus, adding, “She challenged the rules, rewrote them and, every once in a while, set them on fire in a teddy bear costume.” (She was referencing her infamous 2013 VMAs performance.)

“My name is laid in gold and pink terrazzo, and it’s fierce, and it’s fun, and it’s fabulous,” Cyrus said. “And I’m in Versace hand-picked from the atelier archives by Donatella herself, which makes it even more fun, and even more fierce and even more fabulous.”

The ladies brought the glam for the afternoon event — and two major archival fashion moments, as it turns out. Cyrus wore a spiderweb lace gown from Versace’s Fall 2015 collection, which had previously been worn by Heidi Klum at the amfAR Gala in Milan that year.

And Taylor-Joy wore a crystal-and-white satin bugle-beaded fringe halter gown from Bob Mackie’s 1990 resort collection.

The confluence of Versace and Mackie got me thinking about why Edith Head and Ruth E. Carter are the only designers with stars on the Hollywood Walk of Fame. Undoubtedly, Mackie has earned his spot, with more than 60 TV and film credits as a costume designer for Cher, Carol Burnett, Elton John and many others, as well as his eveningwear collections. I’d argue that fashion designers such as Versace and the late Giorgio Armani deserve recognition, too. Time to get those nominations going.

Louis Vuitton Cruises Into The Frick

After Gucci took over Times Square, Louis Vuitton chose an equally impressive, if much more gilded locale to show its Cruise 2027 runway collection: New York’s Frick Museum.

Reopened last year after a $220 million renovation, the museum has a stunning collection of Old Master paintings, which provided the rich backdrop for creative director Nicolas Ghesquière’s tale of two cities: Paris and New York.

Icons of American style were on parade, including jeans, jerseys, leather and sneakers, alongside groovy pieces made in collaboration with the late New York pop artist Keith Haring. (The collection’s key inspiration was a vintage Louis Vuitton suitcase graffitied by Haring in the 1980s.)

Travel is in the DNA of Louis Vuitton, and Ghesquière is known for time-traveling through different eras and sensibilities in his runway collections. Here, it was downtown-meets-uptown in both setting and substance, with graffiti-style lace, tweed lady suits reworked into shorts suits with a skater vibe, and tooled leather jackets paired with tulle skirts. Accessories were standouts, including LV monogram boxing gloves, Chinese takeout box bags and ruff collars reimagined as capes.

The next U.S. runway stop? Back to L.A. again on June 4, for the second chapter of the Hermès Fall 2026 women’s collection.

Yoko Ono Gets Her Due

For decades, Yoko Ono’s identity was too often overshadowed by her proximity to John Lennon, and she was often cast more as a muse than as the pioneering conceptual artist she has always been. “Yoko Ono: Music of the Mind,” open through Oct. 11 at The Broad, is a long-overdue correction.

The show restores Ono, 93, to the center of her story, tracing her work in shaping avant-garde, performance and participatory art over the past seven decades.

Her experience as a young girl in the World War II-ravaged Japanese countryside, hungry and seeking mental escape, was formative, curator Sarah Loyer asserts. Yoko Ono created a game with her brother, Keisuke, in which they lay on their backs, looked up at the sky and “exchanged menus in the air.” That experience inspired her belief that making art should not be limited to trained artists in studios but can be created in the minds of everyone.

What makes the exhibition so incredible is how contemporary Ono’s themes are and how her works continue to resonate. Across decades, her art has confronted war, displacement and human vulnerability in ways that feel strikingly relevant amid current global conflicts, refugee crises and the politicization of women’s bodies.

Ono’s “Instruction Paintings” transform viewers into participants through printed instructions that become communal rituals and acts of reflection — including, according to the exhibition text, Isamu Noguchi, whom she amusingly recalls stepping on her “Painting to Be Stepped On” while wearing a pair of elegant zori slippers. (In New York in the 1950s, Yoko Ono was part of an avant-garde circle that included the artist and others such as Marcel Duchamp, Robert Rauschenberg and Peggy Guggenheim, who gathered to share and take part in each other’s works.)

These calls to action — to imagine, to mend, to shake hands — were experiential long before they became a buzzword and are particularly powerful today as invitations to slow down, dream and engage. Other works similarly ask visitors to draw, hammer, collect and write recollections.

The exhibition also explores Ono’s role as an early feminist artist. Watching the 1965 film of Yoko Ono’s “Cut Piece” at Carnegie Hall, filmed by David and Albert Maysles, was emotionally charged in a communal setting. On stage, she wears her best suit while audience members take turns cutting away pieces of her clothing, casting us, the viewers, as voyeurs and witnesses to her vulnerability and exposure.

Throughout, “Music of the Mind” demonstrates how Ono’s art was about activating people, which she is still doing with digital billboards featuring her messages of peace that are appearing across Los Angeles. Her invitation to participate emotionally, politically and in community feels more necessary now than ever.

Yoko Ono: Music of the Mind, through Oct. 11, The Broad, 221 South Grand Avenue, Los Angeles.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post Donatella Versace Turns Miley Cyrus’ Hollywood Walk of Fame Ceremony Into a Mega Fashion Moment appeared first on TheWrap.

Boots Riley’s Brilliant Fashion Film Has Killer Costumes and a Rebel Heart

“I Love Boosters” is the indie style antidote to “The Devil Wears Prada 2’s” luxury brand bonanza – and with better costumes, thanks to the brilliance of director Boots Riley and costume designer Shirley Kurata, who was Oscar-nominated for “Everything Everywhere All at Once.”

Opening Friday, May 22, from Neon, Riley’s bonkers sci-fi meets social justice film is about a group of boosters (definition: people stealing goods from a store and selling them at a discount price) who conspire to take on a devilish fashion mogul.

To create the film’s color-pop maximalist world, Kurata drew inspiration from iconic Japanese street style book “Fruits,” the Oakland arts scene and the Instagram account UpNextDesigner, and platformed loads of up-and-coming fashion designers on the big screen in the process.

Highlights? A jumpsuit with Stegosaurus spikes specially made by L.A. casual wear brand Big Bud Press; a coat and dress with lenticular blinking eye balls by surrealist L.A. designer/artist Leeann Huang; an on-theme jacket covered in coin purses by London designer Alina Ispas; and a red water spout neckerchief by emerging London designer Selina Kwong.

“I’m a champion for any aspiring designer,” Kurata told WrapStyle. “Their work is so fun. You can’t always use them, but this movie I was able to.”

The stylishly surreal film follows aspiring designer Corvette (Keke Palmer) and her fellow boosters, Sade (Naomi Ackie) and Maria (Taylour Paige) as they steal their way from the storefronts of Oakland to the unethical clothing factories in China.

The story exposes fashion’s greed and hidden truths, and resonates particularly now in light of the real world news this week that sustainable fashion brand Everlane is being acquired by ultra fast-fashion giant Shein, a move that’s being perceived as a slap in the face by its idealistic Millennial customer base,

In the film, Corvette’s hero is Christie Smith, played to perfection by Demi Moore. She is fashion’s gatekeeper as the founder of trendy Metro Designer, which has its headquarters in a wacky slanted building, and dresses its shops (and beleaguered shopkeepers) according to a single monochromatic color scheme.

But as it turns out, Christie is more of a villain, a taker not a creator, and many of her ideas are cribbed from people on the street like Corvette, including one turquoise dress specifically, which when it is discovered touches off the boosters’ revenge plot to right the imbalance of power. 

The boosters hatch a plan to empty out all Metro Designer stores, joined by Jianhu (Poppy Lu), who has arrived from a factory in China where Metro Designer clothes are made by exploited laborers, suffering from health problems because of the harmful effects of sand-blasting.

“Fashion that happens in our neighborhood is absorbed by the fashion industry, then sold back to us at very high prices – so people figure out how to get the stuff they want with much less money,” Riley said in the production notes. “I was thinking about the economy of that and how fashion and art manifests; how people make and consume art while they’re struggling and how communities work together.” 

Indeed, the boosters revel in their personal style, which has a wholly creative DIY charm. To achieve that, Kurata sourced looks from well-known brands like Anna Sui, Rodarte, Thom Browne and Adidas, alongside up-and-comers, including fashion students from Savannah College of Art & Design. She also scoured thrift shops from L.A. to Atlanta for clothes to match the colors of the store sets.

“I had to do two closets, one for the character, and another that was all their disguises,” Kurata said of her approach. “It was important to separate that, and also to distinguish the styles of the boosters. For Corvette, because she’s an aspiring designer, I tried to find pieces that felt like she made them or had a creative twist. Maria is more edgy, more punk in vibe. And Sade being a single mom, I had her more streetwear infused.”

The group disguises, with all four boosters in coordinated outfits, are a joy.

“I had the most fun with those looks,” the designer said. “There were florals and animal prints and anime raver looks. We wanted to do an all polka-dotted theme but we ran out of time.”

Christie, the fashion mogul, is a contrast.

“Since she’s living in this slanted apartment, I wanted to reflect that world with things being asymmetrical and a bit off,” said Kurata of her deconstructed tailoring. “But I also thought it was fitting to have her devoid of color, when all of her designs were full of color. It’s a very fashion thing to do, to dress in black.”

Of course, there’s a runway show scene where hijinks ensue. I only wish it had gone on longer and featured more looks by the SCAD students. Still, there is so much eye candy throughout the film, I wanted to freeze every frame. 

“In a time where they are trying to push AI on us, I hope this showcases human creativity and using real objects and just making it work. Boots even said it’s OK if it’s a little janky,” said Kurata, adding that the director gave her total freedom.

It helps that the filmmaker is a style aficionado.

“We even had a dress-like-Boots day,” Kurata said. “But you can’t compete with the legend himself.”

Cannes’ Best-Dressed 

Cannes juror Ruth Negga and her stylist Karla Welch won Cannes this year, bringing awards season’s black-and-white color story into the now, surprising us with offbeat designer choices (Sacai at a Chopard gala!), retro and modern looks, and incredible hair styles every time.

I loved Negga’s range, from a playful, romantic black lace Saint Laurent peplum gown to the perfect Ami Paris tuxedo with a Gobstopper of Chopard statement ring.

(Ami Paris, the accessible luxury brand founded by French designer Alexandre Mattiussi in 2011, was a sponsor of Cannes’ Critics Week. It’s been in growth mode, priming the pump for U.S. expansion with lots of Hollywood red carpet dressing in recent months.)

Negga was also a great representative for Michael Rider’s Celine, choosing a chic all-white look at the jury photo call, and a white tank gown with retro round sunglasses for the “Paper Tiger” screening.

She dipped into vintage, too, with an Ossie Clark white dress and cape jacket from online vintage emporium Shrimpton Couture, whose founder Cherie Balch wrote on Instagram that Welch snatches up pieces here and there as they land in her shop. (Yes, she buys them.)

“I never know where or who they will land on, or when. Sometimes, it’s on herself and sometimes it’s months and months later on one of her fabulous clients,” Balch said. “Like this moment with Ruth. I have learned to just watch and wait for the magic that she creates.”

Hear, hear.

Chanel Finds Its Edge

Matthieu Blazy’s Chanel hit the Croisette for the first time, and not only did the brand have an edge, with several of its longtime ambassadors in competing films, it found its edge with younger, cooler looks.

To be fair, longtime Chanel ambassador Kristen Stewart has always worn the brand’s clothes with a certain eff-you insouciance. And that continued here when she paired a sheer whisper tweed two piece look fresh off the couture runway with Nike sneakers for the “Full Phil” photo call, and chose a wild-at-heart black-and-red sequin Chanel gown for the premiere.

Riley Keough put her own stamp on one of Blazy’s sheer takes on the iconic Chanel suit, while Sandra Hüller showcased his love of texture in a marvelously spiky feather bolero jacket. I also loved the sweet toughness to the black leather Chanel gown worn by Marion Cotillard, another longtime ambassador. Vive la difference. 

John Travolta’s Dad Style

American treasure John Travolta served up what may have been the most talked-about style statement of the fest, debuting new headgear that agitated internet trolls who accused him of stealing Samuel L. Jackson’s look, among other inane things. 

To me, it was dad cute to make the beret his red carpet signature, appearing alongside his daughter, Ella Bleu Travolta. When in France.

Gucci Takes Times Square

Saturday night in New York. An audacious runway set that turned all of Times Square into a giant Gucci ad. A star-packed cast including Tom Brady, Paris Hilton and Cindy Crawford. Demna pulled out all the stops for his Cruise 2027 Gucci show.

Anyone who has seen the film “House of Gucci” knows that New York played a key role in the rise of the fashion house in the 1980s, when private clients could use a special golden key to enter Gucci Galleria, the space hidden above the Fifth Avenue flagship. 

A video montage on Times Square’s screens celebrated that legacy with a wink, combining found footage with advertisements for real and fake products including Gucci Underwear, Gucci Automobili, Gucci Businesswear, Gucci Gym, Gucci Pets and Gucci Life, reinforcing the idea of Gucci as an identity and a lifestyle.

On the asphalt runway, for his fourth collection, Demna continued to design into his cast of characters, re-envisioning them for the Big Apple. Gucci is an attitude and there was plenty of it here, with the leather daddy, the Upper East Side maven, the downtown It girl, the Wall Street banker and others coming to mind.

Low-slung and baggy denim, sharp tailoring, leather, fantasy furs and fur stoles, Flora patterns and flashes of skin continued to be key motifs, with the iconic Gucci Web stripe showing up as a bandeau top, and the horsebit as a stirrup on boots.

It was provocative, not to mention a spectacle – in Times Square – that doesn’t get much bigger. But clothes-wise, there wasn’t a lot that looked new to surprise and delight. Then again, maybe that’s Demna’s strategy … a steady drumbeat of similar to get customers used to it, loving it, buying it – hopefully?

Luxury Fashion on Steroids

Shopping has never been more competitive. To score the latest runway stunner, more and more, you have to know somebody. Enter Catherine Bloom, L.A. VIP shopper extraordinaire, who jumped ship from Neiman Marcus to Nordstrom last year, taking on the newly created position of Director of Luxury Styling.

Now, she has her own appointment-only studio on Melrose Place, designed by the famed L.A. interior designer Brigette Romanek, no less, with multiple rooms featuring the most fabulous, straight-from-the-runway Dior shoes and bags; boho-chic color-saturated Chloé, Missoni, Gabriela Hearst and Etro; party-ready, sculptural, feather-flocked and beaded looks from Givenchy, The Attico, Dries Van Noten and Alaia; the hottest accessories by Schiaparelli, Bottega Veneta, Roger Vivier and more.

Bloom does her own shopping, stocking merchandise that’s separate from what Nordstrom buys more widely, and takes requests if you’re trying to find something.

“I go with my gut, something that fits my client’s lifestyle, something that they don’t have or something that they do have but it’s a little different. Something that I’m still thinking about the next morning,” Bloom said of her philosophy for shopping for Hollywood execs, stylists and celebrities.

The L.A. fashion community came out to inaugurate the new space and lend their support last week.

“It’s the perfect L.A. boudoir,” said designer Brian Wolk of Wolk Morais, noting that Bloom’s power is such that she regularly sells through their coat deliveries in just a day or two – in L.A.

Designers Bibhu Mohapatra, Ace Harper and Sarah Weinstock were browsing the racks across the four, style-packed Bloom rooms, as was Decades founder Cameron Silver, Carolina Herrera president Emilie Rubinfeld and Air Mail editor Rickie De Sole.

The consensus was that Bloom’s sense of color and curation sets a new bar for L.A. retail, not to mention her love of a diva piece, like the cult favorite Olivier Theyskens feather sweater she was wearing herself.

“She just knows everyone,” said Wolk. “It’s full of the best of the best but feels like a hometown store.”

Catherine Bloom for Nordstrom is open by appointment only Monday-Saturday from 10am-6pm. Clients can make appointments via email or at (323) 602-2201.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post How ‘I Love Boosters’ Became the Best Fashion Film of the Year appeared first on TheWrap.

Dior’s New Golden Age 

“No Dior, no Dietrich!” Marlene Dietrich famously told Alfred Hitchcock and her Warner Bros. bosses while negotiating for the couturier to design her costumes for the 1950 film “Stage Fright.”

She was one in a long line of Hollywood legends the fashion house has glamorized throughout its storied history with cinema, a legacy brought to life in creative director Jonathan Anderson’s resort collection runway show at the Los Angeles County Museum of Art’s new Geffen Galleries on Wednesday night.

The W.M. Keck Plaza was transformed into a studio-worthy set with vintage cars, streetlights, rolling fog and a constellation of stars in the seats. Fresh off wearing custom Dior while headlining Coachella and a Dior dress made from “Sabrina” film strips to last week’s Met Gala, Sabrina Carpenter arrived wearing Look One from the runway show.

From Hollywood bombshells to rebels, Miley Cyrus kept it cool in Dior denim, a recurring theme in the collection and among guests, from fashion editors in jeans to LaKeith Stanfield in distressed denim cargo shorts and jacket.

Mikey Madison, Anya Taylor-Joy, Ejae, Miles Teller, Jeff Goldblum, Jisoo, Tracee Ellis Ross, Lauren Hutton and Greta Lee (with her cute parents in tow) were also dressed in Dior, helping sell the brand’s image to the world in the same way Hollywood stars have since the Golden Age.

Macaulay Culkin and Paul W. Downs were among those representing Anderson’s new New Look jacket, which has proven to be a style statement for men as well as women. 

Al Pacino arrived with his earbuds still in, acting his usual curmudgeonly self. He was one of several memorable sightings in the industry insider-heavy crowd, which included Brian Grazer, Sue Kroll, Sean Baker, Danny Elfman and Ruth E. Carter, alongside multigenerational duos such as Leslie Mann and Maude Apatow; Kimora Lee Simmons and Aoki Lee Simmons; and stylist Elizabeth Saltzman and her son, Charlie Walker, who modeled in the show.

Anderson has his own love affair with Hollywood, having designed costumes for Luca Guadagnino’s films “Challengers” and “Queer.” He built anticipation for the resort collection by sending vintage-style Dior keychains with invitations and releasing a teaser video starring Irish actress Alison Oliver behind the wheel of a car in a scene reminiscent of Alfred Hitchcock’s “Vertigo.”

Oliver’s breakout performance as Isabella Linton in Emerald Fennell’s “Wuthering Heights” earlier this year has her star on the rise, and, like generations before her, Dior is right there alongside her.

Dior Resort 2027: Hollywood Glam Slam

Presented at magic hour, with the sun setting behind the palm trees and moody shadows cast across the walls of the museum plaza, Jonathan Anderson’s first resort collection for Dior was a love letter to Hollywood that managed to avoid the usual clichés even as it paid homage to cinematic history.

Anderson used Christian Dior’s costumes for Marlene Dietrich in the 1950 film “Stage Fright” as a starting point. Her nipped-waist suiting, flower-bedecked garden-party dresses, feathers and furs were present in spirit, but translated into something more modern.

Similarly, many of the more exaggerated shapes Anderson has explored in recent collections, including his first haute couture, were distilled with wearability in mind while still retaining a stylish tactility.

The collection opened with a trio of gorgeous chiffon drop-waist dresses decorated with rosettes, introducing florals as a theme that threaded through everything from a gown blanketed in California poppies to whimsical scarves that resembled veritable bouquets.

Bias cut dresses and long satin sarong skirts were sumptuously draped, sprouting petals, vines, fringe and embroidery, while faux fur robe coats and feathered slipper shoes conjured a starlet’s boudoir.

Dior’s signature sharp suiting was given a new California ease, so that soft tweed blazers featured fraying edges, Bar jackets were more louche and a houndstooth chiffon duster was offered as a covetable new topper.

Building on his Fall 2026 collection shown in March, Anderson offered plenty of denim, ranging from fuzzy textured styles to ripped and crystal-embroidered versions. Fun extras included single dangling crystal mesh earrings and whimsical bird- and bug-shaped minaudières.

Women have been buying and borrowing from Anderson’s Dior men’s collections, and vice versa, making it feel natural to have them co-mingling on the runway. Knit capes evoked Sombr’s glam rock style, flannel coats featured shadows echoing film noir-style Venetian blinds and casual shirting with typography created in collaboration with L.A. artist Edward Ruscha added to the collection’s sense of place.

After Anderson took his bow, guests filed upstairs to enjoy the Geffen Galleries, taking in views over traffic-buzzing Wilshire Boulevard and a brand-new Dior billboard featuring Alison Oliver. It was a scene Ruscha could have created himself.

Cannes for Fashion Watchers

There may not be any major Hollywood blockbusters premiering at Cannes this year, but the kickoff of international awards season still has plenty of stars and major red-carpet moments in store.

Some of what will be worn is dictated by brand ambassador relationships, and in that area, Chanel is poised to score big during the festival. But there are still plenty of opportunities for style surprises, which began Tuesday at the opening-day jury photocall, with Demi Moore in a delightfully dotty custom Jacquemus sculptural bustier dress embroidered with feather confetti, individually dyed, bent and curved by hand. Let the fashion wonder begin.

Here’s what fashion watchers should look out for.

The Jury

As much as I would love to see jury members embrace fashions by designers from their respective countries when selecting the Palme d’Or — with Demi Moore in U.S. designer Thom Browne, Chloé Zhao in Chinese designer Huishan Zhang, and Ruth Negga in Irish designer Róisín Pierce in a dream scenario — that was not the case, at least in the early hours of the festival.

Moore did come out strong, following her daytime Jacquemus photocall look with a custom Jacquemus sequin peplum gown for the opening ceremony, and then a buoyant Gucci draped lilac chiffon gown for the premiere of “La Vie D’une Femme.” (Gucci was a given for at least one, if not more, Cannes carpets, since Moore has a high-profile partnership with the brand, having appeared in Demna’s 2025 Gucci short film and attended the Fall 2026 show in Milan.)

Zhao shook things up at the jury photocall in a sexy Hermès Spring 2026 navy blue slit-front top and skirt before continuing her Gabriela Hearst 2025–26 awards-season streak, wearing a charming black pointelle lace gown from the American designer’s Fall 2026 collection for the opening ceremony.

Meanwhile, Negga looked casually cool in an elegant all-white Fall 2026 look by Michael Rider for Celine during the photocall, then nodded to her Irish roots at the opening ceremony in a custom green fringed Dior gown by Northern Irish designer Jonathan Anderson. Extra points for the killer sunglasses seen so far on the Croisette.

The International Darlings

Both leads in buzzy competition films, Sandra Hüller (“Fatherland”) and Renate Reinsve (“Fjord”), are fashion insider favorites because of their intellectual approach to style. Hüller was the face of a Phoebe Philo campaign in 2024, opened the Spring 2026 Miu Miu show last year in a workwear apron and wore a black Schiaparelli hourglass gown with an exaggerated off-the-shoulder neckline to the Oscars. More recently, she wore Prada to the “Project Hail Mary” premiere in New York, suggesting a possible Cannes red carpet moment for her as well.

Reinsve is a Louis Vuitton ambassador and was among the Oscars’ best-dressed in a striking, minimalist, asymmetrically draped red gown, showcasing her modern approach to fashion.

Let the games begin. 

The Brand Ambassadors

Already riding high on critical acclaim for creative director Matthieu Blazy’s first three collections, Chanel is poised to make an outsize impact at Cannes, with three of its ambassadors — Riley Keough (“Butterfly Jam”), Marion Cotillard (“Karma”) and Kristen Stewart (“Full Phil”) — expected to wear the brand for red carpet appearances.

Louis Vuitton is also set for major moments, with ambassadors Reinsve, Alicia Vikander (“Hope”) and Léa Seydoux (“Gentle Monster”) expected to feature prominently on the red carpet.

Prada ambassador Scarlett Johansson (“Paper Tiger”) and Saint Laurent ambassador Rami Malek (“The Man I Love”) are also ones to watch.

The Newbie

“I Love LA” star Jordan Firstman’s directorial debut “Club Kid” follows a washed-up party promoter who is forced to turn his life around when an unexpected visitor arrives. It is one of the festival’s most hotly anticipated films. Like his character on the Rachel Sennott-led show, Firstman has a quirky personal style rooted in indie fashion labels, including Ludovic de Saint Sernin and Advisry, which he wore to the recent Fashion Trust U.S. Awards in L.A. Naturally, anticipation is high for what he will wear next. His “Club Kid” co-star Cara Delevingne is also expected to dazzle on the Cannes carpet.

The Brand Activations

L.A. wellness leader Alo Yoga is hosting a sanctuary-style retail space and multi-day takeover of the Hotel Martinez pier, in keeping with the brand’s new business strategy of pushing further into the luxury market.

Star stylist Law Roach is partnering with longtime Cannes sponsor Magnum Ice Cream, acting as “Taste Architect” to bring the new Magnum La Pistache and Magnum La Pêche to the beachfront activation.

Chopard continues its run of crafting the Palme d’Or and bedazzling guests as an official Cannes partner, while the festival wraps with the premier fashion-focused charity event, the amfAR gala on May 21 at Hotel du Cap-Eden-Roc.

The Must-See Fashion Film

Fashion’s fixation on archival glamour should find a compelling reflection in Ron Howard’s documentary on Richard Avedon. The director — whose previous subjects have ranged from the Beatles to Luciano Pavarotti — now turns his attention to the legendary photographer whose vision helped define modern fashion imagery across six decades at Harper’s Bazaar, Vogue, and The New Yorker.

For fashion audiences descending on the Croisette, “Avedon” will contextualize the photographer’s enduring influence, drawing on his personal archives, behind-the-scenes footage and interviews with collaborators. Known for bringing movement, emotion and psychological intensity to his work, Avedon transformed static portraiture into something cinematic and alive, producing such memorable images as “Dovima With Elephants” (1955) and “Nastassja Kinski and the Serpent” (1981).

Gehry at Gagosian

Fish were a recurring motif in Frank Gehry’s work, influencing not only his sculptures but his architecture, including the silvery, undulating shape of Walt Disney Concert Hall in downtown L.A.

On May 14, Gagosian Beverly Hills will open the first exhibition of Gehry’s works since his death in 2025, focusing on the animal forms that animated his art. 

Organized in collaboration with Gehry’s family and designed by his studio, the show demonstrates how he achieved fluidity of movement even while using industrial materials.

Among the highlights are “Bear with Us” (2014), a life-size sculpture rendered in gleaming faceted steel that looks impossibly soft, evoking crumpled foil despite its monumental weight. The work later inspired a Louis Vuitton clutch designed by Gehry in 2023, underscoring his fluidity between art and commercial design throughout his career.

“Untitled (Black Crocodile New York)” (2023), made from Formica, silicone and LED lights, transforms industrial materials into something tactile and whimsical, while “A Pair of Snake Lamps” (1989) combines gouache-painted papier-mâché with illumination, blurring the line between sculpture and functional object.

Central are Gehry’s celebrated fish sculptures, including “Fish on Fire” (2023), the final fish he created before his death. For Gehry, the fish was a “perfect form,” a motif that continues to be echoed in the sweeping curves and metallic surfaces of the soon-to-open Guggenheim Abu Dhabi.

The exhibition also includes ten works on paper in ink, watercolor and acrylic, where fish emerge through energetic black lines and bursts of color. Altogether, the show reveals a creative language rooted in movement, material experimentation and an enduring fascination with organic form.

Frank Gehry, May 24-June 27, Gagosian, 456 North Camden Drive, Beverly Hills.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post Dior’s Hollywood Glam Slam at LACMA Spotlights the Luxury Brand’s New Golden Age appeared first on TheWrap.

The Met Gala’s Biggest Trend Was Money

The arts have always been about money. In fact, it’s doubtful we’d have museums at all if it weren’t for tycoons — oil (J. Paul Getty Museum); railroad (Metropolitan Museum of Art); luxury retail (Fondation Louis Vuitton); entertainment (Geffen Galleries at LACMA) — and on and on. And sad as it is, I sincerely doubt any of these patrons of the arts made their money while always upholding fair labor practices and social progressiveness.

And yet, this year’s Met Gala at the Metropolitan Museum of Art became a flashpoint for a heated conversation about our current-day tycoons, the very unfashionable tech titans who footed the bill for the night.

With Amazon founder Jeff Bezos (who skipped the red carpet) and Lauren Sánchez Bezos serving as honorary chairs and lead sponsors, donating $10 million, the “Tech Gala,” as it has been dubbed, became a symbol of wealth inequality. The association of fashion’s biggest night with Amazon’s sketchy labor practices and Bezos’ Trumpy political donations became a hot-button issue in recent weeks, prompting comparisons of the gala to “The Hunger Games,” counterprogramming by labor activists and Zohran Mamdani, and the arrest of an Amazon protester who briefly broke through the barricades on Monday night.

The most, and perhaps only, political fashion statement on the Met Gala red carpet, however, was Sarah Paulson’s fraying smoke-gray debutante gown, which she wore with a dollar-bill mask over her eyes, a literal comment on being blinded by money, designed by Matières Fécales, the avant-garde Paris fashion label that took aim at the One Percent in its Fall 2026 collection.

Now that dress, mind you, was from a haute couture collection, so it’s really an inside joke. Because who’s going to wear couture other than the One Percent?

The night also brought an astounding display of wealth, from Lauren Sánchez Bezos’ 30-carat diamond engagement ring to the Queen of Kalahari, a $50 million Chopard diamond necklace worn by co-chair Beyoncé, who is herself a billionaire. The biggest mystery was how these women, and others, could have so much money and still look so mediocre.

But back to the controversy. Let’s not forget that the tension between art and the economic resources required from patrons and corporate sponsors for it to be made and seen has always existed, from the Renaissance-funding Medicis to the Gilded Age robber barons to the oligarchs of today. And corporate sponsors, which for the Met Gala included the Bezoses, Meta, OpenAI, Snap, Spotify, Instagram and Saint Laurent, are a necessary evil for the survival of media — and fashion — in 2026. One only has to watch “The Devil Wears Prada 2” to know that.

What was the Met supposed to do? Turn down their money? Not create a better gallery space for the country’s finest historical fashion collection? At least the tech titans finally stepped up and spent money on something enriching to humanity rather than tearing it apart.

Although some stars stayed away, the event opening the new exhibition “Costume Art” raised a record $42 million for the museum’s Costume Institute. It attracted celebrities from every corner of culture interpreting the “Fashion Is Art” dress code, from Madonna in a Philip Treacy shipwreck headdress and ghostly Saint Laurent gown, with a retinue of helpers carrying her train referencing Leonora Carrington’s 1945 painting “The Temptation of St. Anthony,” to Olympic skier Eileen Gu in an Iris van Herpen dress performing performance art by blowing its own bubbles, to artist Amy Sherald in a striking polka-dot Thom Browne look inspired by the one in her own 2014 painting, “Miss Everything.”

It’s too bad the Vogue livestream and E! Entertainment television coverage were both so abysmal. (If the Met Gala is meant to be taken seriously, its live coverage should really be better.) Very few of the talking heads or celebrities seemed to have done enough homework to speak intelligently about their looks and inspirations.

When it came to the dress code, interpretations were mixed. Most looks veered more fashion than costume, with a few exceptions. Heidi Klum’s kooky foam-and-fiberglass look, mimicking the Met’s marble statue “The Veiled Vestal” (1847) by Italian artist Raffaelle Monti, could just as easily have been worn at her annual Halloween party. However, kudos to her not only for doing her homework and being able to explain the look on the livestream, but also for actually wandering the Met itself looking for inspiration.

The dressed body in all shapes and sizes as the foundation of much of art history is one of the exhibition’s overriding themes. But on the red carpet, other than Bad Bunny sporting prosthetics to transform himself into “Old Bunny,” the dressed body was mostly surgically enhanced, smoothed, and lifted to ageless perfection. No wonder Mounjaro-maker Eli Lilly bought in as a Vogue livestream sponsor.

Designers, Artists and Body Mods

In addition to tech titans, fashion houses bought tables and dressed their famous guests, often with fine art and artists in mind. Here are some of my highlights.

The Insider Edge

Of all the designers, Thom Browne may have won the night. He is particularly well positioned to excel with Met Gala looks because he has an in: his partner is Costume Institute head curator Andrew Bolton. But his dramatic silhouettes, lavish embellishments, and sense of play worked especially well this year, including on Chase Infiniti’s spectacular embroidered trompe-l’œil dress inspired by the Greek statue “Venus de Milo.”

Fully embroidered using over 1.5 million stacked sequins, it had tiered silk fringes in more than 600 different colors, layered to mimic brushstrokes. Fashion as art, for sure. Thom Browne managed to dress his guests, Dwayne Johnson, Olivia Wilde, Finn Wolfhard, Marcello Hernández, Bill Skarsgård, Lindsey Vonn, Adut Akech, Skepta and KUN, with just as much thoughtfulness and attention to detail.

Self-Referential

Anthony Vaccarello, creative director of Saint Laurent, was a co-chair of the gala, and the brand’s decades-long history of collections paying homage to artists — Piet Mondrian, Pablo Picasso, Claude Lalanne, Henri Matisse and others — made it a natural choice for dressing guests.

One of the best was Hailey Bieber, who also did her homework, citing metalworker Lalanne, who inspired her 24-karat gold corset, and Saint Laurent’s affinity for blue as references in her strong look.

Classic Studies

Dior leaned into the classics to gorgeous effect, with Naomi Watts a veritable still life in a black satin dress with an outward-projecting skirt embroidered with fabric flowers, and Sabrina Carpenter wrapped in “Sabrina” film strips in a delightful nod to her name and the movie.

For his first Met carpet, Matthieu Blazy’s natural artistry and love of craft made Chanel shine, from Nicole Kidman’s glossy red, feathery gown to Gracie Abrams’ gilded, collage-inspired look based on Gustav Klimt’s work.

Multidisciplinary Art Deco-era artist Erté and his flair for theatricality were apropos inspirations for Alessandro Michele at Valentino, who dressed Tyla like an exquisite peacock, drawing on one of his favorite motifs.

Goddess Pose

Using one of the most enduring motifs in art history as his spark, Zac Posen transformed Kendall Jenner into the goddess Nike, inspired by the famed Hellenistic sculpture “Winged Victory of Samothrace,” wearing a twisted jersey gown by Gap Studio.

Ciara was rock ’n’ roll regal as a modern-day Queen Nefertiti in a gold gown by Greek designer Celia Kritharioti, with a dramatic neckpiece and crown. The Egyptian queen is depicted in several artifacts at the Metropolitan Museum of Art.

Body as Canvas

Emma Chamberlain collaborated with Miguel Castro Freitas, creative director of Mugler, and artist Anna Deller-Yee to hand-paint her dress, one of the best of the night, which deserves a place in a museum exhibition itself.

I also loved Rachel Sennott in a custom Marc Jacobs look inspired by the geometric, color-blocked and dot-covered artworks of conceptual artist John Baldessari. The comedian added a bit of performance to her red carpet turn, blowing a bubble with her gum to add another dot to the red carpet canvas.

Kim Kardashian tapped British pop artist Allen Jones for her orange fiberglass body plate. Jones and Kardashian seem like a good match; he is known for his fetishistic representations of the female form, including a 1969 furniture series that sparked debate about female objectification. Enough said.

The Male Form

Although the men’s looks weren’t the strongest, Connor Storrie was Adonis-like in a Saint Laurent halter top with a train and a stunner of a Tiffany & Co. brooch, while Colman Domingo’s harlequin look was equal parts Valentino and Picasso.

Breakout Performance

London-based couturier Robert Wun may not have been a household name before, but after this Met Gala, he should be on his way. The independent designer created eight jaw-dropping avant-garde looks, including Naomi Osaka’s dramatic coat dress sliced open with red feathers evoking exsanguination. The piece featured 659,000 stitches of embroidery and thousands of faceted Swarovski crystals in four shades of red, totaling over 3,280 hours of handwork, “illustrating the human anatomy, needle by needle, crystal by crystal.”

Jewels Unboxed

At the 2026 Met Gala, jewelry was as theatrical as everything else, with stars using it to amplify their looks, sometimes as part of their clothing.

Emily Blunt accented her black Ashi Studio gown with ropes of Mikimoto pearls, while Sabrina Carpenter attached Chopard diamonds to her Dior dress, worn with a glittering headpiece with “Sabrina” written on its center stone.

Following the awards season trend, statement necklaces continued to dominate, with Rosé’s winged Tiffany & Co. choker echoing the bird motif on her Saint Laurent dress, and Jisoo accessorizing her garden-inspired Dior look with a Cartier choker from 1905 sewn onto pink velvet.

Others made avant-garde statements. Accenting her whirling metal Margiela couture gown with copious diamonds from Briony Raymond, Dyne and Fred Leighton, Rihanna and hairstylist Yusef Williams also tasked jeweler Jennifer Behr with creating silver hair coils for a crown. Puerto Rican singer Rauw Alejandro embraced the face jewelry trend with a silver ear cover and nose clip by Yaaqee Studio.

A Fragrance With Musical Notes

Argentinian luxury fragrance house Fueguia 1833 marked the opening of its new South Coast Plaza boutique this week with a performance by Oscar-winning composer Gustavo Santaolalla and the launch of Ronroco, a fragrance inspired by the traditional 10-string Andean instrument that is a signature element of his music.

Santaolalla, an Andean folk music preservationist, Hollywood composer and pivotal figure in L.A.’s Latin rock music scene, approached Fueguia founder Julian Bedel about collaborating, and the resulting scent translates the ronroco’s warm woods and resonant character into an olfactory composition built around copal, Oud Chaco and Salvia del Monte.

“The cedar and spruce embody the warmth of its wooden body, while the resins connect the earthly and divine, echoing the sacred vibrations of each note,” said Gustavo Santaolalla, who won Academy Awards for Best Original Score for “Brokeback Mountain” and “Babel” and composed the score for HBO’s “The Last of Us.”

After studying art and music, Bedel launched his fragrance brand in Buenos Aires in 2010, developing small-batch scents with rare botanicals and rooting the fragrances in South American culture. (He worked with Uruguayan-American fashion designer Gabriela Hearst to develop her fragrances.)

When Santaolalla approached him, Bedel was already working on a project analyzing and replicating the scent of famed Stradivarius violins, which will culminate in a $30,000 fragrance launching later this year. “There’s a scientific element to the smell of instruments. Besides being beautifully built, they carry a certain mojo. The smell triggers something in your brain that makes you play better. That’s why there’s this passion for vintage instruments,” explained Bedel, who plays guitar himself.

He applied the same science to distill the essence of the ronroco, creating a creamy, resinous wood perfume with aromatic herbs.

Fueguia releases about four to five fragrances a year and has 16 stores worldwide, with another Southern California location in the works on Melrose Place in L.A.

Fueguia 1833, 3333 Bristol St Suite 1603, Costa Mesa.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post The Met Gala’s Biggest Trend Was Money – but It Didn’t Always Buy Style appeared first on TheWrap.

The Devil Has Heart

In 2026, the devil no longer wears Prada. The devil wears Allbirds, or some other fashion-techy brand. Because in “The Devil Wears Prada 2,” opening Friday, it’s not Miranda Priestly but the masters of the online universe who are the villains.

The long-awaited sequel starring Meryl Streep as the all-powerful Runway editor and Anne Hathaway as her former assistant, has a lot of heart. A lot. But it’s not exactly a comedy, at least not for those living through the current media apocalypse and tech world domination.

Twenty years later, the new film reflects a generational change. Fashion is no longer the bitchy, entitled clique it once was. Internet culture is. And it is the online backlash to a Runway story about a Shein-like fast-fashion company, and the failure of that story to acknowledge labor abuses, that lands the magazine in hot water. Just hours after being laid off from her newspaper job, Andy Sachs (Hathaway), now a respected journalist, is called to the rescue as the new features editor.

The plot revolves around her effort to restore Runway’s journalistic integrity while at the same time driving almighty web traffic with content people want to read while they go to the bathroom (welcome to it), and Miranda’s effort to save Runway from being sold to Benji Barnes (Justin Theroux), a Jeff Bezos-like character.

What Andy encounters when she returns to the top of the glossy media kingdom is very different than before: Fashion is now self-aware and inclusive, and office bullying is out of style. Which, it has to be said, makes for fewer funny tirades and zingers than the first film, though it is hilarious watching Miranda struggle to hang up her coat and stumble over the words “body positivity.”

In the new world, it’s no longer creatives who call the shots, not in media or Hollywood. It’s budgets and advertisers. To that end, I was worried the film was going to have so many brand integrations it would feel like a giant ad buy. (For that, you can check out the clever print edition of Runway magazine published as a promo for the film, if you can get your hands on one.)

Dior, Dolce & Gabbana and Tiffany & Co. all make sizable appearances in the film and play a part in the story. Valentino and Coach are name-checked. There are cameos by Marc Jacobs and Donatella Versace. But overall, names and logos don’t hit you over the head the way you might expect from a much-anticipated fashion film follow-up.

Molly Rogers’ stellar costumes reflect fashion’s great casualization, with Andy embodying a stylish bohemian writer in chic denim and menswear vests, carrying a beat-up Coach briefcase for office attire, and wearing a colorful Gabriela Hearst dress and Toteme pajama set for a Hamptons jaunt. Miranda herself can even be seen wearing, gasp, sneakers in one scene.

Don’t fear, though, she also rocks plenty of diva looks, including a scene-stealing tasseled Dries Van Noten jacket, a red Balenciaga ball gown and an Armani Privé crystal-studded coat from Giorgio Armani’s final collection. Emily Blunt also has some fun fashion moments in Dior.

There’s a nod to Gen Z’s love (and reality) of resale, with a thrifted Margiela look mentioned prominently by Miranda’s current first assistant. The cerulean blue sweater is also back (kind of), and this time Andy is owning it.

Milan, not Paris Fashion Week, takes center stage. And in a case of life imitating art, after it was in L.A. at Paramount Studios last year, the next Vogue World fashion show extravaganza will take place in Milan in September and will likely look somewhat similar to the Milan gala scene from the film.

The lead-up to the release has featured several cross-promotional moments, with Anna Wintour and Anne Hathaway taking the stage at the Oscars together and Wintour posing with Meryl Streep for the May cover of Vogue. That, too, is telling of the state of media: that the powerful editor now needs the film that skewered her more than ever for cultural relevancy and survival — and that she is willing to make fun of herself to an extent.

Big tech may be the enemy of fashion in the film, but it is also the benefactor, as in real life. With the Bezos comparison to the Benji Barnes character, people will be paying even closer attention at the Met Gala Monday as Jeff Bezos and Lauren Sánchez Bezos co-host alongside Wintour, doing nothing to dispel the persistent rumors that they could be looking to buy Vogue parent company Condé Nast.

The event marks the opening of an enormous new fashion gallery at the Metropolitan Museum of Art, with pride of place near the grand entrance instead of in the basement where it has long languished, a huge achievement for Wintour. Millions of dollars will be raised, and the unparalleled celebrity-fashion parade will mean page views shoot up not only for Vogue but for nearly every other fashion publication on the planet covering the event. “The Devil Wears Prada 2” may just help keep them there for a little longer.

Chanel Resort Collection Dazzles

The Chanel Cruise 2026–27 collection set sail in Biarritz on Tuesday, with Nicole Kidman and Marion Cotillard wearing little black dresses to mark the 100th anniversary of Coco Chanel’s trailblazing style, and A$AP Rocky accessorizing his pink quilted bag with matching pink Chanel baby shoes made for his newest child, Rocki Irish Mayers.

Creative director Matthieu Blazy delivered another dynamite runway show, this one in a location paying homage to the roots of the couture house, which Chanel established in the seaside hotspot of Biarritz in 1915 following her success as a milliner in Paris, Deauville and Monte Carlo.

Traditional (and adorable) 1920s-era bathing caps, Basque stripes, novelty beach scene knits and bags, scarfy silk separates, and jackets galore — from workwear to fishing net-covered to ladylike with starfish embroideries — were standout looks, in addition to the classic LBDs (little black dresses) and black-and-white swim and sportswear that were revolutionary for women in Coco Chanel’s time.

Blazy continued his love affair with texture, showing full skirts exploding with raffia fringe and otherworldly surface embellishments, like orange paillettes covering a dress that resembled a coral reef.

There were accessories upon accessories, bags upon bags, spectator heels and punch-colored sandals and then the most minimalist of shoes — heel caps — designed to go (almost) barefoot in the sand. Overall, the continuation of the coral and seashell motifs already hitting for spring guarantees that trend will have a long runway.

Let’s hope more Chanel actually lands in stores and stays there going forward. I was in Paris last week and the boutiques are cleaned out of Blazy accessories. The frenzy is real, but so is the frustration for shoppers.

Beverly Hills’ New Boutique for the Best Dressed 

Former Saks VIC personal shopper Tony Ferreira, whose clients include Paris Hilton, Mariah Carey, Jennifer Tilly and many more best-dressed guests, has struck out on his own, opening The Swan House on Canon Drive in Beverly Hills.

Ferreira has spent 30 years as a personal shopper crisscrossing the globe to buy the best of the biggest luxury brands for his 500 regular clients and making millions of dollars for Saks, which is currently winding its way through bankruptcy. But at Swan House, he is approaching retail differently, offering exclusive, hard-to-find and up-and-coming fashion labels with a special focus on gowns for those who buy and don’t borrow in a town that runs on red carpets.

“A lot of department stores are afraid of anything too expensive or exclusive,” he said during a tour of the store. “But if someone walks in and sees a beautiful dress and there’s only one, they buy it because they are afraid it’s going to get sold. So that’s what I’m trying to do — elevated, curated pieces.”

The 2,000-square-foot salon-like space named after Truman Capote’s novel “The Swans of Fifth Avenue” is a fashion fantasyland under a giant chandelier, with eveningwear and garden party dresses with bold color and embellishment by familiar (but not so familiar) names like Elie Saab, Erdem, George Hobeika, Tony Ward, Pamella Rolland, Naeem Khan, Huishan Zhang, Roberto Cavalli, Viktor & Rolf, Pierre Cardin and more.

There are also Ferreira’s new discoveries, including a lavishly beaded cape by London up-and-coming designer Nicholas Oakwell, gravity-defying sculptural dresses by young Vietnamese couturier Phan Huy, unexpected feminine tailored looks by Paris-based bridal wear designer Celestina Agostino and breezy sundresses by L.A.-based designer Aliona Kononova.

To complete the look, The Swan House features fine jewelry by Martin Katz, David Webb, Loree Rodkin and more, bags by Moreau Paris, hats by Gladys Tamez and evening shoes by Gedebe. Prices range from about $1,100 to $201,000.

Upstairs, in the VIP area, Ferreira will continue his independent personal shopping business, bringing in pieces from Dolce & Gabbana’s Alta Moda couture collection, for example. He also plans to use the store for brand events for his loyal clientele. The courtyard, where Italian restaurant Oltremare will soon open, may soon host a fashion show, he hinted.

Luxury slowdown? “I’m not seeing it,” Ferreira said, reiterating his approach. “I’m not letting anyone borrow clothes — the stylists have to buy it — and I’m only buying a couple of each style so no one sees themselves.”

The Swan House, 350 N Canon Dr, Beverly Hills, 310-795-1997. 

Fashion Trust U.S. and Mother Celebrate L.A. Creativity and Craft

Fresh off its star-studded awards ceremony awarding $600,000 in grant money to emerging designers, Fashion Trust U.S. co-hosted a rooftop cocktail party Tuesday night at Petit Ermitage with one of L.A.’s fashion vanguards, everyone’s favorite denim-and-more brand, Mother.

With denim the dress code du jour (Mother co-founder Lela Becker wore hers with a ginormous Celine chubby fur jacket, natch), a stylish crowd including Ava Phillippe, Abigail Spencer, Langley Fox and Monet Mazur mingled over spicy margs with designers and brand founders.

Spotted under the twinkle lights? Chriselle Lim, Charles Harbison, Loree Rodkin, Kadi Lee, Christy Cham, Peter Dundas, Jacquie Aiche, Camilla Gabrieli and other members of the L.A. fashion community for which Fashion Trust U.S. has become a power center.

“We at Mother have been manufacturing here in L.A. for the last 16 years with the same artisans and craftsmen we’ve known for 25 years,” Mother co-founder Tim Kaeding said in a toast to the city’s emerging designers and artisans. “As other brands move out of the country … we’ve decided to stay, and we bought a manufacturing spot here so we can continue to invest in the talent and infrastructure that make this city so special.”

Joining him, Fashion Trust U.S. founder Tania Fares added, “The brand has something really special. As Tim says, everything is rooted locally. That commitment to craft and community is really inspiring.”

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post ‘The Devil Wears Prada 2’ Fashion Is Less Bitchy Than the Original appeared first on TheWrap.

Actor Awards Up Their Fashion Game

The Actor Awards and its red carpet have long played second fiddle (or even fifth or sixth) to the Globes, Oscars, Grammys and Emmys. But for the first time this year, they had a fashion partner — Elle magazine — and a dress code: Reimagining Hollywood Glamour from the 1920s and ’30s. So how did it pan out?

The SAG-AFTRA partnership with the Hearst-owned title was billed as a way to “elevate fashion as a central part of the show’s creative expression,” Jon Brockett, showrunner and executive producer of The Actor Awards, said when the collaboration was announced. “It’s an opportunity to align the red carpet, the show and the culture around it into a single, cohesive moment.”

Elle sponsored the Elle Actors Rising event last weekend and an awards after-party but did not have a presence during the televised red carpet coverage or the show itself, which begs the question: what was the point?

The 1920s and ’30s theme prompted a joke during the telecast from Sterling K. Brown, who said, “With all that’s going on in the world tonight, we thought we’d bring you back to a happier time, the Great Depression.” But Elle was not mentioned.

Nevertheless, the fashion was more elevated, with a noticeably theatrical flavor to many of the looks. That element of role-playing was refreshing and seemed appropriate for an awards show honoring actors.

Setting the tone was lovable red carpet cut-up “Hacks” star Megan Stalter, playing the Old Hollywood bombshell with newly blonde locks, a leopard gown, fur stole, sunglasses and a cigarette, natch.

Teyana Taylor also put on a show with her daughter (or stylist, as she joked), Rue, who stole everyone’s hearts when she knelt down to adjust the train on her mom’s stunning Thom Browne trompe l’oeil “nude” corset gown.

Divas Being Divas

Grande dame Demi Moore was ready for the “Moulin Rouge” in her bird-like Schiaparelli gown, straight off the house’s Paris couture runway with a dramatic tulle tail feather. Special mention goes to Gwyneth Paltrow in black lace Givenchy and Parker Posey in powder-pink, marabou feather-trimmed Gucci — with matching pink eyeshadow.

Balenciaga in the Spotlight

New Dior and new Chanel have grabbed a lot of attention and dressing credits this awards season. Which is why I was so happy to see Balenciaga in the fashion spotlight at the Actor Awards, dressing Jessie Buckley, Sarah Pidgeon and Yerin Ha so beautifully.

At Valentino, where he was the sole creative director for eight years until 2024, Piccioli ushered a grand simplicity into fashion, along with a remarkable sense of color, mega volumes and drama. He carried that over to Balenciaga and to the looks worn Sunday night. Pidgeon’s petal-pink silk gazar balloon gown was a welcome hint of spring, while Buckley’s veiled bustier dress with white silk gazar flourish brought award-winning drama. Ha’s white silk fringe-embroidered crop top was modern and joyful when paired with black pants.

Breakthrough Performance

Speaking of texture and all-out kineticism, Odessa A’Zion, the breakout star of “Marty Supreme” and “I Love L.A.,” nailed it with a multicolored crystal-fringe Giorgio Armani Privé jumpsuit that matched her quirky character on screen and off.

All Sides

We’ve seen breast cleavage and butt cleavage, but at the Actor Awards, side cleavage entered the chat. Exhibit A: Kristen Wiig, who has never looked better, in a daring Christian Cowan black silk gown with sides scooped out. Li Jun Li’s side-slit red sequin gown by British label Aadnevik had playful tulle bows at the bare hips, while Michelle Williams’ pale pink, crystal-studded Prada gown had a more demure, apron-like look.

Character Study

Chase Infiniti had another hit Louis Vuitton moment. The “One Battle After Another” star, who has been wearing custom designs by Nicolas Ghesquière all season, channeled the Jazz Age with her spectacular, figure-hugging, hand-knit, crystallized mermaid gown — complete with one of the best accessories of the night, a matching headpiece.

Razzle Dazzle

Connor Storrie rocked the jewelry trend of the moment, a statement necklace, wearing a Tiffany Victoria mixed-cluster choker, shirtless, with his sleek Saint Laurent suit. He must love the look — he wore a similar Tiffany necklace the night before during his “Saturday Night Live” monologue.

Scene Stealer

And finally, Ethan Hawke was a scene stealer in a delightfully costume-y Dior black velvet waistcoat with Brandenburg embroidery, white silk shirt and black silk tuxedo pants. At the beginning of the broadcast, who could pay attention to Kate Hudson sharing the backstory of her first acting role with the best-dressed Hawke swishing a glass of brown liquor in the chair next to her? Actors will be actors — cheers to that.

Gucci-Maxxing in Milan

The Fall 2026 Milan runway season featured three major designer debuts and several strong takeaways for future dressing, but the main event was Demna’s Gucci.

The former Balenciaga designer took the moment so seriously that Gucci took out full-page ads in The New York Times and other outlets explaining his creative process leading up to the monumentally important collection. (A little much? Perhaps. But the stakes are high for Kering Group’s cash cow, which has been bleeding.)

In sum, Demna’s research led him to understand that Gucci is many things (“a superbrand, a person, a culture”), but above all else, at least in my reading, Gucci is “an emotion.”

This collection certainly prompted plenty of that, generating intense social media reactions, with critics deriding it for being too cheap-looking, too reverential, too Y2K, and on and on.

The show did not have the lush, cinematic seduction of Tom Ford’s day, but it brought some of his iconic pieces into the now, alongside Demna’s always-keen interpretations of what people actually wear on the street every day — good-looking jeans, track pants, trench coats and leather jackets.

The vibe was sexy, but for the 2020s digital-first, slightly sleazy, looksmaxxing era, with satiny suiting, pec-popping latex T-shirts, ultra-low-rise pants, second-skin dresses and more leaving little to the imagination.

The clothes may not scream luxury in the way we’re used to seeing, but they did make you feel something, and that’s more than Gucci has done in a while.

Prada’s Artful Pragmatism

More than a feeling, the stellar Prada collection designed by Miuccia Prada and Raf Simons was a prescription for dressing.

The setup was this — 15 models walked four times each, showing multiple looks created with the same pieces, shedding layer after layer, as a woman does over the course of a day — and a life. You can see how it worked by looking at Bella Hadid pictured above.

Considered on their own, the pieces were totally desirable, mixing sport, prep, glam, and color in the way only Prada can, with an added loveworn element in the rips and stains throughout. Plus, there were a million styling ideas to try with your existing wardrobe. A treat for the eyes all the way around.

Welcome to Fend-ior

For those missing the pragmatism of Maria Grazia Chiuri’s Dior, she’s brought it to her new gig at Fendi. Her debut collection was nearly all black, not-too-fussy, not-too-fashion, just wearable and elegant.

She showed at least one of her Dior signatures: a sheer black lace full skirt, and put her stamp on Fendi’s famous fur with a bohemian twist. And of course, there were Fendi baguettes galore.

Bringing Back That Marni Funk

The cult of Marni has been restored by new designer Meryll Rogge. In her debut collection, she resurrected the artsy-craftsy Italian chic that made the brand a fashion darling in the early Aughts, but filtered it through a young, sporty lens. Time to get that funky jewelry back out.

Armani Through a Female Gaze

Silvana Armani’s first collection as chief designer since her uncle Giorgio Armani’s death carried over his timeless spirit, but with a lighter touch in the styling and accessories, giving the brand new currency and putting it in great stead to compete with The Row, Toteme and other quiet-luxury leaders that have dominated the fashion conversation as of late.

Your Next Netflix Fashion Binge

Status, artifice, counterfeit luxury, and economic disparity intersect in “The Art of Sarah,” which has already rocketed to the top of Netflix’s worldwide rankings for a non-English series and should be the next binge for fashion obsessives.

The South Korean mystery thriller series centers around Sarah Kim (Shin Hye-sun), a con woman who creates a fraudulent luxury handbag brand, Boudoir, and the investigation into her murder, led by detective Park Mu-gyeong (played by the very attractive Lee Jun-hyuk).

Kim’s life unfolds over eight episodes, which follow her through multiple constructed identities. As Mok Ga-hui, she works as a salesperson at a luxury boutique (it resembles Prada), without the dignity of bathroom breaks. She falls into debt when she has to take one, and a shoplifter strikes.

That leads her down the road of reselling designer bags from employee sample sales, turning to prostitution, and more, until she creates the identity of luxury executive Sarah Kim, using social media and rumors to fabricate a century-old backstory for her brand, including a British royal warrant.

But the goods are actually made in China and finished in Korea, which is not so far from the truth of some of the most prestigious European luxury brands, which finish bags in Italy or France but make them elsewhere.

Kim succeeds by employing the psychology of real-world luxury brands, too — limiting access to product, drawing huge lines outside her store, and burning excess stock.

The show’s Korean title is “Lady Doir,” and throughout, real Hermès Birkins and Lady Dior bags — or what appear to be — confer status on the high-society characters, while glimpses of luxury storefronts set the scene.

It must be said, though, that the Boudoir bags themselves are gaudy and not very attractive, which could even be by design, because if you spin a good enough story around them and they are carried by the right people, does it really matter? A question to ponder as fashion month continues in Paris.

Stetson x The Great Launch a Cute Collaboration

It was a match made in Americana. Beloved L.A. fashion brand The Great has created a new capsule collection with OG western wear and hat maker Stetson, and it’s a good one.

The Stetson x The Great lineup of 25 womenswear and accessories styles includes embroidered Western shirts, skirts and shirt dresses; a great riding cardigan; baby blue and red suede floral cowboy boots;  fab Western belts with sculptural silver buckles, and yes, a terrific cowboy hat, all $595 or less.

To celebrate, The Great designers Emily Current and Meritt Elliott gathered friends of the brand — and dressed them in the new collection — for a fun dinner Wednesday night at Marvito in West Hollywood, where tables were set with The Great x Stetson leather coasters; margaritas, ceviche and tacos were on the menu, and everyone was rocking the cowgirl look in their own individual way.

“This is tremendously meaningful to us. Emily and I started our business two-and-a-half decades ago and Stetson was on our mood board,” said Elliott. “We also acknowledge that it’s incredibly meaningful for a heritage brand to collaborate with a woman-owned brand. We are not at fashion week making a big splash but I think this kind of thing really changes the landscape of fashion because it’s what people wear as they move in the world.”

“I grew up in a small town and we had a lot of agriculture and horses and boot and tack shops and Stetson was the quintessential western brand,” said Current of how the brand shaped her aesthetic. “I have boots I have collected for years.” 

The Stetson executives, unmistakable in their 10-gallon cowboy hats, were in from New York for the event. CEO Robert Dundon credited his wife, a fan of The Great’s take on Americana, for suggesting he reach out. Indeed, The Great is rooted in great denim, knits and everyday wear with a romantic nostalgia, and has had some of the most considered collaborations in American fashion in recent years, including with Eddie Bauer, Red Wing and now Stetson.

Stetson was founded in 1865 by John B. Stetson in Philadelphia, and created the “Boss of the Plains” original durable, waterproof cowboy hat designed for the American West, before branching into other styles. Stetson hats, which are manufactured in Texas, have been worn such Hollywood greats as Roy Rogers, Gene Autry, John Wayne, Ronald Reagan, Kevin Costner, Lady Gaga, Post Malone and many more icons of stage and screen. In the 1980s, Stetson began to diversify with cologne and more, and currently it produces fragrance, hats, apparel and bourbon.

The brand is seeing The Great partnership as an opportunity to grow its women’s business, both in footwear and apparel.

“Our women’s business really started to come online when Beyoncé started wearing our hats onstage during the Cowboy Carter tour … It made us think maybe there is something there,” said Dundon.

Western wear isn’t just a trend, it’s here to stay, he said. “I always think back to the film ‘Urban Cowboy.’ We had this big peak in our business in 1980 but then it went back to the way it was,” he said of the influence of the romance starring John Travolta. “This time it just keeps going up and up. It’s permeated a lot of culture.”

Stetson x The Great is available at The Great stores, The Great and Stetson websites, and at select wholesale accounts. 

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post The Actor Awards Got More Than a Name Change, but a Whole Fashion Upgrade appeared first on TheWrap.

Where the A-List Happily Shares the Spotlight

The Costume Designers Guild Awards may be the most underrated of all of Hollywood’s annual awards shows. 

It’s not easy to humble A-listers, but at the CDGA awards last week, the deep love and devotion they expressed for their costume designers was something to behold.

The event celebrated excellence in costume design, with Kate Hawley (Frankenstein), Paul Tazewell (Wicked: For Good), Colleen Atwood (One Battle After Another) and Kameron Lennox (The Studio) taking top honors, alongside stars recognized for their contributions to the field.

Naturally, everyone looked fabulous, whether they were wearing the latest couture, or their grandmother’s vintage pillbox hat. And the Wilshire Ebell Theatre was full of creatives who have influenced style on screen and off in massive ways, from the midcentury menswear of Mad Men (Janie Bryant) to Cher Horowitz’s canary yellow plaid Clueless suit (Mona Mae).

Smartly, Bulgari has supported the guild and the awards from the beginning, 28 years ago, handcrafting The Adrian award statuette –and re-minting it this year – as well as bejeweling honorees and celebrity presenters. Rather than going down the paid placement road, the jeweler believes in relationship building this way, and has other events planned during the year to continue supporting an art and craft that’s not so different from its own.

The dialogue between fashion and costume design was a recurring theme at Thursday’s event, suggesting more fashion brands could and probably should get involved, especially considering how fashion and entertainment have grown ever closer, with Jonathan Anderson now designing for film, and Tiffany & Co. integrating into Frankenstein, as examples. (Bloomingdale’s was also a sponsor of the evening.) 

During her introductory remarks, CDGA President Terry Gordon called out Vogue and Anna Wintour for their “surprising generosity” last year, bringing financial relief to guild members affected by the wildfires. Ticket sales to the Vogue World: Hollywood event, which showed fashion alongside costume design on the runway at Paramount Studios, raised an astounding $4.5 million for the community.

Sharing the stage – both literally and creatively – was a through line in acceptance speeches, which were heartfelt and insightful, perhaps because unlike at televised awards shows, they could be longer than 45 seconds.

While accepting the Vanguard Spotlight Award from Jodie Smith, One Battle After Another Oscar nominee Teyana Taylor praised the artists who help shape how stories are seen before they’re even heard.

The red carpet star of awards show season, stunning in a red Tamara Ralph Couture corset gown, Taylor also spoke to fashion, and how much she enjoys building looks from the ground up. She shouted out many of her collaborators, including Ruth E. Carter. They worked together on Coming 2 America.

Carter also designed Taylor’s red pinstripe Zoot Suit for the 2025 Met Gala, paying homage to the event’s Superfine: Tailoring Black Style theme and Harlem culture. 

“When I got the call about what the theme of the Met Gala was going to be, usually that’s where you go with a fashion designer. But for this one, I said, ‘I need a costume designer. I need a storyteller,'” Taylor said.

Kate Hudson, who received the Spotlight Award from her friend Janelle Monáe, traced her appreciation for costume design all the way back to time spent as a young girl with mom, Goldie Hawn, sitting on the floor “surrounded by every sequin imaginable” in Bob Mackie’s studio.

She remembered that the legendary costume designer made her several sequin hair bows which she treasures to this day. Hudson  touched on the enduring appeal of her iconic Penny Lane coat from Almost Famous, and the yellow Carolina Herrera gown from How to Lose a Guy in 10 Days that still influences bridal parties and prom goers 20-plus years later.

Dressed for the event in a beautifully draped purple silk Valentino gown, she also praised Song Sung Blue costume designer Ernesto Martinez for helping her find her character in the film for which she’s Oscar nominated.

“We all know that costume is a collaboration, and finding character happens in these rooms through color palettes and texture. Imagination and what characters look like on set is profoundly important to every story ever told,” Hudson said.

Michelle Cole, creator of the fashion-influential In Living Color Fly Girls looks, as well as costumes for Black-ish, Grown-ish and many more, received the Career Achievement Award, presented by Tracee Ellis Ross, wearing a fabulous peach satin Mugler suit. She credited Cole with creating “the mix of upscale style and streetwear that became the urban aesthetic of the 1990s,” calling her a “giant who has had massive impact for more than three decades of crafting culture-driven style.”

Reflecting on her 43-year career, Cole spoke of wanting to be a costume designer since she was a little girl and first saw the film My Fair Lady. “I just want to thank everyone here for supporting me, loving me and for being able to call on you when there’s a problem,” she said of her colleagues.

Speaking of giants, in a poignant moment, Lennox and co-designer Tyler Kinney paid homage to the late Catherine O’Hara, calling her “a dream to work with” and someone “who understood the power of storytelling in each piece of clothing.” The duo wore some of O’Hara’s jewelry from The Studio while accepting their award for Excellence in Contemporary Television.

At the end of the night, costume designer Deborah L. Scott took to the stage to give her 30-year partner-in-crime, director James Cameron, the Distinguished Collaborator Award, describing him as a world-builder with a remarkable attention to detail.

But he spent his entire acceptance speech heaping praise on her, refusing to let her leave his side. He reminisced about the hours and hours they have spent talking and brainstorming over the years, and how Scott rose to the challenge of creating distinct Indigenous cultures for three Avatar films, and designing reusable costumes for Titanic, because the boat itself sank over and over during the production. 

Of Kate Winslet’s incredible looks in the film, Cameron mused, “When she steps out of that car and her character is revealed for the first time by that hat … That is a piece of cinema that still takes peoples’ breath away after 30 years.”

He wrapped by emphasizing the importance of the handmade, leaving the crowd with one of the most memorable lines of the night: “Honor the artist and human creativity, because you know what, AI don’t sew.”

New York Runways Trend Toward The Familiar

On the other coast, in another sphere of style influence, New York Fashion Week unspooled last week, kicking off the fall 2026 runway season.

There were a couple of newsy shows. Much-lauded Jamaican-American designer Rachel Scott had a strong first runway outing in her role as creative director for consummate New York brand Proenza Schouler. And Italian designer Nicola Brognano brought back Aughts-era low-slung jeans, biker jackets and platform pumps at his first show for 7 for All Mankind, the latest L.A. denim giant with eyes on becoming a lifestyle brand. 

But overall, the calendar was a bit thin – and so were the ideas. Still, there were some trends that emerged, er, re-emerged.

The Must-Have Belted Midi

To-the-knee midi skirts took center stage in a markedly pared-back Marc Jacobs collection. I actually liked the blocky silhouettes, pastel satins, sheer layers and nostalgia for the days before runway theatrics took over fashion, in no small part due to Jacobs’ own meteoric rise.

I also appreciated his transparency into what is a universal truth; every designer looks back. In the show notes, Jacobs cited the Yves Saint Laurent 1965 couture collection and a handful of others as inspiration, including some of his own from the ’90s and early 2000s. 

Tory Burch began showing similar midi-length skirts last season, and the fall versions in slick leather were even more luscious. She accessorized them with an encore of her spring ’26 braided belts that are already It items on Fashion Substack. 

Black and White and Red All Over

Awards season red carpets have already been dominated by black and white, and New York designers hit the classic combo, too, from the sleek white tailoring and black-and-white houndstooth outerwear at Proenza Schouler, to Sergio Hudson’s sexy skirted take on a tuxedo, to Khaite’s ivory ruffle-trimmed black velvet dress and romantic riffs on tuxedo suiting.

Meanwhile, Michael Kors revived the ’90s, sexy classic white tank top for evening over a long black sequin skirt, and painted his runway red, from a pop of red via a crewneck sweater which has been a street style trick for a while now, to a ravishing rose gala gown.

Bringing Back the Brooch

They started appearing last season and boy have they multiplied. In an economy primed for little luxuries, the designer brooch might just be the hottest accessory out there, seen decorating jacket lapels, scarves, sweaters and more on the New York runways.  

Gilded Age

For those feeling more flush, gold is a rich new statement hue, as seen on a gorgeous Kallmeyer Chinoiserie jacket, densely embroidered Ralph Lauren dress, glittery Libertine pants, tunic and evening gloves look, and a very Bronte-core Fforme corset gown.

Calvin, why?

Ryan Murphy’s Love Story dropped right in the middle of New York Fashion Week, but Calvin Klein did nothing to seize the moment, despite the extensive screen time the brand has in the limited FX/Hulu series, and the ’90s fashion nostalgia that could have been mined from the inspiring costumes. 

Inviting star Sarah Pidgeon, who plays Carolyn Bessette, to the Calvin Klein runway show would have been an easy nod to the moment, but she was front row at Khaite instead, which may be for the best as Klein’s fall collection was pretty much universally panned, putting the brand’s current runway revival in question.

Meanwhile, what did come out? A forgettable capsule collection of washable silk slips, camis and shorts that’s a collaboration between Love Story and “restwear” brand Lunya. Missed opportunities all around.

’90s Nostalgia Examined 

Right on time, a new fashion exhibition at ASU/FIDM in downtown L.A. is looking at 1990s nostalgia, and the varied designer visions of style over the decade that is now all the rage with Gen Z and celebrities looking for archival fashion grails.

Taking over the fashion school’s museum space, Obsessed: Fashion and Nostalgia in the ’90s opens by displaying a ’90s John Galliano fitted suit similar to a the rare vintage one worn by Lauren Sanchez at Paris Fashion Week, alongside a Christian Dior haute couture suit from the 1950s that was worn by Marlene Dietrich, suggesting that the allure of nostalgia is a constant, equally dominant in the ’90s as it is today.

Grunge looks by Anna Sui, Christian Francis Roth and Marc Jacobs share space with differing approaches to tailoring from Jean-Paul Gaultier, Vivienne Westwood and Yohji Yamamoto, conceptual Japanese fashion by Issey Miyake and Comme des Garcons, and Carolyn Bessette-style American minimalism from Calvin Klein.

“That’s one of the points of exhibition, you get all of these different aesthetics,” curator Christina Frank told me. “It was really about individualism more than any one trend or style.”

Clothing and accessories are contextualized with ’90s printed matter, which is finding its own nostalgic audience in the digital age, including a full run of Visionaire magazines.

Nostalgia is often heightened in periods of change and uncertainty as people look to the comfort of a real or imagined past. “A lot feels charged right now so it’s nice to look back and imagine it was a simpler time. But our research found that contemporary fashion press in the 1990s didn’t seem that relaxed either,” Frank explained.

“They were contending with the changes of fashion being covered by TV and becoming part of mass culture. And there are some great quotes from designers who were feeling like it was going to change fashion.” Oh how it did.

Obsessed: Fashion and Nostalgia in the ’90s, Feb. 19 to June 27, ASU FIDM Museum, 919 S. Grand St, Los Angeles. Opening reception, Feb. 19, 6:30 to 8:30 p.m..

Nahmias Reigns Supreme 

Worn by Kylie Jenner, Tom Brady and of course, Timothée Chalamet, the Marty Supreme jacket was the Internet-breaking fashion item of 2025 and a game-changer for Doni Nahmias, the L.A. designer who made the windbreaker as cult movie merch in collaboration with the Oscar nominee, stylist Taylor McNeil and A24. 

Now, Nahmias is center stage at L.A.’s Maxfield, with a takeover of the boutique’s Jean Prouvé space. The pop-up (titled Daydreaming) is perfectly on-theme for the sunny, sporty California brand. (Nahmias grew up in the Summerland area south of Santa Barbara and interned with Mike Amiri before launching his own luxury men’s collection in 2018, including the Summerland T-shirts that were his first bestsellers.)

Oversized knit flowers hang from the ceiling with their shoelace pistils dangling while white supersized beads dot the floor referencing the friendship bracelet beads in the brand’s new Puma collaborative sneaker. 

The pop-up, which is open through Saturday, has a handful of pieces – color blocked suede jackets, trucker hats, Aloha shirts, crochet dog keychains and the new Puma X Nahmias suede kicks.

But there’s more inside the Maxfield store proper, which has been a big Nahmias supporter from the beginning and even has its own Nahmias x Maxfield merch. There are also pieces from the recently shown Nahmias fall 2026 runway collection.

You’ll want see the vending machine that only operates by way of a special limited-edition Nahmias x Maxfield coin that customers earn by spending at least $1,000 on Nahmias or buy for $100. Dropping the coin in the machine and turning the knob vends a Nahmias collectible – most likely a keychain or bracelet. But also perhaps something a little more … memorable.

“There’s one of those Marty Supreme windbreakers in the mix,” an employee pointed out during a Wednesday morning visit, “and to the best of my knowledge no one has gotten it yet.” 

Maxfield x Nahmias Daydreaming Pop-Up, 8825 Melrose Avenue, West Hollywood.

The post Hollywood’s Most Underrated Awards Show; NYFW Takeaways; DTLA’s New ’90s Nostalgic Fashion Exhibition appeared first on TheWrap.

Last Chance to See Mr Brainwash in Beverly Hills

The Mr Brainwash Art Museum, which has occupied the former Paley Center for Media on Beverly Drive for the past six years with its colorful, Instagrammable collection, is hosting its final exhibition before Louis Vuitton Moët Hennessy breaks ground on a new 100,000-square-foot campus that will include a Louis Vuitton store, museum and restaurant which will be the late Frank Gehry’s final project.

French-born pop artist Mr Brainwash (no period after Mr. in his case), aka Thierry Guetta, known for his cheeky fusions of pop culture icons and Old Masters, has collaborated with Disney on a show that makes for a fun holiday shopping diversion for visitors of all ages.

“It’s a dream come true,” he said during a preview of the artworks inspired by “Disney & Friends.” “It’s the kid in me.”

The rooftop has been wholly dedicated to the “Dreams Come True” exhibition, open through January (there’s no definitive end date yet), and it’s a riot of Disney-fied color and interactive opportunities worthy of a theme park. Visitors emerge onto the roof through what turns out to be a billboard-sized version of Edward Hopper’s “Nighthawks,” with Goofy, Mickey and Minnie providing an instantly identifiable counterpoint to the anonymous diner denizens.

A photo op lets visitors momentarily step into a Disney-embellished version of Grant Wood’s “American Gothic,” or strut through the famous crosswalk plucked from the Beatles’ “Abbey Road” album cover. In between, there’s a faux brick wall with a gaping space shaped like the iconic Mickey ears, and a painted view of the Beverly Hills crest in the background.

Elsewhere, chalk-drawn Mickeys are paired with Mr Brainwash’s oft-repeated mantra, “Life Is Beautiful,” alongside sculptural homages to the bucket-carrying Magic Brooms from Disney’s animated masterpiece “Fantasia,” morphed into color-splattered paint brushes — a fitting metaphor for what Guetta brings to others’ artwork.

The metaphorical visual magic continues when visitors approach what appears to be an immense cartoon television set, only to discover it is actually a portal into the indoor gallery, where the heart of the collaboration is on display across more than 40 silkscreens and canvases.

“Nothing was here three days ago. Everything came together really quick, which is how I work,” said the artist, paint still on his hands, before reflecting on moving out of his Beverly Hills museum home. “I got this space for one year and thanks to LVMH they took me under their wing and for six years I was here.”

“I’m the first artist in the world to open his own museum because someone told me, ‘You’re going to get a museum after you die.’ And I wanted to do it when I was alive,” he added.

​​​​​​​The Mr Brainwash Art Museum is eyeing Las Vegas for a new space, which seems like a no-brainer.

The Kid Stays in the Frame

Jacques Marie Mage, the status eyewear brand du jour, has collaborated with Maxfield on an exclusive pair of frames available for the holidays, and they’re pretty fab.

The Evans Sunglasses are a limited-edition, 1960s-inspired frame named for legendary Hollywood player Robert Evans, producer of “Chinatown,” “The Godfather” and “Love Story,” among many others; author of the seminal autobiography “The Kid Stays in the Picture”; and an enthusiastic glasses wearer.

The frames are polished black acetate with amber lenses, and each pair comes in the L.A. luxury brand’s silk-fabric-wrapped monograph box. They include a handcrafted Italian leather envelope case, a Maxfield commemorative cleaning cloth and a letterpress authenticity card signed by the Japanese craftsmen who made them, along with a hand-written limited-edition serial number. The frames are priced at $1,050 and limited to an edition of 50, so you’d better hurry.

Those lucky enough to be flying in or out of the glorious PS (The Private Suite) at LAX this holiday season will have some new retail to explore while they wait.

CS for PS (Cio Soler for The Private Suite) is popping up through Jan. 11 at the luxury private airport terminal, featuring the sharp curation of gifts and goodies that fans of Soler’s Sita 1910 store at the Peninsula Hotel and The Vault by Sita 1910 at the Beverly Hills Hotel have come to love.

Soler, a former designer and creative director who opened her first by-appointment multi-brand retail store on Lasky Drive in 2022, established herself by stocking under-the-radar designers from around the world. She sells colorful knitwear by French brand Letanne, fringe jackets by British designer Tim Ryan, reworked vintage T-shirts by Newport Beach-based Yokishop, Olympia Le-Tan and Judith Leiber bags, one-of-a-kind bedazzled coffee table books, chain-stitched denim, hand-painted vintage bags, and more.

Soler became acquainted with PS founder and CEO Amina Belouizdad Porter while helping her replenish her wardrobe after she lost her home in the Palisades Fire.

A PS member herself, Soler suggested trying retail in the luxe terminal space, where travelers could already get their nails and hair done while waiting for flights. This led to the holiday pop-up, featuring an edit of travel-friendly pieces including cashmere sweats, stroller blankets, customized vintage travel bags like a Louis Vuitton painted with Snoopy, vintage leather flight jackets with aviation patches and embroidered souvenir L.A. T-shirts.

“We also offer personal gifting, so when they leave for a trip, and see something they like, we can have it all ready by the time they’re back,” Soler, who hopes to continue to work with The Private Suites as they expand to other cities, said. “We’ve really created a brand that’s niche to a very discerning client who kind of has everything.”

Awards Season Fashion’s New Darling

Chase Infiniti has emerged as the new darling of this Hollywood awards season, and the fashion industry has taken notice.

The “One Battle After Another” talent has been signed as the newest Louis Vuitton brand ambassador. She has already worn the French luxury house on several red carpets, including the Gotham Awards, where she was recognized in the breakthrough category.

Infiniti has received Golden Globe and Critics Choice Award nominations. She is being styled by Wayman Bannerman and Micah McDonald, who also work with Teyana Taylor, another fashion standout to watch during the 2026 awards season.

Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!

Have a news story for our readers? Please email booth.moore@thewrap.com

Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com

The post Mr Brainwash’s Disney Funhouse, a Luxe LAX Holiday Pop-up and More appeared first on TheWrap.