Hollywood Synergy Has Never Been More in Style

The “Euphoria” tie-up with Balenciaga that debuted at Paris Fashion Week last month was apparently a package deal that included dressing some of the cast members for the Season 3 premiere in Hollywood on Wednesday.

You may remember that Balenciaga designer Pierpaolo Piccioli brought “Euphoria” to his Fall 2026 runway, collaborating with the HBO show’s creator, Sam Levinson, on moody video sets and incorporating imagery from the upcoming season into streetwear looks that were clearly designed to capture a younger generation.

At the premiere, Sam and Ashley Levinson, Darrell Britt-Gibson, Adewale Akinnuoye-Agbaje, Priscilla Delgado, Danielle Deadwyler and Anna Van Patten all wore Balenciaga — a mix of custom pieces and looks from the “Euphoria”-themed fall runway show. (Not so the bigger stars: Zendaya was in Ashi Studio couture, Maude Apatow in Celine, Hunter Schafer in Roberto Cavalli and Sydney Sweeney in vintage Pierre Cardin.)

The new season starts Sunday, jumping five years into the future to follow the cast as 20somethings. The costumes, by Natasha Newman-Thomas, will be a mix of contemporary, vintage and up-and-coming designers, with Jacob Elordi, a celebrity ambassador for Bottega Veneta, wearing some luxe workwear from the brand in character on the show, which has already caused a frenzy of discussion online.

No word on whether any Balenciaga runway pieces will appear on-screen, but the brand did rush some into production for a see-now, buy-now collection, including a $625 T-shirt with an HBO tag at the hem.

Although it was reportedly born out of a mutual creative admiration between director and designer, the full-360 collaboration is yet another example of how luxury brands continue to invest in Hollywood and blur the lines between fashion, costume and merch. (Hello, “Marty Supreme” jacket.) I imagine we will see many more partnerships like these, going from runway to red carpet to cash register and back again.

The Vogue magazine May cover shoot and story out this week promoting “The Devil Wears Prada 2,” featuring Meryl Streep and her character Miranda Priestly’s alter ego Anna Wintour, was similarly self-aware and synergistic.

Streep’s comment in the story about her costumes from the first film was telling: “Well, everybody was afraid of Anna on the first one, so we couldn’t find any clothes. Nobody would give us any clothes.”

How the power has shifted. Vogue needs this film, of course. In a meta moment, the challenged media landscape is a major plot point. And brands have lined up to dress the cast on the red carpet and integrate into the storyline with a bonanza of placements that started last year — where else? — on the Dolce & Gabbana runway. “The Devil Wears Prada 2” opens May 1.

Tory for the Win!

At last, Tory Burch has gotten her long-overdue Designer of the Year award — not in New York, but at the Fashion Trust U.S. gala in Los Angeles.

It was well-deserved. Burch, who has reinvented herself numerous times, including, elevating her brand on the path to the current “Toryaissance,” is at the top of her game creatively and commercially.

Her friend Pamela Anderson (the two were introduced by their sons, who knew?) presented the honor, saying, “She’s a devoted mother, a visionary designer and a fearless advocate for women. Through her Foundation, she leads with compassion and is the first to say, yes, I can help advise and support.”

Burch delivered wise words to the young creatives in the room: “Fashion is an industry that constantly asks you to explain yourself. It takes conviction, resilience and trust in your instincts. And if I can offer one piece of advice, I would say nurture your point of view, respect it and let it grow and evolve. And build the thing that only you can build.” 

The awards elevated the next generation of ready-to-wear and accessories designers with $600,000 in financial aid and mentorship for the winners, who were selected from more than 600 applications.

Now a marquee event on the spring social calendar, the fourth annual gala hosted by the non-profit organization pulled in a stylish, starry crowd, including Sharon Stone, Mindy Kaling, Julia Fox, Paris Hilton, Lana Condor, Chrissy Teigen, Hunter Doohan, Jordan Firstman, Emma Chamberlain, Fergie, Kumail Nanjiani, Paris Jackson, Skye Hankey and more.

Designers and creatives were in attendance from L.A., New York and beyond, including Gap’s Zac Posen, Diotima and Proenza Schouler’s Rachel Scott, J. Crew’s Olympia Gayot, Disney’s Bobby Kim, James Perse, Jonathan Simkhai, Sergio Hudson, Dani Nahmias, Gaia Repossi, Leonardo Lawson, Loree Rodkin, Mugler’s Miguel Castro Freitas, David Koma, Jamie Haller, ALC’s Andrea Liebermann, Daniella Villegas, B. Ackermann and many more.

Hosted by actress and comedian Ego Nwodim, the evening featured awards in multiple categories.

Carrying the torch for the avant-garde, Michèle Lamy, the influential proprietress of 1990s-era Hollywood hotspot Les Deux Cafes just up the street from the gala venue, and later a key part of designer Rick Owens’ creative rise and a cultural force herself, was the recipient of the Lifetime Achievement Award for Design & Culture, presented by Travis Scott and Erykah Badu.

Accepting it wearing a sharp shouldered leather jacket and platform shoes, she urged the crowd to face the geopolitical moment, raising a fist and saying with her French inflected accent, “Resistance!”

“Michèle is the poster child for exceptional freedom, for resistance, for non-conformity and creativity,” Badu said. “It takes a lot to be creative … First they laugh. Then they copy.”

Finalists were selected by Founding Board Member Tania Fares and additional board members “All the Cool Girls Get Fired” co-author Laura Brown, UTA’s Dan Constable, CAA’s Maha Dakhil, stylists Jamie Mizrahi, Karla Welch and Carlos Nazario, beauty guru Anastasia Soare, fashion consultant Anne Crawford, Lady Emma Thynn, Marchioness of Bath and FTUS partner Google.

The ready-to-wear award went to Zane Li of LII. In just two years, the Chinese-born designer has made his name in the industry with soft, sculptural, sport-couture pieces, which have been worn by Greta Lee and Ayo Edebiri, among others.

Known for her playful yet structured pieces, New York-based Mexican American designer Josefina Baillères took home the jewelry award, presented by Olivia Wilde, who was wearing a striking bra top and pants look by ready-to-wear finalist Ashlyn. (More on her later.)

Miami-based Andrea Marron, who makes sculptural leather bags as design objects, won the accessories award.

Melissa McCarthy took the stage to give the Graduate Award to Marcelle Barbosa of Amaramara, who is fresh out of Parsons and already garnering Instagram likes from Lauren Sánchez Bezos for her experimental designs, such as a water-soluble garment. 

Deborah Won of Pisces Rising won the inaugural Type One Ventures award honoring an emerging designer exploring outer space as inspiration.

Maxwell Osborne and Kristy Chen of anOnlyChild accepted the sustainability award from Jodie Turner-Smith, and Lykke Lii serenaded the Whispering Angel-fueled crowd before everyone headed across the street to the afterparty.

A Moment With a Rising Fashion Star 

Ashlynn Park may not have taken home the FTUS ready-to-wear award for her brand Ashlyn, but her first trip to L.A. was fruitful nonetheless. (Plus, the rising star already won back-to-back awards last year from the CFDA and the Vogue Fashion Fund, and is getting mentorship from Thom Browne and others.)

A veteran pattern maker of Yohji Yamamoto and Alexander Wang, Park started her brand in 2020. And she has a growing fan club who gathered Wednesday at the Des Kohan boutique on Fairfax Avenue to shop her soft yet architectural spring 2026 collection with rounded silhouettes evoking Korean buncheong jars, peplum hem fine knit tank tops and crisp organic cotton shirts, Italian viscose sculpted skirts, ruffled cocoon coats and Ashlyn’s cult favorite pants.

“I wanted to create a fit addiction,” Park said of her focus on construction and a simple elegance that have made her among the most promising new American designers, with early celebrity supporters Gwyneth Paltrow, Anna Sawai and Katie Holmes.

“I remember looking at it and I lost my mind,” store owner Desiree Kohan said about the appeal of the modern feminine pieces, which are designed to be layered. 

As woman after woman tried on looks, Park reflected on her short time in L.A. before heading to the airport. “Last night’s gala was fantastic, and then being here … I’m very inspired by boutiques, and being able to talk with the customers.”

Tracee Ellis Ross Throws Shade in the Best Way

Tracee Ellis Ross is no slouch when it comes to style. She was wearing Azzedine Alaia back in college for goodness sake, and her Instagram shows her genuine passion for clothing and accessories is not limited to any brand ambassadorship.

Which is why it makes sense that the Pattern Beauty entrepreneur is launching a cool-as-hell eyewear collaboration with a relatively obscure, 1960s French avant-garde design house, Emmanuelle Khanh.

Sometimes called the French Mary Quant, Khanh was a pioneer of a liberated, expressive femininity who designed bold, architectural eyewear to match her silhouettes.

Ross is a collector who has worn Emmanuelle Khanh frames over the years, including “La Fleur” and “1997” styles in early 2023 while attending the 54th NAACP Image Awards, according to the brand.

The collab started like so many do, with a simple exchange of DMs on Instagram. “Looking at Tracee’s style, from early 2000s red carpets to her everyday looks, I was struck by her fearless yet balanced use of color and oversized, graphic silhouettes. That became our starting point,” said the brand’s creative director Eva Gaumé. 

“French style is an anchoring inspiration for my style; quiet maximalism, unapologetically personal and functional with great accessories,” said Ross.

Drawing from Emmanuelle Khanh’s archives and Ross’ love for oversized frames, their collaboration led to the creation of two exclusive frames with names that seem particularly apropos for the moment: Truth and Freedom. 

Freedom is a dramatic acetate mask silhouette and Truth is a pilot-shaped optical frame. Each piece is handcrafted in Italy and France and prices are $510 to $700. The glasses are available exclusively at The Webster stores in L.A., Montecito, Palm Springs, Soho, South Beach and at the brand’s website. Just in time for styling that fearless Coachella look.

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The Devil Is Back

Gird your loins, the “Devil Wears Prada 2” red carpet fashion frenzy has officially begun with this week’s kickoff of the film’s press tour in Mexico City.

For a daytime press conference, Meryl Streep and Anne Hathaway posed outside Casa Azul, the strikingly blue (though not cerulean) home of Frida Kahlo.

Anne Hathaway wore a fab black Schiaparelli fringed dress with a surrealist-looking golden eye embellishment that seemed to pay homage to Kahlo.

Streep wore a devilish red suit and pussy-bow blouse by Dolce & Gabbana, one of the many fashion brands we’ve already seen integrated into the movie. (You’ll remember scenes were filmed during the Spring-Summer 2026 show during Milan Fashion Week last September, which saw Streep, in character as Miranda Priestly, mingling with her alter ego Anna Wintour.)

For a fan screening at Museo Anahuacalli, 20 minutes of the film were teased, and there was a runway show featuring looks by prominent Mexican fashion designers, including Alfredo Martinez, Benito Santos and Carla Fernández. The event was a kickoff of sorts for Mercedes-Benz Fashion Week Mexico, which is scheduled for April 16 to 20 in Guadalajara.

Hathaway walked the runway in a Stella McCartney sequin flared minidress and over-the-knee boots, while Streep wore a navy blue belted Schiaparelli coat dress.

Some commented on social media that it would have been a nice gesture for Streep or Hathaway, or both, to have worn a look by a Mexican designer for the runway event. Agreed. Even a Mexican American designer. Willy Chavarria could have whipped up an amazing red pantsuit. 

The duo has reunited for “The Devil Wears Prada 2” alongside Emily Blunt and Stanley Tucci. The film will follow Priestly “as she navigates her career amid the decline of traditional magazine publishing and as she faces off against Blunt’s character, now a high-powered executive for a luxury group with advertising dollars that Priestly desperately needs.” Hathaway, meanwhile, returns as the new features editor at Runway.

The film opens May 1, but the press tour will hit Tokyo, Seoul, Shanghai, New York and London before that, so they’ll be plenty more opportunity for looks — and opinions!

Byredo and Lauren Halsey Bottle an L.A. Vibe

It’s the lead up to Mother’s Day, aka high season for fragrance launches. In recent days, Dior’s J’adore Intense was feted with Club J’adore at a Beverly Hills mansion, and LoveShackFancy celebrated its latest scent, Sweetheart, with a very pink, very flowery party at Kathy Hilton’s house in Bel Air.

But Byredo, the Stockholm-born fragrance house that has made a practice of distilling memory into scent, touched down last week with a more unconventional launch: a collaboration with Lauren Halsey, staged inside her newly opened Sister Dreamer sculpture park.

Halsey — whose installations fuse Egyptian iconography with street culture and community archives — has spent nearly two decades imagining Sister Dreamer, a public art park at Western Avenue and 76th Street. The courtyard of carved concrete panels, sphinxes and columns is both tribute and offering to the South Central neighborhood she calls home, designed as a space for belonging, programming and everyday life.

Sister Dreamer the fragrance is a limited-edition eau de parfum conceived as “a vessel for memory, community and imagined futures.” Opening with pink pepper and juniper, it softens into freesia and Turkish rose before settling into a warm base of sandalwood, amber and what the brand calls “healingwood.” It’s fresh and floral but not cloying, capturing a distinct L.A. moment.

“The park itself sits on a city block saturated with incense-scented air from my park’s neighbors: a mom and pop incense distributor, hyperlocal makers selling Coco Egypt and Oprah’s money sticks from their backpacks, and even a corporate gas station with a modest selection of Black Love Extra Strong and mango-peach oils,” Halsey said of the inspirations. The fragrance pulls from all of them, as well as from the aromatic native plants, wildflowers, fruit trees, herbs and grasses growing in the park.

The crowd was a cool mix of well-dressed fashion, art and entertainment people, where I spotted LaKeith Stanfield, Jeremy Pope, Tia Mowry, Zerina Akers, Delfin Finley and Kohshin Finley, Aleali May, Reese Cooper and more.

We moved through the park past carved sphinxes of local heroes and under columns etched with neighborhood icons and scenes, the air thick with perfume that was spritzed at the door and on giveaway T-shirts.

Caribbean-inflected small bites from local chefs Marcus Yaw and Abdoulaye Balde of their Two Hommès restaurant in nearby Inglewood were a hot commodity because they were so damn good, and people kept going back for seconds and thirds. Overall, the evening had a vibe that felt less like a product launch than a continuation of Halsey’s long-standing vision of joy as a form of resistance.

For Byredo, founded by Ben Gorham and known for its minimalist bottles and maximalist storytelling, the collaboration marks another step in its ongoing dialogue between art and olfaction — where the product becomes secondary to the world it conjures.

Sister Dreamer eau de parfum is available for $350 for 100 ml through Byredo boutiques and select retailers.

Sister Dreamer sculpture park is open through September at 1810 W. 76th St., Los Angeles.

Todd Gray’s “Portals” Defy Easy Consumption

Ahead of the unveiling of Todd Gray’s new commission “Octavia’s Gaze,” featuring his photograph of the prescient author Octavia Butler near the entrance to the Los Angeles County Museum of Art’s David Geffen Galleries, the L.A. artist has opened a stunning new exhibition of his photo collages at Perrotin Los Angeles.

Gray’s “Portals” challenge perception, folding time, place and memory into unsettled frames. Gray has long been familiar with the complexities of image-making. He started his career in music photography at age 14, capturing rock ‘n’ roll icons of the 1960s and ’70s for more than 100 album covers and eventually becoming Michael Jackson’s personal photographer. Here, he constructs photographic assemblages of scenes weaving together European and West African history, commenting on power and erasure, spectacle and witness.

Gray’s vision for the pieces was “to create a dialogue about my history as a diasporic individual and the colonizers, the imperial structures, the royals, the market that profited from my forebearers,” he said during a talk with LACMA director Michael Govan at Perrotin. “But I’m going to use beauty as a way to sugar coat it. So it’s a little sugar-coated pill.” The result? “Hopefully a reckoning and an awakening.”

Indeed.

In the powerful “Paradox of Liberty (Monticello, Elmina, Akwidaa),” a cluster of palm trees in Ghana forms the background for a bust of Thomas Jefferson and the Door of No Return from a slave fortress. “I thought this is a great story of this economic power and how it started. On top of paradise,” Gray said.

In “Portals (Antwerp, Paris 2026),” he upends the bias of Western art. “Whenever I visit a museum and see a Black person in a painting, I photograph it,” he said of coming across the source material at the Royal Museum of Fine Arts. “Here was a servant, discarded. And in most historical paintings that’s the space we occupy. But I had to disrupt the power so I used the stained glass window to cover the original subject and make the Black woman the subject. It was a way to upset the apple cart but make it a harmonious color study.”

The effect is beautiful but uncomfortable, resisting easy consumption. Portals is an invitation to entry and exploration.

“The first iteration is the gift of pleasure,” said Gray of how his work reveals itself in layers. “But that stimulates you hopefully to go further in.”

Todd Gray’s “Portals” runs through May 30 at Perrotin, 5036 W. Pico Blvd., Los Angeles.

LVMH Enters the Trophy Tequila Game with $2900 Pour

Louis Vuitton Moët Hennessy already designs the FIFA World Cup, Formula 1 World Championship and America’s Cup trophies, to name a few. And now, it’s entered the trophy-tequila game with Volcán de mi Tierra.

The luxury group launched Volcán in 2017 through its spirits division, in partnership with the Gallardo family in Jalisco, Mexico. And now, the brand has launched its most exclusive boisson yet.

Colección I Hacienda La Gavilana is tequila as object, encased in an Italian marble vessel that could double as a barbell, hand-carved by Mexican master stonemasons ARCA.

The Gallardo family’s heritage in Jalisco stretches back to 1776, almost as long as the luxury group’s flagship champagne brand, which was founded in 1743 by Claude Moët. LVMH CEO Bernard Arnault himself initiated the partnership for the tequila in 2015, which has resulted in a Blanco and a Reposado.

“Colección I” contains Volcán’s first Añejo, which is made from Lowlands Blue Weber tequila, aged in European oak and finished for more than a year in a sherry cask. It is smooth and elegant, with a wave of flavor that lingers in the mouth.

Santiago Cortina Gallardo, Volcán de mi Tierra’s CEO and co-founder, came to L.A. to introduce the tequila to the American market, pouring the liquid gold for media and tastemakers at a rooftop tasting at the L’Ermitage.

“There are more than 3,000 tequila brands, and last year more than one launched per day. But there are only seven brands that do their own tequila and nothing but their own tequila, and Volcán is one,” he explained, adding that the name honors the Tequila volcano near his family’s La Gavilana hacienda.

As for how he likes to drink his tequila, Gallardo recommends starting the evening with a Blanco with a beer on the side, then moving to a Reposado with a big ice rock (no lime, because that’s only for masking the taste of bad tequila), or Reposado mixed into an espresso martini. And then, if you’re lucky, linger over the Añejo for the big finish.

The brand is planning a new marble design each year, with editions limited to 1,774. And while the $2,900 price may seem steep, it’s not when you compare it to some of the other trophy tequilas that have made headlines, such as Tequila Ley Diamante, valued at $3.5 million, with a bottle crafted from platinum and 4,100 white diamonds.

Maybe LVMH’s Tiffany & Co. can top that.

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Marc by Sofia, Fun and Flattering

Those already missing fashion month can take a peek behind the runway curtain with “Marc by Sofia,” the new A24 documentary in theaters this week.

In it, director Sofia Coppola turns the camera on her friend, New York designer Marc Jacobs, whom she has known since the early 1990s, and it’s that part of the film that will be most delightful to today’s Nineties nostalgics. (Jacobs showed his influential grunge collection for Perry Ellis in 1992, the same year Carolyn Bessette began dating John F. Kennedy Jr.)

It’s amazing to hear about his early convictions on fashion as self-expression rather than conformity, his stage looks for grunge heroes, Kim Gordon and Sonic Youth, and Coppola’s own foray into fashion producing Gordon’s guerrilla X-Girl runway shows with a young Chloë Sevigny modeling on the sidewalk in Soho. The whole creative downtown scene at that transformative time in fashion could be an entire, incredible film of its own.

All of a sudden, it was “all about Kate Moss in panties with some fairy lights,” Jacobs muses about the shift from 1980s extravagance to ’90s minimalism, as Herb Ritts images of the model flash across the screen. “The thing that scares people most is anything natural, which can’t be emulated,” he continues. It’s a great point and could be why that era of authentic naivete is resonating in this era of curated perfection.

There has always been a naivete to Jacobs’ designs, but as he matured, the shows got bigger and bigger, and theatricality took over. The film is framed by the 12-week lead-up to Jacobs’ Spring 2024 “paper doll” show with wild proportion play, oversized tailoring, wigs and sparkle, and a set of giant folding chairs and table by artist Robert Therrien.

In the studio, Coppola gives viewers a behind-the-scenes look at Jacobs’ “non-linear” approach to designing the collection, from the finer points between five and seven gauge knits to the just-right “mannequin leg” shade of hosiery.

She also dives into his diverse and fascinating creative influences, from Bob Fosse’s choreography and Rainer Werner Fassbinder films to Elizabeth Taylor’s jewels and the Supremes’ stage costumes. The show’s makeup was inspired by a diva closer to home, his own mother, whom Jacobs remembers using a fine-tooth comb to scrape fuzz off black velvet ribbons to mix into mascara and make her lashes look spidery.

There’s a lot of eye candy and several laughs in the film. There are no outside voices, though, so viewers are not really given context about what makes Jacobs one of the most important designers of his generation. Not only did he tap into youth culture in a genuine way, but as a runway showman at his own brand and at the helm of luxury powerhouse Louis Vuitton, he elevated the fashion show to the spectacle we know now, while ushering in the current era of attention-grabbing pop culture collaborations with his groundbreaking partnerships with Takashi Murakami, Richard Prince, Pharrell Williams and others.

What also makes Jacobs’ life story compelling, however, is his human struggle with overcoming addiction and succeeding in business up until and including at this very moment.

Despite his enduring influence, his brand has failed to scale in luxury, closed most of its stores, and largely stopped wholesaling its runway collection. Owner Louis Vuitton Moët Hennessy has been exploring options for a sale for the last couple of years. Potential buyers include licensing group Authentic Brands, which has more of an affinity with the brand’s current identity as a purveyor of lower-priced Daisy fragrances and Heaven by Marc Jacobs baby tees, that play into his next-gen nostalgic appeal. None of that messy stuff is addressed, unfortunately, and if it had, the film would have been better for it.

Coppola also leaves obvious questions unanswered, like why Jacobs said he is happy to live with the misconception that the grunge collection (derided by critics at the time but revered later) got him fired from Perry Ellis. She never follows up to ask what really happened, too polite a friend, perhaps, to poke holes in the myth. (Perry Ellis was having business troubles of its own at the time, selling apparel.)

Someone else will have to make a film that’s a more realistic portrait of the designer, but this one is a fun, fizzy start.

“Marc by Sofia” is playing at select theaters starting March 26.

California Blooming

As Saks Global navigates bankruptcy, closing department stores around the country, rival Bloomingdale’s has been on a roll, reporting net sales up 8.5% during the fourth quarter.

What’s their secret? While generally considered more of a mid-level retailer, Bloomingdale’s has been taking market share by appealing to the all-important luxury consumer with new high-end in-store designer offerings and by entering the luxury clienteling game — something we’re more accustomed to seeing from mega brands like Dior and Louis Vuitton.

That was on full display last week when Bloomingdale’s brought some of its top New York customers to L.A. to enjoy a series of exclusive parties, fashion shows and designer events, further burnishing its reputation as a fashion player.

The occasion celebrated “California Love,” the retailer’s spring campaign featuring shop-in-shops at Century City and other locations, spotlighting exclusive fashion from Mother, Reformation, Lisa Says Gah, Aviator Nation, Agolde, Staud, The Great and many more beloved Golden State brands, alongside home goods from Flamingo Estate, Dumae, Lulu Powers and others.

The celebration kicked off with star power at a cocktail party held at the cool new Frame headquarters in Beverly Hills where Bloomingdale’s CEO Olivier Bron and chief merchant Denise Magid mingled over spicy margs and oysters with Matt Bomer, Sophia Bush, Zoey Deutch, Rainey Qualley, Frame co-founder Jens Grede, Favorite Daughter founders Erin and Sara Foster, designer Jonathan Simkhai and more.

Later in the week, VIC clients enjoyed a Vince fashion show around the pool at the Sheats-Goldstein Residence in Hollywood, and a visit to the new Bulgari flagship on Rodeo Drive.

L.A. designer Clare Vivier wrapped things up by hosting an intimate dinner party in the garden of her Glassell Park headquarters with a fun crowd including “Love Story” star Constance Zimmer, Ever Carradine, John C. Reilly, Lake Bell, “Shrinking” costume designer Allyson B. Fanger and more.

Guests arrived to a live performance from the band Paco Versailles, then made a beeline to a screen-printing station to make custom tees inspired by the “California Love” theme.

After the sun went down, we took our seats at a long table, where everyone had a monogrammed Clare V. pouch as a gift. Chef Josef Centeno served Mexican food as dinner conversation veered from the return of cigarette smoking (a gaggle partaking nearby was proof), to all of the special L.A. fashion collabs that have landed lately, including The Great x Stetson collection that launched just a couple weeks ago.

“This is one of Bloomingdale’s most important markets,” the retailer’s marketing head Kevin Harter said of the genesis of “California Love.” “Last year’s wildfires really emotionally affected the company and we wanted to give back. So we created this campaign in admiration for everything people here were going through, and worked with all these great designers like Clare, to create capsules.” 

Vivier designed several special springtime-in-Cali pieces, including a Grande Fanny in tan rattan, a Sandy cotton rope bag in blush pink and a straw “Californie” L’été beach tote.

“Bloomingdale’s is such an icon for fashion department stores and an icon of New York City so it’s really lovely when we get recognized in Los Angeles,” Vivier said. “People often think of New York as the fashion capital, but L.A. is really shining right now.”

Staud Goes for Gold

Now, for a very different kind of L.A. fashion collaboration.

American Express is marking the 60th anniversary of its Gold Card by partnering with Sarah Staudinger’s brand Staud on a capsule collection that will take you everywhere the card does.

The eight-piece resort-ready range, priced from $145 to $595 on the Staud website and in stores, includes a special beaded Timmy bag and miniskirt in a travel-inspired patchwork marking destinations from the American Express Hotel Collection curated hotel program offered to Gold Card members. Cheeky graphic tees, jackets and shorts are emblazoned with Members Since ‘66, honoring the card’s anniversary. There’s also a golden gown, naturally, which is worn by Laura Harrier in the campaign imagery.

American Express Gold Card has a long history of collaborating with fashion designers on buzzy capsules, from Jeremy Scott to Luar. But let’s be real, everyone knows Staudinger is a Centurion girl!

Beauty Euphoria Takes DTLA

You wouldn’t know there is a beauty industry slowdown (not to mention skyrocketing gas prices) from the scene at Sephoria last weekend. Thousands of beauty lovers bought tickets up to $465 and flocked to The Reef in downtown L.A. for the latest edition of the consumer event. And if you want to see their hauls, just do a quick search on social media.

More than 65 brands activated at the fan frenzy, which attracts an influential enough crowd (not to mention their followers) that brands often use it to debut new products.

Lines snaked around booths offering product giveaways ranging from Tamagotchis, tote bags and stickers, to setting sprays, lipglosses and fragrance samples from Summer Fridays, Rare Beauty, Kiehl’s, Sincerely Yours, Salt & Stone, Tatcha, Olaplex, Cyklar and more. There was also a serious swag bag, of course.

Glossier launched its new You Soie Eau de Parfum inside an Instagrammable pod, while Topicals invited guests to throw their best punch in a boxing game to win its new Faded Dark Spot Patches, and Shark Beauty gave demonstrations of the Shark SilkiPro Straight Wet to Dry Straightener + Rapid Blow Dryer. 

Alex Cooper stopped by to announce a new partnership with Sephora on a glam studio for her Unwell podcast network, called “Big Al’s Sephora Beauty Bar.” And beauty founders including Issa Rae, Jen Atkin, Chris Appleton, Patrick Starrr, Danessa Myricks, Shani Darden and Dr. Dennis Gross shared wisdom during fireside chats and master classes. 

Pat McGrath, the influential makeup artist behind Taylor Swift’s famous red lip and John Galliano’s epic glass skin, was a marquee attraction. Her company Pat McGrath Labs, once valued at $1 billion, filed for Chapter 11 bankruptcy in January (it’s not easy out there, folks), but you wouldn’t have known it from her chipper demeanor during her Master Class, where she demonstrated beauty looks she and her team created for the Fall 2026 runway shows that just wrapped in Paris.

One was a new take on no-makeup makeup she calls “Refined Radiance,” with a windswept glow, highlighted cheeks and balmy lips a la the “aliengelic luminosity” seen at Schiaparelli, using Pat McGrath Labs Divine Skin Rose Hydrating Essence, Divine Cream Blush balm and more.

Another was “Smokey Eyes: Soft to Smoldering,” using her Permagel Eye Pencils and Mothership Eyeshadow palettes to create the softly sinister black winged eyes seen at Khaite, as well as the more intense and graphic eyes seen at Saint Laurent.

The last was “Modern Lip Noir,” the return of the sculpted, contoured lip of Miss Swift, also seen on the runway at Khaite, Lanvin and Saint Laurent, using McGrath’s just-dropped Lip Sculpt Contour Duo in the Elson and Elson Extreme shades.

McGrath is so talented, and it’s always a pleasure to see her at work. Let’s hope for her brand’s sake that the Lipstick Index theory about more shopping for small indulgences during down times is real.

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Hathaway’s co-star Meryl Streep revealed as much in a profile of the former published Wednesday by Harper’s Bazaar. Discussing the highly anticipated sequel, Hathaway noted that the film was made, unlike its beloved 2006 predecessor, “in view.” This meant, in part, that the film was welcomed by the same fashion brands that were initially hesitant to associate themselves with the first “Devil Wears Prada.”

As a result, Hathaway, Streep and some of the sequel’s other stars were all invited to attend high-end runway shows during Milan Fashion Week before production on “The Devil Wears Prada 2” began. While there, Streep said she and Hathaway were “struck by how not only beautiful and young—everyone seems young to me—but alarmingly thin the models were.”

“I thought that all had been addressed years ago. Annie clocked it too,” Streep explained, adding that Hathaway “made a beeline to the producers about it, securing promises that the models in the show that we were putting together for our film would not be so skeletal!” Streep concluded by calling Hathaway a “stand-up girl.”

The access they were provided was not the only difference Hathaway and Streep experienced during the making of “The Devil Wears Prada 2.” They were also surprised by just how much attention the sequel’s shoot garnered.

“Even though we were aware of the impact of the first film two decades ago, I think none of us were prepared for the ambush of both goodwill and avid attention that engulfed us,” Streep told Harper’s Bazaar. “We needed police barriers and crowd control. Buses of fans turned up, and paparazzi swarmed and in one case kept jumping in front of the camera and the shot and got in a kerfuffle with crew! Annie kept her cool, but I was unnerved.”

This increased attention was on Hathaway’s mind during the filming of one scene when she accidentally fell down some steps. “I was aware that I was falling, I was aware that I was being photographed,” Hathaway explained. “I was also aware that, like, so many people on the crew, their hearts had just jumped up into their throat, so I needed to get up quickly to make sure they knew I was okay.”

Hathaway did exactly that, jumping up immediately after the fall. Later, she purportedly told director David Frankel in private, “Oh no. I’m news.”

Hathaway and Streep are not the only “Devil Wears Prada” stars who returned for the sequel. Emily Blunt, Stanley Tucci and Tracie Thoms all came back as well. Adrien Grenier, however, was not asked back to reprise the role of Nate, a decision which the actor speculated this year may have been due to “backlash” to his character.

“The Devil Wears Prada 2” is set to hit theaters on May 1.

The post Anne Hathaway Made ‘Devil Wears Prada 2’ Producers Promise the Film’s Models Would Not Look ‘Skeletal’ appeared first on TheWrap.

At the Oscars, Cool Minimalism Reigns

They saved the simplest for last. (And the most feathery.)

After months of awards season fashion, many of the best-dressed on the Oscars red carpet were notably subdued, reflecting the age-old tradition of playing it safe on Hollywood’s highest-stakes night.

With career-defining moments on the line, stars tend to lean into classic, somewhat conservative Academy Awards looks that will never seem dated.

But that wasn’t all that was at work. The trend also reflects the return of less-is-more, 1990s-era minimalism to the fashion conversation.

You could call it the “Love Story” effect. But truthfully, clean, streamlined, but sexy silhouettes were bubbling up even before the Carolyn Bessette and John F. Kennedy Jr. series hit Netflix, as seen in recent collections from Tom Ford, Jil Sander, Gucci, Miu Miu, and the OG Calvin Klein, of course, which has been in the midst of a brand revival.

On Sunday, simplicity shined. “Love Story’s” Sarah Pidgeon finally wore Calvin Klein to the Vanity Fair party in a long-overdue marketing coup, playing off her portrayal in the series of Bessette working for Calvin Klein in the 1990s. She looked great, even carrying the bag shaped like the CK One perfume bottle.

Oscars night was also a culmination of a fashion season full of creative change at a number of European luxury brands that have been in a race of their own to dress the world’s most beautiful people (for a fee, of course).

On that front, Chanel won the carpet hands down, though Dior did dress Vogue global editorial director Anna Wintour for her “Devil Wears Prada 2” bit with Anne Hathaway on the Oscars stage.

Of the houses with more seasoned creatives, Louis Vuitton had an incredible night, never mind that the red carpet looks rarely seem to relate to the overall direction of the house led by Nicolas Ghesquière. Emma Stone’s hand-embroidered empire gown, with striking cap sleeves and a low-cut back, was a deceptively simple-looking stunner.

The lesson of the night was that simple doesn’t have to be boring. You only had to look to best-dressed Renate Reinsve to know that. Styled by Karla Welch, she mastered the moment in a custom red Louis Vuitton asymmetrically draped gown with a dramatic slit, the perfect red lip, and minimal jewelry — just one killer Louis Vuitton diamond cuff and a ring.

Styled by Elizabeth Saltzman, Gwyneth Paltrow rocked a coolly minimal custom Giorgio Armani Privé ivory silk strapless gown featuring daring side slits.

And for icing, statement necklaces like Paltrow’s Tiffany white-and-yellow diamond piece were It, that is when women weren’t going with bare necklines and ears to match their minimal dresses.

Styled by Samantha McMillen, Kirsten Dunst had her own minimalist moment, wearing a strikingly elegant Sarah Burton by Givenchy gown that stayed true to the house’s heritage of simple, architectural evening wear, in the grand tradition of Audrey Hepburn’s iconic black dress from “Breakfast at Tiffany’s.”

Old Hollywood is a perennial red carpet reference, of course. And Jessie Buckley’s custom Chanel dress, in pale pink with a red stole, was inspired by a 1950s look worn by Grace Kelly, an icon of simple elegance herself.

New Chanel vs. new Dior has been the through line of awards season, and clearly Chanel splashed out some serious cash for Oscars night dressing, scoring a triple crown of glamour: Buckley, Teyana Taylor and Nicole Kidman, with hottie Pedro Pascal also wearing the powerhouse brand, which doesn’t even officially make menswear.

Taylor and Kidman’s looks flexed the modernity and craft prowess that creative director Matthieu Blazy has brought to Chanel, with wild embellishment and texture unlike anything we’ve ever seen. The embroidery on both their feathery gowns looked almost spray-painted.

Rose Byrne, who is styled by Kate Young, led the Dior by Jonathan Anderson pack, wearing a custom black draped crepe strapless gown with exquisite 3D floral embroidery.

With new creative director Demna just starting his role last summer, Gucci has had a quieter awards season. The house did dress Demi Moore, however, in a more conventional take on the night’s feather trend, styled by Brad Goreski. It’s worth noting, though, that Demna’s first Gucci runway collection, shown last month in Milan, emphasized minimalism rather than feathers.

“KPop Demon Hunters” singers Rei Ami, Ejae and Audrey Nuna have been awards season’s MVPs, always dressing as a related trio but with killer individual style. Oscars night was no different, and Nuna’s manicure deserved its own award. 

And alas, while it may have seemed like every Oscars look was couture or custom, that wasn’t so. Last week when I reported on the splashy launch of the party-ready Revolve Los Angeles collection fronted by Bella Hadid, I wondered if anyone would wear it on Oscars night. Amelia Gray did, to the Vanity Fair party. Her off-the-rack gown with deep side cutouts can be yours for $900.

After several years of peacocking, Oscars menswear was quieter and simpler, matching the prevailing women’s trend.

Black-and-white color schemes and subtle details ruled, as seen on Michael B. Jordan’s gorgeous black Louis Vuitton tuxedo with an officer-collar wool jacket, and Timothée Chalamet’s all-white double-breasted Givenchy tuxedo, a version he’s worn throughout awards season.

Other best-dressed men? Damson Idris, resplendent in a navy-blue Prada satin coat with a shearling collar that must have been hotter than hell but worth it. Pedro Pascal in a Chanel tux shirt and brooch, but no jacket, which must have been heaven in the heat. And Paul Mescal, whose tuxedo with a cropped, collarless jacket and pants was the epitome of Michael Rider’s new cool at Celine.

It almost seemed like they wouldn’t let a guy in the Dolby Theatre without a brooch, right?

Reece Feldman’s whimsical, pin-happy Tanner Fletcher look poked fun at the trend. Meanwhile, Joe Alwyn’s Chaumet diamond brooch struck a romantic note on the lapel of his Valentino tuxedo, worn with that limp bow tie that seems to be everywhere.

And in addition to Best Actor, Michael B. Jordan should have won Best Accessory Styling for wearing his black-and-white David Yurman brooch on the back of his collar, ensuring he lit up the room from every side.

It was also a night of a thousand spectacular necklaces, many of them chokers — from Elle Fanning’s extraordinary vintage 1903 Cartier piece made of diamond wisteria petals, to Priyanka Chopra’s Bulgari Serpenti Illusion choker featuring a 114.01-carat antique cushion-cut sapphire. Zoe Saldaña’s Cartier Art Deco-style platinum, diamond, and ruby lavalier wasn’t too shabby either.

But Chase Infiniti’s De Beers choker won the sparkle show because it was so modern and unusual, with a yellow cushion diamond at its center, and 57.15 total carats of diamonds scattered around it. 

Armani Toasts Awards Season

On Oscars eve, at Giorgio Armani’s starry Rodeo Drive store soirée, Minnie Driver paid tribute to the late designer, for whom Hollywood inspiration and collaboration ran deep, by wearing a top with his portrait.

Armani will always be remembered as the king of the red carpet.

Building on the attention he received in the U.S. for designing Richard Gere’s suits for the 1980 film “American Gigolo,” he became the first European designer to open a Los Angeles VIP dressing office in 1988.

Jodie Foster, stung from landing on worst-dressed lists, asked Armani to dress her for the 1992 Oscars, when she won Best Actress for “The Silence of the Lambs.” The publicity for her tasteful pantsuit was so off the charts that other brands came to L.A., and the red carpet fashion machine as we know it was born.

Armani was also personally influenced by film, and Hollywood matinee idols helped shape his aesthetic. There were certainly plenty of those on Saturday night, including Paul Anthony Kelly and Jon Hamm. They rubbed elbows with Samuel L. Jackson, Ali Larter, Yara Shahidi, Hudson Williams and more. Mr. Armani would have loved it.

New Dior Pops Up at South Coast Plaza

If the unforgettable fashion brands seen on awards season winners have given you the urge to shop, South Coast Plaza has you covered.

A striking new Dior pop-up is now open, turning the iconic Jewel Court into an immersive tribute to the house’s heritage and creative director Jonathan Anderson’s first collection.

The installation reimagines Dior’s archives through a playful visual concept inspired by colifichets, the gift boxes from the first Dior boutique. Mannequins dressed as bellboys carry dramatic towers of stacked gray boxes—referencing the signature color of 30 Avenue Montaigne—with clothing and accessories displayed around them.

Shoppers can snap up the reinvented Lady Dior bag, literary-inspired Dior Book Tote designs, Dior Bow and Normandie bags, Dior Roadie shoes and Dior Archie loafers, alongside select ready-to-wear looks and Diorette fine jewelry.

Interactive elements add a playful touch. A Try Your Luck game nods to founder Christian Dior’s well-known superstitions, while personalization stations offer perfumed ceramics, notebooks and bookmarks inspired by the collection. Happy shopping.

Dior pop-up shop through April 6, South Coast Plaza, Jewel Court, 3333 Bristol St, Costa Mesa, California.

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If there’s one thing that Oscar Week 2026 will be remembered for, it’s seeing the “Sinners” cast take over the town, in a joyous (and continuous) celebration of Ryan Coogler’s history-making triumph. Coogler and his stars, including Best Actor winner Michael B. Jordan and supporting nominees Wunmi Mosaku and Delroy Lindo, bounced from fête to fête, luncheons to luxury lounges to charity events, cocktail parties to dinners and late-night bashes, along with many other Hollywood luminaries and fellow nominees.

TheWrap went along for the ride and rounded up our favorite moments on the party road to (and after) the 98th Academy Awards, celebrating the best in film from the 2025 season at the Dolby Theatre in the heart of Hollywood.

Academy Awards Governors Ball

Roy Dolby Ballroom, Ovation Hollywood

The Governors Ball is always the first stop after the Academy Awards concludes for two good reasons. First, it’s the place where winners like “One Battle After Another” auteur Paul Thomas Anderson get their golden statues engraved; and second, this is the party to tuck into Wolfgang Puck’s always delectable cuisine before continuing on to the other exclusive after parties all around Hollywood.

Puck served 30 pounds of Kaluga caviar, 100 pounds of ahi tuna, 200 pounds of dry aged ribeye and much more to the hungry crowd, who sipped Piper-Heidsieck Champagne and knocked back shots of Tequila Don Julio while watching Best Actress winner Jesse Buckley giggle with glee as her Oscar was engraved.

And the talk of the ball was “Sinners” winner Autumn Durald Arkapaw, the first woman in the history of the 98-year-old Academy to win for Best Cinematography. Considering that women only made up 33% of the 2026 nominees, it may be a sign that the times they are a changin’ at the Academy. We sure hope so.

Warner Bros. Celebrates Dominance at Oscar After Party 

Craig’s, West Hollywood; Living Room, Los Angeles

Warner Bros. had a lot to celebrate after the 98th Academy Awards and they did it in style at Craig’s restaurant in West Hollywood. The studio led by Michael De Luca and Pam Abdy had both “One Battle After Another” and “Sinners,” so the hardware was everywhere at their post-Oscar party.

OSCAR PARTIES ON SUNDAY

Vanity Fair Oscar Party 2026

Los Angeles County Museum of Art (LACMA)

Word was that with the Vanity Fair Oscar Party moving to a 7,000-square-foot new venue in the massive courtyard of the Los Angeles County Museum of Art, the iconic party was going to be smaller and more exclusive.

But as stars from the top of the A-list to those on the “who’s that?” level poured into the bash, it seemed to be as big as ever, beginning with a viewing party/dinner for about 100 guests, with cuisine created by Chef Evan Funke and accompanied by Hestan Napa Red Wine and Tequila Don Julio.

Grammy winner Jon Batiste took to the piano as the show ended, adding his spectacular New Orleans style by offering a lagniappe mini concert as the main party room quickly filled. And in an “only at the Vanity Fair Oscar party” moment, Batiste later ended up cutting the rug with Mick Jagger.

Those who didn’t eat at the Governors Ball found Domino’s Pizza and In-N-Out Burgers at the post-show bash, as the swirl of gorgeous people reached epic proportions. Winners Michael B. Jordan, Jessie Buckley and Amy Madigan led the charge, along with “KPop Demon Hunters” winners Maggie Kang, Rei Ami and EJAE. 

Nominees were everywhere, from Jacob Elordi and Elle Fanning to Teyana Taylor, Wunmi Mosaku and Wagner Moura. All rubbed shoulders and threw kisses to former Oscar winners who joined the revelry, including Nicole Kidman, Rami Malek, Al Pacino, Javier Bardem, Robert Downey Jr. and Jane Fonda, as the party rolled on into the night.

34th Annual Elton John AIDS Foundation Academy Awards Viewing Party

West Hollywood Park

Elton John has been struggling with some health issues, but that didn’t stop him from being front and center at his 34th Annual AIDS Foundation Oscar Viewing Party and fundraiser. And raise money they did, $10.6 million to continue the mission of the charity, to fund AIDS prevention, treatment and care to those who need it.

Lots of different stars took a seat at his table to lend support, from Dua Lipa to Brandi Carlile and Billie Jean King, along event co-chairs Neil Patrick Harris and David Burtka and Elton’s husband David Furnish.

“This evening captured the spirit of what makes this event so special,” Furnish said. “Extraordinary talent, dear friends and a shared commitment to making a difference.”

British Grammy winner Lola Young was the musical guest, with the packed party cheering her on. Guests ranged from Sharon and Jack Osbourne to Brooklyn and Nicola Peltz Beckham, as well as Zoe Saldaña, Melissa McCarthy, RuPaul Charles and John’s longtime songwriting collaborator Bernie Taupin.

PRE-OSCAR BASHES

WIF 19th Annual Oscar Nominees Celebration

Wheelhouse, West Hollywood

At the 19th Annual Women in Film Oscar Nominees Celebration presented by Max Mara, the conversations swirled around the stark fact that women in the film industry are still struggling to get the jobs they deserve. Despite that, at this once-private home belonging to actress Bette Davis (an 11-time nominee and two-time winner herself), over 30 female nominees crowded into the small house and gardens, all proud and happy to be part of the conversation.

Best Actress nominees Kate Hudson (in Max Mara) and Renate Reinsve (wearing a hand-painted Khaite skirt) led the charge as the party quickly got so crowded that the annual fear of falling into the pool became real once again, as ladies in high heels teetered fearfully close to the edges.

Thankfully, no one went in as the nominees gathered at pool’s end to introduce themselves and take the annual WIF “class picture.” Also in the proud crowd of nominees were Diane Warren, Tig Notaro, Maggie Kang and Domee Shi.

“Tonight, we celebrate,” exclaimed WIF CEO Kirsten Schaffer, “Not because the work is done, but because we refuse to stop!”

Also in the jam-packed mix were Alicia Silverstone, Jurnee Smollett, Lisa Ann Walter and a scattering of supportive men, including Jon Batiste, Harry Hamlin and Kumail Nanjiani. Thanks, guys!

Fashion Fêtes: Dior, Chanel, DVF

Mr Chow; The Polo Lounge; Diane von Furstenberg’s Beverly Hills Home

Fashion fêtes usually go hand-in-hand with Oscar week, as both women and men (and their stylists) are on the hunt for that iconic look look that burns up social media in the right way. Dior joined forces with W Magazine for a chic dinner at Mr Chow’s, where current nominees and Oscar winners of years’ past enjoyed great food and conversation. Charlize Theron joined Emma Watson, Priyanka Chopra Jonas, Tracee Ellis Ross, Teyana Taylor, Mia Goth and Kendall Jenner for that refresh on Dior’s latest looks.

Another night, Chanel and producer Charles Finch hosted their own posh dinner at the Polo Lounge in the Beverly Hills Hotel, where 2026 nominees including Rose Byrne, Jessie Buckley, Elle Fanning and Teyana Taylor all wore very diverse Chanel looks, along with Kristen Stewart, Nicole Kidman and her two daughters. Javier Bardem, Mick Jagger, Al Pacino and others made that scene, too.

And finally, Diane von Furstenberg held her annual luncheon for female nominees at her Beverly Hills home, and not surprisingly, most of the nominated costume designers were in the house. Ruth E. Carter, Deborah L. Scott, Malgosia Turzanska, Miyako Bellizzi and Kate Hawley (who won for “Frankenstein” on Sunday) were all in for DVF’s bash, along with Gwyneth Paltrow, Jane Fonda, Demi Moore, Rita Wilson, Quinta Brunson and Paris Hilton.

This one even came with a sweet swag bag, featuring DVF x Estee Lauder InCharge Collection items and more.

20th Anniversary GBK Brand Bar Awards Luxury Lounge and The Maybourne Prêt à Portea Afternoon Tea

The Maybourne, Beverly Hills

Celebrating 20 years of luxury awards season gifting lounges meant that Gavin Keilly of GBK Brand Bar wanted a special venue for his 2026 Awards Luxury Lounge, which is why he chose The Maybourne, one of the top hotels in Beverly Hills.

That drew numerous Oscar nominees from both above and below the line, including Delroy Lindo and Wunmi Mosaku of “Sinners” fame, as well as Mira Sorvino (who won her Oscar in 1996), Tiffany Haddish, Adina Porter and Aidan Delbis, who co-stars opposite Emma Stone and Jesse Plemons in Best Picture nominee “Bugonia.”

This year’s gifting focused on technology, ranging from the InBody body composition machine to the Nuropod by Parasym, a wearable system designed to calm the nervous system, and on to the Ibreo portable massagers and Dmooster audio earbuds that really kept people occupied with a musical massage. Add in the delicious Ike’s Love and Sandwiches he was serving up, paired with a sip of luscious Shafer Wine from Napa Valley, and there was much at GBK to keep stars whiling away the day in the lounge. There was even handwriting analysis by Anagha Deshmukh, revealing personality traits that might need some adjusting! 

Downstairs at The Maybourne, the stars who visited GBK found another sweet treat, at the Prêt-à-Portea Red Carpet Collection High Tea at The Terrace Restaurant. With cleverly designed sweet treats served with champagne, savory sandwiches and tea (of course), everyone could indulge in nibbling on edible spins on Timothée Chalamet’s yellow Givenchy “Marty Supreme” jacket, Ariana Grande’s Schiaparelli Oscars gown and other bites inspired by Taylor Swift, Jenna Ortega and Jeremy Strong’s red carpet looks. 

“South Asians at the Oscars” 2026 Pre-Oscar Party

Rideback Ranch, Los Angeles

Now in its fifth year, the annual “South Asians at the Oscars” Pre-Oscars Party is firmly established as a not-to-miss bash celebrating the 2026 nominees whose heritage encompasses that region.

Which means nominees including Alexandre Singh, who won Best Live Action Short Film at Sunday’s Oscars, as well as many other familiar faces from film, television and social media turned out for the party held at the production studio known as Rideback Ranch. Supriya Ganesh, our favorite doctor from “The Pitt,” looked fabulous in polka dots, while Liza Koshy’s Yara Shoemaker gown made everyone look twice.

Also in the crowded mix were Jay Shetty, Lilly Singh and Poorna Jagannathan as everyone enjoyed tasty Indian food and a convivial atmosphere.

24th Annual MPTF Night Before Benefit

Fox Studios Lot, Century City

Raising money for the Motion Picture & Television Fund is always the focus of the Night Before Party, and everyone who is anyone always shows up. This year, Oscar nominees Michael B. Jordan and Kate Hudson were the co-chairs, along with Warner Bros. execs Mike de Luca and Pam Abdy; joined by a huge crowd of their favorite Hollywood types, their event raised over $4 million on the Saturday evening before the 98th Academy Awards.

From established Oscar winners Christopher Nolan and his wife/producing partner Emma Thomas to up-and-coming new stars like Hudson Williams, there were so many familiar faces it was hard to keep track. Think Anne Hathaway, Jon Hamm, Kate Beckinsale, Jacob Elordi, Coleman Domingo and many more, all intent on supporting the MPTF, which supplies support and services to working and retired entertainment industry professionals.

An Unforgettable Evening Benefiting the Women’s Cancer Research Fund

Beverly Wilshire, A Four Seasons Hotel, Beverly Hills

An Unforgettable Evening is an important night every year around Oscar time, when Hollywood gets together to raise funds for breast cancer research, specifically for the Women’s Cancer Research Fund. Hosted this year by Whitney Cummings, the elegant evening at the Beverly Wilshire Hotel honored actress Kerry Washington and eyebrow expert Anastasia Soare, as both women have used their clout over the years to support the cause.

During an emotional night, the big surprise (apparently even for Kerry Washington) was the arrival of Jennifer Lopez on stage, as she appeared to present the organization’s Courage Award to her friend. “I am here to celebrate the incomparable force of nature that is Kerry Washington,” Lopez gushed.

Washington teared up as she recalled her mother’s breast cancer battle and thanked all the medical researchers in the room whose work has helped keep her mother alive – and at the gala with her daughter.

Supporters of the cause also included Sofia Vergara, Kyle MacLachlan, Kris Jenner, Rhea Seehorn, Teddi Mellencamp and Amber Valletta; all gave generously and also enjoyed a musical performance by Demi Lovato that capped off the evening that was filled with a strong determination to finally find a cure for breast cancer.

The post Oscar Party Recap: ‘Sinners’ Stars Were Everywhere appeared first on TheWrap.

This year there’s been talk of how the more “slimmed down” guest list for Vanity Fair’s annual Oscar party may lead to some notable shutouts, which makes the red carpet photos that much more engaging — to see who got in.

Peruse the Vanity Fair red carpet gallery below.

Jessie Buckley in Chanel

Michael B. Jordan in Tom Ford

Odessa A’zion in Harris Reed

Demi Moore in Balenciaga

Hudson Williams in Balenciaga and Bvlgari jewelry

Connor Storrie in Saint Laurent and Tiffany & Co. jewelry

Connor Storrie in Saint Laurent and Tiffany & Co. jewelry and Hudson Williams in Balenciaga and Bvlgari jewelry

Teyana Taylor in Chanel and Tiffany & Co. jewelry

Naomi Watts in Balenciaga

Kim Kardashian in Gucci

Bella Hadid in Prada and jewelry by Chopard

Wunmi Mosaku in Louis Vuitton

Chase Infiniti in Louis Vuitton

Kate Hudson in Gucci

Colman Domingo in Jacquemus

Rachel Sennott in Balenciaga 

Grace Gummer in Balenciaga 

Rita Ora in Tamara Ralph and Daccori

Kylie Jenner in Alexander McQueen

Kylie Jenner in Alexander McQueen and Timothée Chalamet in Chrome Hearts

Ethan Hawke in Prada

Anya Taylor-Joy in Dior and jewelry by Tiffany & Co.

Anya Taylor-Joy in Dior and jewelry by Tiffany & Co.

Chloe Kim in Balenciaga 

Kaia Gerber in Givenchy

Barry Keoghan in Alexander McQueen

Dua Lipa in Schiaparelli and jewelry by Bvlgari

Dua Lipa in Schiaparelli and jewelry by Bvlgari and Callum Turner in Louis Vuitton

Rose Byrne in Dior

Elle Fanning in Givenchy

Dakota Fanning in Zuhair Murad

Elle Fanning and Dakota Fanning

Emilie Livingston and Jeff Goldblum both in ERL Artisanal

Emilie Livingston and Jeff Goldblum

Javier Bardem

Minnie Driver in Elie Saab

Naomi Watts in Balenciaga

Nicole Kidman in Chanel

Selma Blair

Sofía Vergara in Zuhair Murad

Meg Ryan

Keke Palmer in Gucci

Zoe Saldaña in Saint Laurent

Emma Chamberlain in Chopard

Gabrielle Union in Celia Kritharioti and jewelry by Tiffany & Co. with Dwyane Wade

Kendall Jenner in Chanel and jewelry by Tiffany & Co.

Maria Sharapova

Priyanka Chopra Jonas in Stella McCartney

Wagner Moura

Robert Pattinson in Dior

Hailey Bieber in Giorgio Armani

Ava DuVernay

Kristen Wiig in Monse

Chris Evans in Giorgio Armani and watch by Chopard

Alba Baptista in Elie Saab and Chris Evans in Giorgio Armani and watch by Chopard

Babyface

Lake Bell in Harbison Studio and jewelry by David Webb

Adam Scott and Naomi Scott

Jessica Alba in Tamara Ralph

Kiernan Shipka in Rodarte

Isla Fisher in Yara Shoemaker

Georgia May Jagger

RuPaul

Quinta Brunson

Babyface

Eiza González

Amelia Gray Hamlin in Revolve Los Angeles

Matt Bomer

Hannah Einbinder

Cara Delevingne in Thom Browne

Rhea Seehorn

Abby Champion and Patrick Schwarzenegger

Noah Wyle and Sara Wells

Alison Brie

Olivia Rodrigo

Jane Fonda

Myha’la Herrold

Lauren Sánchez and Jeff Bezos

Bella Tilbury

Huma Abedin and Anna Wintour

Julia Fox

Alessandra Ambrosio

Dree Hemingway

Tracee Ellis Ross

Maude Apatow

Vera Wang

Huma Abedin and Anna Wintour

J.J. Abrams and Katie McGrath

Sarah Paulson and Holland Taylor

Ewan McGregor

Eva Victor

Kris Jenner

Corey Gamble and Kris Jenner

Robby Hoffman and Gabby Windey

Chloe Fineman

Karlie Kloss

Sarah Pidgeon

Jon Hamm

Anna Osceola

Melanie Hamrick and Mick Jagger

Wendi Deng Murdoch

Taylor Tomlinson

Nikki Glaser

Selby Drummond

Lux Pascal

Harrison Ball and Zac Posen

Diane von Furstenberg

Brittany Broski

Quenlin Blackwell

Lauren Santo Domingo

Delaney Rowe

Diane Sawyer

The post Vanity Fair Oscar Party Red Carpet Photos: Stars Celebrate in Style appeared first on TheWrap.

And that’s not to mention the presenters who showed up in their finest looks: Odessa A’zion, Hudson Williams, Nicole Kidman, Sigourney Weaver, Robert Downey Jr., Chris Evans, Paul Mescal, Demi Moore, Mikey Madison, Gwyneth Paltrow, Maya Rudolph, Zoe Saldaña and plenty more.

See all the looks in our 2026 Oscars red carpet gallery below.

Teyana Taylor in Chanel

Teyana Taylor in Chanel

Michael B. Jordan in Louis Vuitton

Kate Hudson in Armani Privé

Goldie Hawn in Grayseful and Kate Hudson Armani Privé

Jacob Elordi in Bottega Veneta

Timothée Chalamet in Givenchy

Timothee Chalamet in Givenchy

Chase Infiniti in Louis Vuitton

Leonardo DiCaprio in Dior and Rolex watch

Nicole Kidman

Nicole Kidman

Ethan Hawke in Prada and Ryan Hawke in Reem Acra

Emma Stone in Louis Vuitton

Jessie Buckley in Chanel

Rose Byrne in Dior

Elle Fanning in Givenchy

Elle Fanning in Givenchy

Pedro Pascal in Chanel

Barbie Ferreira in GapStudio and De Beers London and Leviev Diamonds

Barbie Ferreira in GapStudio and De Beers London and Leviev Diamonds

Mia Goth in Dior

Delroy Lindo in Jade Allen of London

Paul Mescal in Celine and Cartier jewelry

Javier Bardem

Audrey Nuna

Mikey Madison in Dior and Tiffany & Co.

Hudson Williams in Balenciaga

Odessa A’zion in Valentino

Odessa A’zion in Valentino

Miles Caton in Amiri

Jayme Lawson in Loewe

Benicio del Toro in Giorgio Armani

Channing Tatum in Versace

Paul Mescal

Paul Mescal and Gracie Abrams both in Celine

Javier Bardem

Zinzi Evans and Ryan Coogler both in Louis Vuitton

Amanda Anka and Jason Bateman

Maya Rudolph in Chanel

Anne Hathaway in Valentino

Anna Wintour in Dior

Demi Moore in Gucci

Gwyneth Paltrow in Armani Privé

Regina Hall in Yara Shoemaker

Zoe Saldaña in Saint Laurent

Adrien Brody in Gucci

Adrien Brody in Gucci and Georgina Chapman in Marchesa

Joel Edgerton in Louis Vuitton

Autumn Durald Arkapaw in Thom Browne

Amanda Anka and Jason Bateman

Chloé Zhao in Gabriela Hearst

Ava DuVernay in Louis Vuitton

Alana Haim in Louis Vuitton

Priyanka Chopra Jonas in Dior

Kathy Bates in Vera Wang

Kirsten Dunst in Celine and Jesse Plemons in Lardini

Tash Moseley and Wunmi Mosaku in Louis Vuitton

Damson Idris in Prada

Óliver Laxe in Adolfo Dominguez

Heidi Klum in Chrome Hearts

Megan Everett-Skarsgård in Leoni and Stellan Skarsgård in Zegna

Molly Sims in Monique Lhuillier and Scott Stuber

Renate Reinsve in Louis Vuitton

EJAE in Dior

Rei Ami in Rahul Mishra, Ejae in Dior, and Audrey Nuna in Thom Browne

Inga Ibsdotter Lilleaas in Loewe

Kristen Wiig in Elie Saab

Rita Wilson in Jenny Packham

Kelly Ripa in Christian Siriano

Jennifer Venditti in Loewe

Melissa McCarthy in Fjolla Haxhismajli

Tamron Hall in Bibhu Mohapatra

Jeremy Pope in Ami Paris

Gabriel Domingues , casting director, “The Secret Agent”

Alma Jodorowsky in Jacquemus

Linda Bruckheimer and Jerry Bruckheimer

Austin Hargrave and Jessica Hargrave

Eve Gavigan and Steven Spielberg

Effie Brown

Buddy Guy

Sigourney Weaver in Valentino

Diane Warren in Giorgio Armani

Christian Siriano

Juan Peralta and Raquel Peralta

Josh D’Amaro, CEO of Disney, and wife Susan D’Amaro

Nina Gold, Casting Director

Danielle Brooks in Georges Chakra

David Zaslav

The post Oscars Red Carpet Photo Gallery 2026: The Best Looks appeared first on TheWrap.

As Paris Fashion Week and the Fall 2026 runway season draw to a close, let the Oscars red carpet fashion predictions begin.

Best Supporting Actress nominee Teyana Taylor took time out of her busy schedule to attend the Chanel show on Monday, increasing the odds that she’ll wear the brand Sunday night — and maybe even become the next Chanel ambassador.

With more brand ambassadors than ever, celebrity guests were as much a part of the show as anything that came down the runway. Here’s a look at some of the notable appearances.

Margot Robbie broke from her “Wuthering Heights” Brontë-core to attend Chanel in one of the sexiest, sportiest looks from Matthieu Blazy’s debut couture collection shown back in January. A couture tank top and jeans, imagine!

“Love Story” star Paul Anthony Kelly made hearts swoon at Dior, looking John F. Kennedy Jr. hot.

Building on her history-making Grammys look, Chappell Roan continued to redefine naked dressing at the Vivienne Westwood show wearing a corset dress that looked cheeky coming and going. 

At the Loewe Fall 2026 show, Emily Ratajkowski put a sultry spin on the preppy knotted cardigan sweater, wearing it strategically placed with nothing underneath. 

U.S. Olympic Figure Skating champion Alysa Liu stayed true to her alt skater image wearing baggy denim at Louis Vuitton.

Most in character, Natasha Lyonne perfectly embodied Michael Rider’s philosophy at Celine of championing personal style.

Naomi Watts wore Antonin Tron’s vision of everyday glamour to attend his debut collection for Balmain, pairing architectural construction with soft draping in a sharp black-and-white look.

In a stunt casting move gone too far, L.A. brand Enfants Riches Déprimés enlisted Marilyn Manson as a runway model, apparently unfazed by the multiple abuse allegations from women that led to him being dropped by his music label, his talent agency and several concert dates.

Matthieu Blazy’s Chanel was the buzziest collection of the season, in large part because the brand wisely avoided rushing any see-now, buy-now pieces into stores after his October 2025 runway debut. Instead, Chanel stoked anticipation. The first collection landed in Paris stores this week, sparking a feeding frenzy among editors and fans eager to shop it.

It also created momentum leading into the Fall 2026 Chanel collection shown on Monday, another blazing Blazy success. The collection dropped waists to extreme lows, made a case for the return of the skirt suit, redefined the Chanel jacket to include sporty windbreakers and flannel shirt–like styles, and continued to showcase a fantasia of craft and color.

Across the board, designers worked to mix relatable casual clothing with showstoppers, putting forth a new femininity that left quiet luxury behind. Exhibit A: Jonathan Anderson’s Dior, where embellished denim sparkling with crystal embroidery evoked the legendary 1949 Junon and Venus Christian Dior couture ball gowns.

Dior’s garden of delights was shown in a greenhouse in the middle of the Tuileries, complete with a pond of water lilies, which inspired some of the best shoes of the runway season.

The Bar jacket morphed into even more shapes, including a soft knit peplum cardigan. Frock coats appeared in lush lamé fabrics, styled with denim or balloon pants. I also loved how he brought the draped and creased effect of a gown to an easy short-sleeve shirt.

Tom Ford may be back in filmmaking mode, shooting “Cry to Heaven,” but his name has been very much in the fashion conversation this season, from the revival of ’90s style to Demna heavily referencing him during his first Gucci runway collection in Milan.

The actual Tom Ford collection, now designed by Haider Ackermann, delivered on Ford’s legacy, bringing sexy back to the runway. The show featured peekaboo vinyl skirts, low-slung trousers clinging to a bare hip with a thin strap, and plenty of leather and lace — all big trends for fall.

Schiaparelli is primed for a major cultural moment, with the “Schiaparelli: Fashion Becomes Art” exhibition opening at the end of the month at London’s Victoria & Albert Museum, showing Elsa Schiaparelli’s work alongside current creative director Daniel Roseberry’s designs. With his fall runway collection, Roseberry continued to honor her surrealist vision and fascination with body modification, presenting figure-enhancing dresses of every kind.

Paris fashion’s new avant-garde voices, Hannah Rose Dalton and Steven Raj Bhaskaran, took aim at the One Percent with their Fall 2026 Matières Fécales collection, which repeatedly featured money as a motif, including money masks and a money jacket. The collection also included body-modifying elements, such as Christian Louboutin boots designed to look like bare feet.

Saint Laurent is marking the 60th anniversary of Le Smoking, adapting the traditional men’s tuxedo for a sensual women’s silhouette. Anthony Vaccarello’s Fall 2026 runway featured many iterations of the look, alongside lacy lingerie pieces and chubby fur coats with grosgrain bow details that have Rihanna’s name written all over them.

Female designers have a distinct eye on fashion. Sarah Burton mastered uncomplicated elegance at Givenchy, with crisp white shirts, feminine suiting and unfussy but gorgeous evening wear for strong women.

An expert at reading the zeitgeist, Miu Miu’s Miuccia Prada drew inspiration from the humbling magnitude of nature and its influence on fashion. Her Fall 2026 runway featured outdoorsy nylon pants, adorable cropped fur-lined jackets, trapper hats, rugged boots, and what could be the next It sneaker—a crystal-covered throwback to the ’90s Prada Sport era. She also incorporated love-worn leather and vintage beaded touches, nodding to the growing popularity of resale and thrifting.

Gabriela Hearst interpreted the lace trend in her own luxe, artisanal way, alongside classic tweeds and outerwear, and introduced recycled mink collars held together by delicate chains, making them one of the season’s most desirable accessories. The designer also reminded us that kindness is always in style by elevating her muse, Eglantyne Jebb, whose work has impacted the lives of more than 1 billion children since she founded Save the Children in 1919.

Bringing it back to Hollywood, Balenciaga designer Pierpaolo Piccioli brought “Euphoria” to the runway, collaborating with the show’s creator, Sam Levinson, on moody video sets and incorporating imagery from the upcoming season into streetwear looks designed to capture the youth vote.

“Heated Rivalry” hunk Hudson Williams, a newly-minted brand ambassador, was sitting in the starry front row, pretty much ensuring he’ll be wearing Balenciaga to the Oscars which he’s slated to attend.

TheWrapBook Vol. 5: The Art of Cinema Sets the Stage for the Oscars

Toasting the year’s most vital voices in film, TheWrapBook’s annual collectible coffee table book brings together directors, actors, artists, and cultural leaders who muse on creativity, collaboration, and humanity in its stylish pages.

Famed art dealer and curator Jeffrey Deitch discusses Urs Fischer’s vision of Los Angeles, anchoring the issue in a dialogue between fine art and film that includes seven leading artists creating newly commissioned works inspired by the players of the year.

Highlights from the issue include a cover shoot and feature with “One Battle After Another’s” breakout star Chase Infiniti, set against the playful pop art of Mexican-American creative Humberto Cruz.

Oscar nominees for Sinners, Ryan Coogler and Michael B. Jordan, reflect on ambition, partnership, and building cinematic legacy in “View From the Top,” while Renate Reinsve, Inga Ibsdotter Lilleaas and Elle Fanning unpack “Sentimental Value’s” meta narratives in an interview illustrated with cast portraits by collage artist Michael J. Hentz.

Christian Lorentzen examines how Best Director nominee Paul Thomas Anderson rewrites the playbook for political filmmaking; Jennifer Venditti, nominated for the inaugural Best Casting Oscar for “Marty Supreme,” speaks about how discovery and instinct shape her work.

“At its core, this book is about the human condition,” TheWrapBook co-editorial directors Michaela Dosamantes and Andrew Wren said in a joint statement. “The solace of recognizing ourselves in art and finding community in the shared experience of cinema.”

TheWrapBook Vol. 5: The Art of Cinema is available in print and digital editions here. Follow the project on Instagram here.

Fashion Focus Shifts to L.A. With Pre-Oscar Parties Galore

Dior, Chanel, and Armani are among the international brands descending on Hollywood to host parties this weekend in the lead-up to the Academy Awards. But some of L.A.’s biggest style players kicked things off earlier this week.

On Wednesday night at Delilah, WME’s The Wall Group celebrated its 25th anniversary, toasting the behind-the-scenes wardrobe stylists, hairstylists, colorists, makeup artists, groomers, production designers and motion-picture directors of photography who bring editorial and red carpet fashion to life.

The agency, which represents Chris Appleton, Karla Welch, Kate Young, Gucci Westman, Danilo, Brad Goreski, Kadi Lee, Hung Vanngo, Shani Darden, and many more, has also launched a yearlong Thank Your Glam Team campaign, which has had Jason Momoa, Naomi Watts, Chris Pratt, and others shouting out their besties on social media.

At the party, Desiree Gruber, Kyle McLaughlin, WME Group Co-Chairmen Christian Muirhead and Richard Weitz and many more mingled in the dimly-lit supper club.

Kate Stirling and Ali Bird, co-managing directors of The Wall Group, marveled over how the business of image making has expanded, and how her team now works closely with all kinds of WME talent, including figure skater Alysa Liu, who is just now coming into the fashion fold.

Several guests, including stylists Erica Cloud, Jeanne Yang and Rebecca Ramsey, went from there to Sal’s Place for UTA fashion dealmaker Dan Constable’s annual Carbs before the Carpet dinner.

“I’m so happy to celebrate all the hard work our stylists and our fashion brand partners do this entire awards season. You all power the red carpet,” Constable said in a toast to his guests, which included stylists and reps from Schiaparelli, Loewe, Bulgari and many more brands that will be showing up at the Oscars who did indeed indulge (just a little bit) in crostini, orecchiette and more delicious carbs.

On Tuesday, Bella Hadid hosted a kickoff party for the new Revolve Los Angeles private-label collection at the Living Room, putting the L.A. retail juggernaut in the Oscars week fashion conversation.

The debut range, $200 to $3,500, looks really good, and some pieces are already sold out. It leans into sexy party dressing and elevated essentials, including daring sheer, embroidered, and cutout evening looks, jersey bodysuits and jumpsuits, leather trench coats, and tailored blazer minidresses.

Revolve, founded in 2003 by Michael Mente and Mike Karanikolas, continues to gain momentum, even in a down retail market. In the past few months, the public company launched joint ventures with Cardi B and designer Dion Lee introducing their new brands, and opened an impressive new brick-and-mortar store at The Grove. The space features the shopping center’s best luxury offering by far on its second floor, representing brands from Revolve’s higher-end FWRD retail site, with finds from Alaïa, Miu Miu, Mugler, and more.

Revolve has 29 owned private-label brands, which make up a significant part of its revenue. Back at The Living Room, Hadid, Soo Joo Park, Shay Mitchell, Isabela Merced, Alexis Ren, and several other guests were wearing Revolve Los Angeles at what was essentially a party-as-fashion-show. Will anyone wear pieces from the collection on Sunday’s Oscars red carpet? Let the games begin.

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The post Paris Fashion Week’s Biggest Stars and Takeaways: A-Listers Hit the City of Light 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. 

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