Aurora James and the 15 Percent Pledge Sued for Fraud

Aurora James is being sued alongside her organization the 15 Percent Pledge and its fiscal sponsor Philanthropic Ventures Foundation by The Gathery, the Brooklyn creative agency that produced the nonprofit’s 2026 gala. First reported by Carson Griffith’s “Rich People Shit,” the case centers on a complaint regarding an unpaid bill of $777.871.84 in principal, with the lawsuit seeking damages of at least $1,082,965.28 (including interest and legal fees). The Gathery alleges that James continued approving work despite the 15 Percent Pledge not having the money. {Rich People Shit; Business of Fashion/paywalled}

H&M Group Sales Rise by 1% in Q3

H&M Group released its Q3 2026 earnings on Thursday, which showed sales in local currencies increased by 1% and net sales rose to SEK 57.19 billion ($5.77 billion). Its third-quarter sales were affected by disruptions in the global supply chain. Gross profit increased to SEK 30.87 billion ($3.12 billion), corresponding to a gross margin of 54%. The H&M Group’s sales in September 2026 are expected to increase by 1% in local currencies. {H&M Group}

Arnault Family To Simplify LVMH’s Ownership Structure

The Arnault family is planning to simplify the ownership structure of LVMH, placing almost all of its stake in the group in a single listed entity, Agache SCA. This would replace the major LVMH holding company Christian Dior SE. This is the latest move by Bernard Arnault to tighten the family’s control over the company and prepare it for an eventual succession. {Bloomberg/paywalled}

Interparfums, Inc. Lands Worldwide License Agreement With Puma

Interparfums, Inc. signed an exclusive worldwide license agreement with Puma for the creation, development, production and distribution of fragrances under the sports brand’s name. Interparfums plans to introduce this new fragrance in 2027 under a license agreement that runs through Dec. 31, 2037. {Interparfums, Inc.}

How the EU’s New Greenwashing Rules Impact Fashion

Through the Empowering Consumers for the Green Transition Directive (or EmpCo), Europe will require all sustainability claims to be proven by third-party evidence like a certification or government backed label starting Sept. 27. Claims such as carbon offsetting or carbon neutrality are blacklisted. The crackdown could lead to increased “greenhushing,” where brands undercommunicate to legally protect themselves. {Vogue Business/paywalled}

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Fall dressing is all about embracing texture, so why not extend it to your handbag this season? Enter Coach’s Brooklyn collection, a family of slouchy shoulder bags that combines the ease of an everyday carryall with an on-trend silhouette, available in a range of sizes. The relaxed, minimalist shape was designed to develop character the more you wear it, and it makes a great canvas for some bag charms.

So, which Brooklyn is right for you? It mostly comes down to how much you need to carry. The Brooklyn Shoulder Bag 26 is the smallest of the options (and under $200!) with a trendy, elongated look — you’ll want to carry it everywhere.

The Brooklyn 28 is the next size up and surprisingly spacious. It can hold everyday essentials (wallet, keys, phone) plus extras like a tablet or water bottle, making it a natural choice for running errands, grabbing dinner or heading out for the day. It comes in three leather shades, two suede, a straw colorway and even one featuring very cool wooden beads.

The Brooklyn 34 hits the sweet spot for anyone who wants a little more space. Its roomy interior can fit up to a 13-inch laptop, making it a great choice for commuting, working from a coffee shop or transitioning from day to night. The suede version feels particularly suited to fall, with its soft, tactile finish and warm brown color. You can also switch it up and go for the Pillow Brooklyn Shoulder Bag 34, which has a seamless leather construction for a pillowy soft feel against the body.

Need even more space? The Brooklyn 39 is the largest of the original Brooklyn styles and can fit up to a 15-inch laptop and pretty much whatever else you need (even a pair of ballet flats). It comes in classic black and brown leather so it’ll go with everything in your closet.

Whichever size you choose, the Brooklyn makes a strong case for being your go-to fall bag.

Shop our favorite Brooklyn bags:

Coach Brooklyn Shoulder Bag 26 in Natural Grain Leather/Brass/Maple, $195, available here

Coach Brooklyn Shoulder Bag 34 in Natural Grain Leather/Brass/Maple, $395, available here

Coach Brooklyn Shoulder Bag 28 in Natural Grain Leather/Brass/Scarlet, $295, available here

Coach Brooklyn Shoulder Bag 28 in Natural Grain Leather/Brass/Black, $295, available here

Coach Brooklyn Shoulder Bag 28 With Wooden Beading, $495, available here

Coach Brooklyn Shoulder Bag 39 in Brass/Black, $495, available here

Brooklyn Shoulder Bag 26 in Suede/Brass/Dark Chocolate, $195, available here

Pillow Brooklyn Shoulder Bag 34 in Natural Grain Leather/Brass/Black, $495, available here

Coach Pillow Brooklyn Shoulder Bag 34 in Natural Grain Leather/Brass/Saffron, $495, available here

Coach Brooklyn Shoulder Bag 28 in Straw/Brass/Dark Fuchsia, $250, available here

According to the brand’s launch agency, its release campaign generated 58 press placements in four weeks, including 14 standalone features and 253 social mentions across Instagram, TikTok and YouTube, with a reach of more than 27 million users.

Its social-first design was a stark contrast from the minimalist, muted packaging that had been dominating the industry in its millennial optimism days. Brands including Nécessaire, Ouai, Aesop and The Ordinary contributed to cohesive shelfies and quietly luxurious beauty counters. Even in the case of Drunk Elephant, which notably implemented bright color into its packaging in 2013, the pop functioned primarily as a point of differentiation and a playful accent, rather than an all-encompassing brand identity. It didn’t reflect the emotional cue that vibrant packaging represents today.

“We were really at the height of the ‘clean girl’ aesthetic,” 3E Beauty Consulting founder and beauty packaging consultant Allison Kent-Gunn Garibay tells Fashionista of that time. “That extended beyond beauty and fashion, into packaging as well. We saw a lot of minimalism, earth tones, simple typography and very restrained branding. There was almost this belief that in order for a beauty brand to feel elevated or premium, it needed to be visually quiet.”

Fast-forward to 2026, and packaging has gone bold. Recent reporting by Mintel shows that brands are embracing vibrant hues, tactile finishes and retro-inspired aesthetics that elevate the “unboxing” experience on social media. This includes brands targeting younger consumers, such as Evereden, and millennial- and Gen X-focused brands, too. Mintel found that, “More than half of U.S. consumers pay close attention to the look and feel of makeup and fragrance products.”

“The current beauty boom has led to stronger innovations, and the idea that we all need to stand out more,” explains Lena Park, co-founder and director of Los Angeles-based K-beauty brand Mixik. “Attention is fleeting online and overwhelmed in stores, so brands need more ways to capture a consumer’s eye.”

Since launching her brand in 2024, Park has seen a shift in how products are presented online especially. “There’s been a huge rise in colorful packaging and evolving forms,” she says. “Social media and direct-to-consumer-first brands really needed to lead with grabbing attention, and this was probably the most economical way. Lately, there’s been an explosion of rounded, curved and softer forms.”

Marc Jacobs Beauty’s 2026 relaunch deeply reflects the current state of beauty packaging. After discontinuing its previous line in 2021, the brand — once synonymous with glossy black packaging and silver hardware — returned with maximalist, playful colors and three-dimensional designs. It was a hit on social media.

“I know some people will say packaging does not matter, but this brings me so much happiness and joy when I’m doing my makeup,” TikToker Maddie Evans said of the brand’s Joystick Buildable Cream Blush Stick to her 115K followers.

Smashbox also chose to embrace more color in 2026: The brand swapped all of its metallic primer tubes to different colors, modernizing the visual direction overall to “stand out and evoke emotion,” says Jill Tomandl, vice president of global product development and innovation, Estée Lauder Companies, West Coast Brands. “It’s important for packaging to attract the consumer with a visually impactful design and help tell the story across social media, online and in stores.”

In a rare move, Korean beauty packaging is evolving, too. While K-beauty has historically been known for immersive, sensorial formulas and playful marketing, its packaging has traditionally stuck to a “clinical, minimal, similar aesthetic,” says Sora Lee, CEO and co-founder of Jiyu, who adds that “brands often don’t feel empowered to make bold choices, so they go the safe route. Korea leans more conformist, though that’s still evolving.”

“People are tired of products that all blur together,” Lee continues. “They want to grab something, know what it’s for, and actually feel something for the brand. Color is how a brand shows its personality before anyone reads a single ingredient.”

Park notes that this new wave (as evidenced by modern Korean beauty and fragrance brand Keyth, for example), is “supported by quickly evolving manufacturers in Korea and China who’re able to offer a larger variety in types of packaging.”

“It’s interesting that some of the most compelling examples of expressive packaging I’ve seen recently are brands [from] outside the U.S.,” Kent-Gunn Garibay says. She points to the fully aluminum packaging of Mexico City-based Aora Makeup, and also acknowledges Philippines-based Issy Cosmetics and Sunnies Face for their industrial design.

Alongside the need for differentiation in a crowded market, social media has clearly pushed brands to evolve their packaging even more. “Packaging isn’t just sitting on a retail shelf anymore. It’s being photographed, filmed, reviewed and shared across social media,” Kent-Gunn Garibay explains. “For many consumers, the packaging is actually their first impression of a product, so it has become an extension of the brand’s marketing strategy.”

That said, consumer expectations are higher than ever, and aesthetics shouldn’t come at the expense of functionality. “The best packaging solves problems,” the expert continues. “It protects the formula, dispenses consistently, minimizes product waste and creates a memorable experience for the consumer. A package can be beautiful, but it also has to be manufacturable, scalable, compatible with the formula and deliver a great experience from the first use to the last.”

Tolmandl agrees, praising Too Faced for its Peach Perfector Loose Powder, which features a roller ball that looks like a peach pit while dispensing the right amount of product mess-free. She also recognizes the Peach Shadow Palette, designed with a cushiony lid that evokes the softness of a peach and the eye-shadow formulas inside.

Ultimately, the experts agree branding will continue to evolve and cycle in and out of trends. But as Park points out, one thing will hold true moving forward: “Any strong brand leaving a lasting cultural moment must evoke an emotional attachment or resonance with customers.”

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The style’s moniker speaks for itself: Just like a good ol’ Midwestern mullet, the hemline is short in the front (business) and long in the back (party). Depending on your persuasion, it’s a welcome return for nostalgiamaxxers like myself — my very 2017 homecoming look was a black mullet-hem dress — or merely a reminder that everything comes back around in fashion.

View the 2 images of this gallery on the original article

Wherever you fall, designers are breathing new life into the knee-baring silhouette this season. Back in the 2010s, celebrities like Taylor Swift, Miley Cyrus, Lady Gaga and Selena Gomez rocked a rather bulky version of the style, but now, the hemline is noticeably lighter and sleeker. Over in Copenhagen, Almada Label and The Garment introduced sheer, breezy iterations that mirrored the movement of gauzey capes. The Danish designers also played with textures, as seen in By Malene Birger’s feather-detailed mullet tank, Herskind’s fringe-tipped top and OpéraSport’s tactile dresses.

View the 2 images of this gallery on the original article

In New York City, minimalist mullets at Lii and Michael Kors juxtaposed billowing high-low trains at Christian Cowan and Aknvas. Several designers took more of a sideways approach to the mullet hem’s asymmetry: Monse, Simkhai and LaQuan Smith all draped the hemline over one leg, rather than equally baring both knees. Meanwhile, Bibhu Mohapatra presented feather-lined mullet hems, while Conner Ives reimagined the silhouette as a drop-waist mint green slip.

View the 2 images of this gallery on the original article

The London designers had some fun with the asymmetrical hem (the Brits love a mullet, after all) as Erdem unveiled bustle-like skirts, Bora Aksu explored a particularly frilly interpretation and Dreaming Eli embraced high-low lace dresses. For its London Fashion Week return, McQueen debuted bulbous knee-baring gowns that heightened the drama of the 2010s-era red-carpet mainstay. Also intriguing: Keburia applied Grecian-like draping to the mullet-hem silhouette, Lovebirds paired bright-yellow bloomers with an elongated skirt and Aaron Esh’s sheer layered slip dresses revealed colored tights.

With Milan Fashion Week in full swing and Paris on the horizon, we’ll likely see even more of the high-low hemline that once had millennial celebrities in a chokehold. Ahead, see all of the mullet-hem looks from the Spring 2027 runways (so far).

Mullet Hems at Copenhagen Fashion Week

Mullet Hems at New York Fashion Week

Mullet Hems at London Fashion Week

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“A skirt may be abstracted, a fragment of a whole with a mutating rapport with the pieces it juxtaposes: a sweater, a shirt, a bra top, can each suggest alternate readings of a whole,” read the show notes. At Prada, some bras were slightly obscured by a jacket or shirt, but most were worn solo in a powerful co-sign of an outfit formula we’ve been seeing throughout the Spring 2027 shows, from New York to London to Milan.

View the 3 images of this gallery on the original article

Sandy Liang (whose designs often have a certain Prada-ness to them) included a number of bra tops, paired with both skirts and culottes, in her show styled by Dean DiCriscio. She aimed to evoke the joy of being outdoors in the spring by focusing on utilitarian functionality through a princess-y lens. “It’s technical dressing filtered through fantasy, practicality made precious, for the girl who lives in a fairytale, whose home team is Versailles,” read the show notes.

View the 3 images of this gallery on the original article

Also in New York, Altuzarra Spring 2027 featured several skirts styled with bras, mostly peeking through an open shirt or sweater towards the end of the collection. Inspired by Casa Susanna, a retreat in the Catskills where men would gather to dress as women in the 1960s, the designer aimed to capture their spirit with “a wardrobe that explores self-invention, nostalgia and the liberating possibilities of summer,” the show notes read. The clothes became more feminine and expressive as the show progressed; towards the end, “femininity is no longer contained beneath the surface but breaks through it,” per the show notes. “The wardrobe moves from the uniforms of everyday life toward something more expressive, romantic and free.”

View the 2 images of this gallery on the original article

Later on in London, Mowalola showed minimalist bra-and-skirt looks in an effort to “return, laser-focused, to the codes that first defined her brand’s inception: autonomy, sensuality and a radical liberation of self,” according to the show notes. Worn alongside sharp pencil skirts, these looks apparently offer a new approach to office wear. “I’m running my company, and I wouldn’t dress like a ‘CEO’” Mowalola said in a statement. “This is how I show up – and these are the women like me: other women who enjoy, and find power in, their sensuality.”

Whether it’s for your incredibly open-minded office (I dare someone to wear this while holding an iced coffee at their next job interview), a playful way to beat the summer heat or an accidentally chic getting-ready outfit you wear at home before deciding on a real shirt, the bra-and-skirt combo is undeniably appealing.

Ahead, see how this trend is showing up across Spring 2027 runways.

Spring 2027 Runway Trend: Bras With Skirts

Most of our introductions to the world of makeup and skin care involved watching our moms, grandmothers and other maternal figures using their own cosmetics. And for the past 65 years — since Mary Kay Ash first founded her eponymous beauty brand, Mary Kay — many of us associate those early primping memories with its nostalgic pink branding.

But Mary Kay is ready for its next era. On Sept. 1, the brand unveiled “Beauty Is More Beautiful Shared,” its largest-ever global consumer-facing campaign. Through bold imagery and cheekily inclusive slogans (“Beauty is not a solo act”), it welcomes a new generation to Mary Kay’s beauty party.

“If you take a step back and think about it, Mary Kay is the OG girl’s girl beauty brand,” the company’s Chief Brand and Scientific Officer Dr. Lucy Gildea told Fashionista. “I don’t react negatively when people say, ‘Oh, I thought my grandma used to use that,’ or ‘This is for grandma.’ Well, you know what? People may not realize that their grandmother was cool. She had it all figured out.”

During New York Fashion Week, Mary Kay brought the campaign to life with an activation in Manhattan’s Meatpacking district. Featuring the world’s largest beauty table — a sprawling vanity lining 9th Avenue — the event invited fashion week showgoers and New Yorkers of all generations to swipe on the brand’s Shimmer Eye Shadow Sticks, score gifted products, participate in a meaningful give-back effort and, of course, take advantage of content creation opportunities. (Mirrors abounded!)

Fashion designer Cynthia Rowley and her daughter Gigi Powers were also in attendance to underscore both the event’s ties to NYFW and its celebration of intergenerational beauty.

“We’re celebrating what I call the reintroduction of Mary Kay to the world,” Dr. Gildea said at the event. “We’ve always known that beauty is more meaningful when it’s a shared connection.” Underscoring the “girl’s girl” ethos, the event also included a letter-writing station in partnership with Womankind, a New York City-based organization that has supported and empowered survivors of gender-based violence since 1982.

In addition to this initiative, Mary Kay gives back through Pink Changing Lives Program, a philanthropic effort to improve the lives of women and their families. The program has donated $234 million globally through monetary and in-kind donations since 1996. “This is about having everyone see the breadth of what we are as a brand,” Dr. Gildea explained. “At our core, we’re about giving back, we’re about women, we’re about community, we’re about supporting, and we’re an amazing beauty brand with great products.”

“Every time you buy a product at Mary Kay, you’re supporting a woman entrepreneur,” Dr. Gildea added. “This is just the start of this movement for the world to see our relevance and the fact that we can touch lives in so many different ways.”

Many legacy fashion and beauty companies have histories they’d rather shy away from, but it’s the complete opposite for Mary Kay, Dr. Gildea emphasized: “We are a brand that didn’t have to change who we are. We are at the core, the same Mary Kay that we’ve always been and we’re able to showcase those values.”

Long before the girl boss era, “Mary Kay [the person] was just a trailblazer and a transformational founder. She built more than a beauty brand. She built a community and this community was built on helping any person realize their dream, whatever that dream may be.”

Ahead, see (and shop!) some longtime Mary Kay favorites and exciting new releases worth trying (and, of course, sharing).

Mary Kay® Timewise Antioxidant Moisturizer, $34, available here

Mary Kay® Unlimited Lip Gloss in Tawny Nude, $20, available here

Mary Kay® Unlimited Lip Gloss in Nude Blush, $20, available here

Mary Kay® Great Heights Mascara, $18, available here

Mary Kay® Oil-Free Eye Makeup Remover, $22, available here

Mary Kay® Shimmer Eye Shadow Stick in Golden Sunrise, $20, available here

Mary Kay® Matte Eye Shadow Stick in Lunar Rose, $20, available here

Mary Kay® Supreme Hydrating Lipstick in Black Cherry Spice, $22, available here

Mary Kay® Waterproof Lip Liner in Mauve Nude, $16, available here

Mary Kay® Hydrating Cream Mask, $24, available here

Puck Uncovers Previous Steven Kolb Incidents at CFDA

Former CFDA CEO and President Steven Kolb’s conduct prompted the CFDA board to bring in executive coaches for him over the years, Puck reported. In 2014, Kolb got into a public disagreement with a female executive that brought her to tears and he insisted she stay even as she tried to leave, according to four sources with direct knowledge of the incident. She eventually walked out and didn’t return. Puck also reported that a 2019 internal survey at the CFDA found 91% of female employees felt they had been addressed less than professionally. {Puck/paywalled}

Meta To Launch Smart Glasses Without Cameras

Meta is expected to unveil new smart glasses at its Connect conference Wednesday, including a camera-free version, as privacy concerns grow over AI devices that can record people without consent. The company already leads the smart glasses market with more than seven million units sold last year of its EssilorLuxottica-developed line, but faces lawsuits alleging it misled users about privacy protections. {Reuters/paywalled}

H&M Stake Grows for Founding Family Amid Weak Sales

The Persson family, who founded H&M, has been quietly buying more shares this year, pushing its ownership past 68%, up from about 50% in 2021. Analysts think this is a slow move toward taking the company private, with predictions of a full buyout by 2030. Meanwhile, H&M’s stock has lost over half its value since 2015, and the CEO’s turnaround plan still hasn’t boosted sales. {Reuters/paywalled}

Givenchy Strengthens Leadership With Two New Hires

Givenchy has appointed Alistair McCallum as chief marketing officer and Nicky Grays as human resources director, both effective Sept. 30. McCallum joins from Burberry, where he has served as vice president of global communications since 2022, following earlier roles at Alexander McQueen and Fendi. Grays previously worked as HR leader for LVMH Fashion Group in the Americas for three years. {WWD/paywalled}

Nicky Campbell Signs With CAA

Fashion commentator and creator Nicky Campbell, known for his red-carpet series “Gloves Off” and online celebrity style coverage, has signed with CAA for representation. His recent work spans serving as a Netflix’s correspondent for the 2025 SAG Awards, appearing in Season 22 of “Project Runway” and co-hosting NBC’s TikTok livestream at the 78th Emmy Awards. He is also the stylist for Grace Gummer and Mark Ronson. {Deadline}

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Director of Sales & Client Experience
Title:  Director of Sales & Client Experience
Based:  New York
Level:  Director
Date: 4 August, 2026

The role
The Director of Sales & Client Experience anchors Tabayer’s New York showroom and supports the brand’s commercial and wholesale strategies.

This role owns the operational rigor, client experience, and commercial execution behind Tabayer’s showroom and wholesale business, with direct accountability for its outcomes.

Showroom leadership

• Own the day-to-day running of the showroom: appointments, client hosting, presentation, collaborations, and the smooth operation of the space.
• Set and uphold the client-experience standard the showroom is known for, consistent with the Tabayer brand.
• Own, grow, and maintain the CRM database, keeping client records accurate and current.
• Support exhibitions, events, and brand collaborations hosted in the showroom.

Wholesale account management
This role manages wholesale accounts from an operational and commercial perspective. Specifically:

• Manage wholesale accounts operationally: sales tracking, sell-through, and open-to-buy.
• Monitor account performance, flagging opportunities and risks and recommending actions.
• Bring commercial rigor and a build-not-sell discipline to the account base, with a focus on long-term growth.

Client experience & selling capability
This role brings deep experience in sales, account management, and client-service excellence, forging meaningful, strategic relationships that accelerate growth. The intent isn’t simply to sell; it is to put the long-term infrastructure in place so that Tabayer can scale with the right partners.

• Raise selling and client-service capability, drawing on extensive luxury-retail and L&D experience to identify growth opportunities.
• Build consistent client-experience and service standards across the business as it scales.

Product & sales training

• Lead product and sales training when new wholesale accounts open and when new products launch.
• Bring product-knowledge and training depth, covering high-value clienteling techniques, appointment standards, protocols, and best practices for presenting high-value pieces.

Operations within scope
This role owns the operational running of the showroom and wholesale, including inventory coordination, reporting accuracy, and day-to-day execution within its scope.

• Own the operational running of the showroom, including the movement and handling of jewelry within the space, and oversight of Tabayer wholesale partners.
• Reconcile to the system of record: ensure both showroom and consigned stock are accurately captured in the inventory system, so that physical and system reality stay aligned.

The role’s primary accountability is the showroom, client experience, and wholesale. Responsibilities beyond those listed here should remain secondary to these core priorities.

Compensation Range: $78,000 – $80,000 annually

To Apply: Please send your resume to sd@tabayer.com.

Price Range: $65-$95
Hero Product: The Glow System ($320)
PR Representation: In-house
How to get in touch: info@beexury.com

Origin Story

Beexury was born from honey. Growing up in Haiti, Founder Daniella Bien Aimé considered honey a household staple: a remedy, a ritual, a gift from nature. When she relocated to New York and began building her next venture, she returned to that origin, this time fusing it with the precision of Korean formulation science.

Crafted in Seoul and rooted in New York, Beexury is luxury skin care built on three pillars: honey, propolis and beeswax, actives clinically known for brightening, barrier repair and deep hydration. The result is The Glow System, four products designed to deliver Honey Glass Skin: that luminous, lit-from-within glow that needs no filter. Beexury is for the woman who demands efficacy and elegance in equal measure, and refuses to choose between the two.

On Wednesday, CEO Caroline Valentini, CBO Lindsay St. Clair and CMO Zee Carlstrom officially introduced LeNose to the world. All former members of Bubble Skincare’s creative and marketing teams, the three industry veterans came together to develop a “fun-forward home fragrance brand delivering luxury-quality scents Gen Z and millennials can realistically afford,” as described in press materials. All of the founders are members of these two generations, and they’ve identified “a growing disconnect between the worlds brands are selling and the realities consumers are living” over the past few years.

“We founded LeNose to answer a simple question: Why can’t we all have nice things?” Carlstrom tells Fashionista over email. “LeNose was created to bring fun and quality to the lackluster big-box soap aisle, democratizing the luxury home fragrance experience with excellent packaging, luxurious formulas…and elite fragrances. As a human being, though, I must also add that LeNose was created because we wanted to make a luxury soap and fragrance brand that didn’t rip people off.”

LeNose debuted with a range of five hand soaps that retail for $10 each: I’m So Fancy, My Soap Smells Like Money (the aforementioned dollar bill scent); Yeehaw I’m A Sandalwood Cowboy (santal, violet, cedar, cardamom and sagebrush); Orange You Glad Life’s Not So Bad (mandarin, rosemary, lavender, cedar); Don’t Call me Boring, I’m Extra Vanilla (vanilla, tonka, amber, orchid, jasmine); and Kiss Me On Coconut Coast (dragonfruit, coconut, tuberose, pineapple, orange blossom).

“Much of Gen Z (and Zillenials) have been priced out of a lot of traditional luxury, yet they still care deeply about quality, design, ingredients, ethical business practices and the way a great brand can make them feel,” Carlstrom notes. “At the same time, most brands are still treating Gen Z like they’re children, but Gen Z is turning 30. They’re making lives and homes, often in rentals or fixer-uppers that don’t measure up to the high level of taste they’ve gained coming of age on the internet.”

They want their homes to feel as beautiful as others they see online, he continues, and “they know they’re getting scammed by overpriced brands that underdeliver on quality.”

So what do these consumers want from their hand soap? For Carlstrom, it’s pretty simple: “ingredients they can feel good about, addictive scents they can’t get enough of, in a bottle they want to display.”

The industry is ready to bet on this proposition, too, it seems: The founders closed an oversubscribed pre-revenue round with strategic backing from Aesop’s early investor Era, as well as Fifth Growth Fund, OpenSky Ventures and others.

When it came to developing LeNose’s inaugural scent family, Valentini says she and her team were “tireless [and] obsessive” with “very exacting” standards. “We had an incredibly clear vision in mind for each product,” she says. “Our three-word fragrance brief, ‘smells like fun,’ means luxury that isn’t boring.”

As marketers with experience in the importance of brand identity, the founders had a clear vision in mind for what LeNose would look like, too. “In addition to our fragrances, the clearest expression of [the brand’s tagline], ‘Ooh la wow!’ is our packaging — rich, sophisticated color palettes with classic, geometric shapes are contrasted with silly illustrations like a cinnamon roll at a disco or a snake in a cowboy hat — each bottle designed to encapsulate the attitude of diva-esque names,” St. Clair shares. She and Zee created every part of the brand themselves (with the exception of photography), meaning they could have maximum control over its visual identity.

The founders’ tastes can be seen in just about every aspect of the brand. “We came up with the name LeNose as a cheeky little joke teasing the snooty world of luxury fragrance, and from there, we built the world around [the idea of] our invented combination of high and low, luxe and silly, pleasurable and playful,” St. Clair says.

At launch, the brand will sell DTC at lenose.com and via TikTok Shop, and on Amazon in October. LeNose also plans to expand with additional retailers in the future, especially as it moves beyond hand soap into other home fragrance categories.

Occasionally, we use affiliate links on our site. This in no way affects our editorial decision-making.

CX is a growing community of artists, performers, musicians, models, photographers and cultural connectors who believe that a great night can spark friendships, collaborations and unexpected ideas. We’re expanding our community and inviting new hosts to become part of what comes next.

Our upcoming event series at Mercer Labs in NYC brings together immersive art, music, performance and nightlife. We’re looking for NYC-based creatives who connect with that world and want to help shape the room.

The opportunity
Join the CX host program and commit to hosting one night of our eight-weekend event series. Bring your personality, perspective and presence to a community that celebrates creative expression.

You don’t need a huge following. We’re interested in your work, your connection to NYC culture and the community around you.

What you receive

• The opportunity to earn revenue through ticket referrals.
• A complimentary one-year membership in the CX community.
• Free event-series tickets for you and five friends.

Who should apply

Actors, performers, DJs, musicians, models, photographers, fashion creatives, writers and content creators who are based in – or can attend in – NYC. We welcome people with engaged online audiences, strong real-world connections, or both.

Interested in becoming part of CX?

Tell us about yourself, share your social or portfolio links, and apply here: https://membership.hello.cx/hosts

The Marketing Assistant shall work under the Company’s strategic and creative direction and will be responsible for organizing marketing activities, maintaining schedules, coordinating external partners, preparing materials, and ensuring that approved initiatives are executed accurately and on time.

The services described below are illustrative and not exhaustive. The Marketing Assistant may also perform other reasonable marketing administration and coordination tasks consistent with the scope of the role. Specialist services requiring expertise beyond the Marketing Assistant’s direct capabilities, including paid advertising and technical development, shall be performed by external specialists as approved by the Company.

MARKETING ADMINISTRATION

• Maintain the Company’s marketing calendar and project timelines
• Schedule meetings, prepare agendas, and circulate follow-up notes
• Maintain task lists and track deliverables, approvals, and deadlines
• Organize marketing documents, reports, imagery, and creative assets
• Coordinate product information, pricing, credits, and supporting materials
• Prepare briefs and gather materials for approved marketing initiatives
• Maintain contact lists for agencies, vendors, retailers, press, and partners
• Coordinate invoices, budgets, estimates, and expense tracking
• Support special projects, events, retail initiatives, and partnerships as directed
• Conduct administrative research and compile information requested by the Company

DIGITAL AND CHANNEL COORDINATION

• Maintain the social media content calendar
• Coordinate the collection, organization, and delivery of social assets
• Prepare captions and content materials for Company review and approval
• Monitor social channels and direct relevant inquiries to the appropriate team member
• Coordinate approved email campaigns, including assets, copy, links, and deployment schedules
• Maintain email lists and assist with routine CRM administration
• Coordinate website and e-commerce updates with the appropriate internal or external teams
• Compile routine digital, e-commerce, email, and social media reports
• Maintain campaign trackers and organize performance information
• Coordinate with agencies, freelancers, photographers, editors, and other vendors
• Track sample requests, product loans, image requests, and associated deadlines
• Prepare and distribute approved retailer marketing materials and training collateral
• Support retailer activations and clienteling initiatives as directed by the Company
• Proofread marketing materials and verify that approved brand information is used consistently
• Upload, organize, and archive final assets across relevant platforms and folders

PERFORMANCE SCHEDULE
The Marketing Assistant shall perform the services according to timelines and priorities established by the Company. The Marketing Assistant shall provide regular status updates, promptly communicate delays or missing information, and maintain organized records of completed and outstanding deliverables.

COMPENSATION
Salary: $55,000-$60,000 annually, commensurate with experience.

TECHNICAL SKILLS & SOFTWARE

• Adobe Creative Suite – Working knowledge of Photoshop, Illustrator, InDesign, and Acrobat for basic edits, asset preparation, and review.
• Figma – Working knowledge for reviewing, organizing, and making basic edits to layouts, presentations, digital assets, and marketing materials.
• PDF / Adobe Acrobat – Proficient in creating, editing, combining, compressing, commenting on, and preparing professional PDF documents.
• Microsoft Office / Google Workspace – Strong proficiency in Excel/Google Sheets, PowerPoint/Google Slides, Word/Google Docs, and shared calendars.

To Apply: Please send your resume to sd@tabayer.com.

https://tabayer.com/

Fittingly, most of the Spring 2027 trends we spotted across London runways are rooted in color play, subversion of conventional garments, using old-school materials in new ways and visible handiwork (a rebellion against AI, perhaps?).

Scroll through the galleries below for the eight coolest Spring 2027 trends we spotted at LFW.

Underwear as Outerwear

Lingerie staples are all over the Spring 2027 runways. Whereas New York designers tended to let bras peek out beneath jackets, the Brits have put them front and center: At Agro Studio, Ashley Williams and Erdem, bras and corsettes were worn on TOP of garments; while others like Knwls, Alexander McQueen and Mowalola did little — or nothing — to cover them.

New World Organza

Designers across the pond are modernizing organza, a sheer textile that dates back 2,000 years and was traditionally associated with wedding gowns and frilly prom dresses. And it's never looked cooler, from the colorful, metallic-looking pieces at McQueen and Mulberry, to the relaxed translucent separates at Mowalola and Lovebirds. Meanwhile, Pauline Dujancourt, Susan Fang and Simone Rocha used innovative techniques to create statement-making textural gowns and scarves out of the material.

Cloudy Skies

Pale, washed-out colors were all over the London runways, but blue was the most ubiquitous: Designers dialed down the intensity of baby blues, sky blues, teals and aquatic shades across outerwear, suiting, dresses and more.

Aprons to 'Serve' In

Fashion's embrace of the humble kitchen apron continues after Miu Miu's apron-forward Spring 2026 collection, via Talia Byer, Bora Aksu, Natasha Zinko and others. Is it giving tradwife? Is it subverting gender norms? Is it just cute? Let's let the wearers decide.

Physical Touch

It's hard to imagine that any major hub of designers could be more resistant to AI design than London's, where creativity and innovation reign supreme. So it's not a surprise that Spring 2027 collections were rife with details and techniques that very clearly reflect the work of physical human hands: Unfinished hems, hand draping, multimedia work, myriad fabrics patchworked together and other feats of manual manipulation were seen everywhere from Ashley Williams to Chopova Lowena to Yuhan Wang and beyond.

Choking Up

We saw a range of neck-encircling accessories across the London runways: Choker necklaces went punk at Chopova Lowena and more glam at Di Petsa, while mini scarves and fabric chokers had a more delicate vibe at Agro Studio and John Richmond.

Shrug it On

The shrugs and boleros that (barely) covered our arms circa the early-to-mid 2000s are very much back. London provided quite a variety: stretchy knit shrugs at Ashley Williams and Agro Studio, sheer options at Bora Aksu and Chopova Lowena and purely decorative (and beautiful) boleros at Annie's and Dreaming Eli.

Neck and Neck

While accessories provided neck coverage at some shows, many had it built in via turtleneck designs that turn out to me more spring-appropriate than you might think. Sleeveless turtlenecks were especially ubiquitous, as seen at Erdem, Edeline Lee, McQueen, Roksanda and more.

Rio Viera-Newton first rose to (beauty world) fame years ago when she circulated a Google doc of her skin-care routine people quickly came to swear by. Since then, she’s further cultivated her complexion expertise, becoming a lauded beauty journalist and licensed esthetician. Known for never gatekeeping her beauty tips or favorite products, Viera-Newton feels like she’s everyone’s beauty bestie — so of course, that makes her a natural fit for “Face It.”

During our Q&A, the skin-care expert shared the least expensive part of her beauty routine (which she also identified as the “most important”), the specific type of manicure to which she’s loyal, her favorite exfoliating ingredient and why she sees aging as a “privilege and a gift.” Plus, she got into the beauty step she’s strict about, social media’s impact on beauty and how to suss out AI content creators.

Watch the video below for all of Viera-Newton’s hottest beauty takes:

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“There is a real sense of momentum around this season,” Weir tells Fashionista. “What excites me most is the combination of extraordinary creative talent with a renewed confidence in London as a place where fashion, culture and commerce collide.”

Legacy Brands Return to LFW

The biggest endorsement came in the form of McQueen’s homecoming show. For the brand’s first London Fashion Week show in 10 years, Creative Director Seán McGirr fused the disparate worlds of Neoclassicism with rave culture into what he called “a celebration of London’s ceaselessly stimulating and transcendent power.”

Ahead of its first runway show in eight years on Sunday afternoon, Mulberry reported signs of an accelerating commercial recovery. Revenue rose 4% to £125.5 million in the year leading up to March 2026, with second-half growth accelerating to 11%, providing an auspicious backdrop to Christopher Kane’s debut which subverted the British brand’s heritage with a healthy dose of kink.

Daniel Lee’s Burberry show on Monday night solidified British heritage and its contemporary culture as central to his narrative at the 170-year-old brand. The company’s turnaround strategy is beginning to take shape, too. Adjusted operating profit reached £160 million in the year to March 2026, up from £26 million the previous year. 

London’s New Establishment

The new establishment — Simone Rocha, Erdem and Roksanda — underscored the significance of London as a producer of world class talent. Simone Rocha’s tour-de-force show on Sunday morning demonstrated elegance and maturity as she stripped back the layers to achieve a frisky femininity that struck a chord with its emotional honesty. Erdem’s 1920s romp was a revelation, looser and sexier than ever before, as was Roksanda’s textural play on the rooftop of the National Theatre.

“London is an important market for Neiman Marcus and Saks Fifth Avenue: The market is a thriving compilation of independent talent and legacy brands,” says Chloe King, fashion director, women’s, Neiman Marcus and Saks Fifth Avenue. “The world-building and clear points of view of Erdem and Simone Rocha translate into unique, emotional collections that truly resonate with our customer.”

Meanwhile, London’s beloved indie darlings are growing up: Chopova Lowena and KNWLS both presented shows that felt gutsy, honest and singular. Chopova Lowena’s freewheeling ideas, hodgepodge of deadstock fabrics and alternative cast of characters, juxtaposed with KNWLS’s deconstructed take on femininity, felt progressive.

The city’s younger upstarts are heating up as well: There is a fierce appetite for Johanna Parv, Talia Byre and Steve O Smith. Parv’s outing on Saturday was sporty and pragmatic, full of clean lines and smart techwear; Byre’s crisp all-white show was shot through with neon pink and denim. Meanwhile, Smith’s intimate presentation was modeled on a lecture, to fully encapsulate his artisanal techniques and painterly brushstrokes.

“London remains such a creative hub during fashion week. There are always so many exciting brands to discover, alongside emerging designers who bring the eclecticism, experimentation and sense of individuality that London is known for,” says Brigitte Chartrand, chief merchandising officer at Net-a-Porter, which stocks London labels including Emilia Wickstead, Roksanda and young stars Aaron Esh, Pauline Dujancourt and Liberowe.

Talia Loubaton, founder of Liberowe, hosted her sophomore presentation this season, and said there is no other city that would make sense for her, not least because 80% of the collection is made in London. She says, “being part of the London scene is very important. There is space for newness and experimentation here.”

“It’s been a learning curve,” says Gui Rosa, whose spunky debut at a hotel in Westminster melded the transgression of an Almodovar film with a “Gossip Girl”-inspired debutante ball and her grandmother’s wardrobe. Growing her business, built largely around hand-crochet and knitwear, is as important as exposure, and she understands that it will most likely reach a limited but hopefully devoted audience. “Not everyone will want a cardigan and a pencil skirt. We have to be really clever.”

Distinguishing Between London Fashion Week and London’s Fashion Industry

The question remains whether these nascent talents — which the city prides itself on producing — can translate cultural momentum around the event into viable companies, and whether the city can hold onto them. Names like Victoria Beckham, Stella McCartney and Kiko Kostadinov set an example to others as they join the Paris Fashion Week schedule. Buzzy upstart Conner Ives decamped to New York Fashion Week for the season. Christopher Kane shuttered his namesake label three years ago.

“London Fashion Week’s recovery is real, but so far it’s a recovery of the event, not the ecosystem,” says Christopher Morency, chief brand officer at Dogma, a creative agency. 

“There is a distinction between the health of our creative pipeline and the health of the commercial ecosystem supporting it,” Weir says. Since joining the BFC, she’s waived schedule fees for participating designers, invested heavily in the international visitor program, and raised more than £1.3 million in grants and scholarships. “Designers are dealing with high costs, challenging wholesale conditions, access to finance and an increasingly complex international trading environment.”

To further address this, BFC 2030: Access, Creativity, Growth was launched this year to help sustain the growth of young talents, providing them with the appropriate resources to develop their businesses. The plan involves increasing access to finance and business expertise and building stronger connections between the industry and government.

Indie Designers Making It Work

It’s evident that many young designers on the schedule are beginning to rethink the classic pipeline of fashion school-to-London Fashion Week and wholesale-to-international recognition. They supplement the traditional model with an emphasis on community, social media and direct-to-consumer businesses. 

It’s hard not to be charmed by the focused approaches of brands like Yaku, which has expanded into womenswear, A.V. VATTEV, which presented a compelling short film, or 5000, which debuted its tailoring prowess at a simple-yet-striking presentation focused on suiting. They each bring a unique, sharp and direct proposal that sits comfortably within the traditional system while keeping things nimble and small-scale. 

It’s even sweeter if you can translate artisanal craft into something commercially viable like Pauline Dujancourt did this season, with fresh backing from Dover Street Market Paris. The designer’s Spring 2027 offering will help translate her feminine sensibility into a more commercially tangible proposition. 

London’s young designers are also taking on collaborations and sponsorships — like Aaron Esh with AllSaints or Priya Ahluwalia with Puma — to communicate their message. Or they’re investing in their direct-to-consumer businesses like Talia Byre, or collaborating with each other, like Liberowe with jewelry brand By Pariah.

Where London Fashion Week Goes From Here

“Britain does not have a creativity problem,” Weir declares. “The challenge is making sure extraordinary British creativity can translate into resilient, globally competitive businesses.” Though the BFC is building on its ability to support local talent, perhaps the next phase is to broaden the conception of British fashion itself. 

Morency suggests the British fashion industry is overlooking the brands converting cultural heat into commercially viable businesses. For example, Gymshark reported £646 million in revenue for FY25, Adanola posted £102.6 million in FY26 and Represent reported £93.8m for 2024, up from just under £50m in 2022. Similarly, Corteiz, Tala and UVU are gaining traction outside the industry system.

“Many people don’t see these brands as ‘fashion-worthy,’ and that’s a serious mistake. Almost all of them were built outside London’s bubble and outside its support system,” Morency explains. 

If London Fashion Week is to play a role in rebuilding British fashion, perhaps the event itself must eventually become more than a calendar of designer runway shows. The early signs are there, especially as London Fashion Week embraces retail concepts with Dover Street Market and the high street — H&M, M&S and Topshop & Topman had events billed on the official calendar. 

But this London Fashion Week is just the tip of the iceberg. A greater British fashion redux is the ultimate goal. 

ACCOUNT EXECUTIVE
New York, NY | Hybrid

ABOUT ROOMS
ROOMS is a multi-brand womenswear showroom based in SoHo, New York, representing a curated portfolio of contemporary fashion brands from the U.S. and around the world.

We work with boutiques across the country, connecting buyers with brands we believe have something special to bring to the market.

Built from years of experience as buyers, retailers, and wholesale partners, ROOMS is a relationship-driven business with an ambitious, entrepreneurial team. We love our brands, care about great product, thoughtful distribution, strong relationships, and doing the details well.

We’re looking for an experienced Account Executive to join our team and grow our boutique business.

THE ROLE
You’ll manage and grow an established portfolio of boutique (specialty retailer) accounts while developing new business across the U.S.

This is a role for someone who loves sales and knows the boutique landscape – someone who gets excited about opening a great new account, growing a buyer season after season, and figuring out exactly which collection belongs in which store.

The day-to-day changes with the season. You might be selling appointments in our SoHo showroom, calling buyers, analyzing business, researching new stores, planning a road trip, following up after market, or traveling to a trade show.

You’ll have ownership of your accounts and collections, clear sales goals, and significant opportunity to grow your business – and your commission along with it.

Success in this role is measured by revenue growth, new account acquisition, growth within existing accounts, retention, and sales conversion.

WHAT YOU’LL DO
• Manage and grow an existing portfolio of boutique accounts.
• Develop new business and maintain a strong pipeline of prospective accounts.
• Leverage existing buyer relationships to generate opportunities while continually building new ones.
• Build long-term relationships with boutique buyers and understand their customer, aesthetic, price point, and merchandising needs.
• Grow existing accounts across brands, categories, and seasons.
• Drive repeat business and long-term account retention.
• Develop thoughtful distribution strategies with a focus on the right doors in key cities and regions.
• Maintain brand integrity as you grow distribution.
• Create seasonal and monthly sales plans and analyze brand and account performance.
• Review selling reports to identify opportunities and drive additional business.
• Manage and track buyer outreach, appointments, pipeline, and forecasts.
• Find creative ways to reach new buyers and reactivate past accounts.
• Plan and execute road appointments
• Sell from our SoHo showroom and at markets, trade shows, road appointments, and virtual appointments.
• Share buyer feedback, competitive insights, and market trends with the team.
• Consistently work toward and exceed sales goals.

WHAT WE’RE LOOKING FOR
• 3+ years of wholesale fashion sales experience in the women’s contemporary market.
• Established relationships with boutique buyers throughout the U.S.
• Proven track record of meeting or exceeding sales goals.
• Strong understanding of wholesale buying cycles and seasonal markets.
• Excellent relationship-building, communication, and negotiation skills.
• Organized, detail-oriented, and able to manage multiple brands and priorities at once.
• Entrepreneurial and resourceful—you don’t wait for someone else to find the opportunity.
• Strong eye for product and an understanding of thoughtful brand distribution.
• Comfortable working independently while communicating closely with the larger team.
• Valid driver’s license and ability to travel for road appointments, markets, and trade shows.
• Ability to carry sample suitcases weighing approximately 25–30 lbs.
• Previous multi-brand showroom experience and familiarity with JOOR, NuORDER, and Seladex are a plus.

LIFE AT ROOMS
Our showroom is a loft in the heart of SoHo. We’re a close team, and everyone has the opportunity to make an impact.

The role is hybrid: typically two days per week in the showroom and three days working from home, with more showroom time during market.

Market is fast-paced – buyer appointments, new collections, trade shows, road trips and following up. We work hard, help each other when things get busy, celebrate the wins, and genuinely enjoy the relationships we’ve built in this industry.

COMPENSATION & BENEFITS
• Base + Commission
• Performance-based commission with significant earning potential
• Company healthcare plan with 50% of the premium covered, or equivalent healthcare stipend
• 100% employer-paid dental insurance
• 401(k) eligibility after one year with company match up to 3%
• 15 days paid time off, plus company-observed holidays
• Professional development opportunities, including attendance at industry events

HOW TO APPLY
We’d rather get a sense of who you are than read another generic cover letter.

Please email your resume and a 60–90 second video telling us why you’d be a great fit for ROOMS to jobs@roomsshowroom.com with the subject line “Account Executive Application.”

Only applications that include both will be considered.

We can’t wait to meet you.

@roomsshowroom

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If your hair-care routine involves drying, styling and applying finishing products, Laifen wants to cut down on your steps. The beauty technology brand recently launched its Swift 04 Hair Dryer, a high-speed tool designed to dry and nourish hair at the same time, saving you time and money.

The Swift 04 was part of Laifen’s “Ready to Glow” launch event in New York City on Sept. 17, where the brand introduced its new Hair Beauty Tech Ecosystem. Alongside the dryer, guests tried the AutoCurl Curling Iron and Glowy Vanity Mirror and learned more about Laifen’s vision for a tech-driven beauty routine.

What stands out with this new dryer is what Laifen calls a “One-Step Hair Spa” experience. Its proprietary Nourishing Nozzle diffuses essential oils into a micron-sized mist while you’re drying your hair at a controlled 136 degrees Fahrenheit. And that’s not all: 400 million negative ions and 70 million positive ions also work to neutralize static. The result is smoother, shinier, less-frizzy-looking hair without adding another step to the routine.

It’s also designed to make getting ready faster. The dryer features a 115,000-RPM brushless motor and airflow of up to 23 meters per second. Laifen says it can dry medium-length hair in as little as 1.5 minutes. (Crazy, right?) A smart temperature-control system monitors heat 1,000 times per second, and six temperature modes offer a more customized experience for different hair types and styling needs. Magnetic smooth and diffuser nozzles offer additional styling options for those days you want to switch it up.

For anyone looking to spend less time drying and styling their hair, the Swift 04 makes the case for getting more out of a single step. And it’s 15% off for Fashionista readers! (Discount applied at checkout.) Shop the Swift 04 Hair Dryer at laifentech.com now.

Gap Inc. Debuts ‘Fashiontainment’ Platform With Boy Band JYT

Gap Inc. is launching Fashiontainment, a new platform for building entertainment content and partnerships around its brands, with rising boy band JYT as its first collaboration. The multi-year deal includes a docuseries co-produced by Gap, a national mall tour and a Gap capsule collection the five-member band helped design. Chief Entertainment Officer Pam Kaufman is leading the newly created entertainment division behind the Fashiontainment effort, which aims to deepen Gap’s ties to music and pop culture. {Gap Inc.}

On Plans For Strong Growth Through 2029

On Holding aims to grow constant currency sales at a rate in the high teens through 2029, reaching at least 5.6 billion Swiss francs ($6.8 billion) in net sales while pushing its adjusted EBITDA margin ambition to at least 22%. The Swiss sportswear brand, backed by Roger Federer, is betting on new pushes into golf and soccer, including a 10-year deal with Kylian Mbappé, to challenge Nike and Adidas. Its board also approved a first-ever share buyback of up to $1 billion of Class A Ordinary Shares through 2029. {On; Business of Fashion/paywalled}

Unilever Ventures Leads Series A Funding for Arey

Los Angeles-based hair-care brand Arey, which targets graying hair, has closed a Series A round led by Unilever Ventures, with existing backers Greycroft and Female Founders Fund also participating. The funding will go toward new product development, clinical research, retail expansion and hiring. This news arrives ahead of the brand’s first published clinical trial in November, which found that most participants saw fewer or no new gray hairs. {WWD/paywalled}

Oura Seeks Up to $2.2 Billion in U.S. IPO

Smart ring maker Oura is looking to raise up to $2.2 billion in its U.S. initial public offering (IPO). It plans to sell 50 million shares at $40 to $44 each. That would value the company at up to $14.1 billion, well above the $11 billion valuation after a Series E financing round in 2025. Oura reported a net loss of $924.3 million on $1.21 billion in revenue for the nine months ended June 30, even as its Oura Membership service passed five million paid members. {Bloomberg/paywalled}

How Fashion Brands Could Tap Into ‘Clipping’

Twitch streamer Kai Cenat’s Vivet debut at New York Fashion Week went viral through thousands of fan-made clips shared across TikTok and Instagram, a tactic born in streaming and gaming culture called “clipping.” Clipping agencies pay creators based on views to cut campaign content into short, unpolished videos, and brand interest is growing quickly. Luxury fashion has been slower to adopt the approach, as some brands are wary of losing control over their image. {Vogue Business/paywalled}

Do you have an emerging brand you want to share with Fashionista readers? Jumpstart your business with our affordable digital offerings.

Simone Rocha referenced Caravaggio’s “The Taking of Christ,” as well as the artist’s signature chiaroscuro technique (using stark contrasts between light and dark), through a rich color palette of deep blue, charcoal and ivory. Christopher Kane unveiled his debut Mulberry collection, which was inspired by the actual mulberry plant and incorporated an axe motif throughout. Erdem explored the juxtaposition between masculinity and femininity via tailored trench coats and bejeweled lace slips, while Annie’s Ibiza embraced a vintage-inspired edge through intricately embellished gowns.

Click through the galleries below to see Fashionista’s favorite Spring 2027 collections from London Fashion Week.

Ahluwalia Spring 2027

Annie's Ibiza Spring 2027

Chopova Lowena Spring 2027

Erdem Spring 2027

Lovebirds Spring 2027

Mulberry Spring 2027

Onalaja Spring 2027

Pauline Dujancourt Spring 2027

Roksanda Spring 2027

Simone Rocha Spring 2027

Yuhan Wang Spring 2027

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Nestled in the northern Italian countryside, brushing shoulders with the Alps, are Falconeri‘s two cashmere factories in Biella and Avio. There, the 26-year-old Italian fashion house oversees nearly every stage of its production process. This thorough oversight is intentional, as the time-honored craftsmanship characteristic of Falconeri’s cashmere garments doubles as the antithesis of fast fashion.

“Falconeri believes that modern luxury is defined by authenticity, exceptional craftsmanship, versatility and longevity,” Gianni Forlini, chief business officer of Oniverse U.S., tells Fashionista over email. “From the selection of cashmere in Mongolia to the specialized expertise of the teams in Biella and Avio, every stage reflects the brand’s commitment to the quality of natural materials and the enduring value of Italian textile know-how.”

View the 2 images of this gallery on the original article

Falconeri, which joined Oniverse Group (the parent company of Calzedonia and Intimissimi) in 2009, begins its cashmere journey in Mongolia, where it sources between 600,000 and 700,000 kg of raw cashmere fiber each year. Obtained by combing the soft and delicate “duvet” undercoat of Hircus goats, the raw fibers then arrive in Biella, a historic textile district, where all of Falconeri’s cashmere is produced. There, more than 57 specialized employees oversee multiple production stages spanning quality control, dyeing, mixing, spinning, winding and twisting. Of note, the spinning process used in Falconeri’s Biella factory has remained largely unchanged for more than 80 years.

“Biella is internationally recognized for its centuries-old textile heritage and highly specialized expertise in processing premium natural fibers,” Forlini says. “The knowledge developed and passed down through generations makes it an ideal environment for transforming raw Mongolian cashmere into refined yarn while preserving the fiber’s natural softness, length and strength.”

Each cashmere lot (about 1,000 kg) is tested for consistency, regularity and strength, in addition to being sorted into shades of white, light gray and brown. The fibers are dyed to fit Falconeri’s color palette, then mixed inside temperature-controlled containers with water and a mineral-based oil to help preserve their length and integrity. About a week later, the fibers enter the spinning stage to clean and detangle the raw material. The cashmere can be carded for softer yarns found in Falconeri’s Ultrasoft Cashmere, or combed for finer yarns as seen in its Ultrafine Cashmere.

Finally, the cashmere is ready for winding — using optical sensors to identify and remove imperfections, and then twisting — twirling individual strands together for stronger yarn. The fibers then head to Falconeri’s second factory in Avio, which sits at the foot of the Dolomites.

This is where all of Falconeri’s pieces are assembled; approximately 7,000 garments are finished each day. First, each yarn is evaluated for color consistency, measurement accuracy and pilling performance to ensure cohesion. Shima Seiki knitting machines turn yarn into separate garment sections (a sleeve here, a back there), leaving skilled technicians to assemble each piece by hand. Once assembled, final checks include washing and finishing processes to boost softness. At Avio, it takes more than an hour to complete one Falconeri garment.

“This close integration [between Biella and Avio] allows Falconeri to combine Italian craftsmanship and textile expertise with advanced manufacturing technology, while maintaining consistent standards across every collection,” Forlini says.

Atop the Avio factory sits Falconeri’s style department, where the team designs its womenswear and menswear collections. Pattern making, prototyping, product development and garment construction all happen under the Avio headquarters’ roof, which helps streamline collections. Falconeri’s new Fall 2026 knitwear will “balance timeless elegance with modern relevance,” per the brand. Designs are inspired by the natural world, explored through earthy hues of brown and burgundy as well as rich textures. Looking ahead, Falconeri’s future collections will pivot to more genderless capsules.

Falconeri is increasingly emphasizing its Ultrafine Cashmere collection, which is made from two single strands of combed and twisted cashmere. Unlike carded cashmere’s softer texture, combing ensures a more durable yarn that resists pilling. The result? A lightweight cashmere (hence its “ultrafine” classification) that is also thermoregulating, meaning it helps maintain a balanced temperature regardless of the season. “This versatility challenges the traditional perception of cashmere as a material reserved exclusively for cold weather,” Forlini adds.

While overseeing nearly every stage of production gives Falconeri a competitive edge in the knitwear market, this rare level of control also poses its own complications. “The challenge lies in the level of coordination and specialized expertise that this model requires,” Forlini says. “Cashmere is an exceptionally delicate natural fiber, and every stage must be carefully managed to preserve its length, softness, strength and consistency.” In practice, Falconeri seeks out skilled employees while continuing to invest in innovative research to ensure its quality standards are met.

Since launching in 2000, Falconeri has taken its signature Italian craftsmanship global. Today, it operates more than 200 boutiques across 22 countries, and aims to manage eight stores in the U.S. by the end of the year. Despite this international growth, Falconeri’s ethos remains unchanged: “refined, versatile and made to be worn and appreciated over time,” per Forlini.

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Disclosure: Falconeri paid for Fashionista’s travel and accommodations to report this story.

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Coined by the Museum at FIT’s Senior Curator Dr. Colleen Hill, the phrase describes clothing, accessories, hair and makeup that draw inspiration from dolls, a concept that dates back centuries. Now, with the institution’s latest exhibit — also titled “Doll Dressing” — this subject is explored in depth for the very first time. 

“I never really wanted to do an exhibition that was solely on fashion dolls, partly because that’s been done and done very well,” Dr. Hill told Fashionista during a preview. “I started thinking about this idea of the living doll, and how that could transcend something vapid to become something agentic.”

Aesthetic-focused subcultures such as the dolly birds of the 1960s or the Japanese Lolita, which emerged in the 1990s, are prime examples of this. Both styles of dress borrow heavily from doll aesthetics and simultaneously allowed women to express themselves in ways they hadn’t before: The ruffles and frills of a Lolita frock subverted expectations of uniformity, while entrepreneurs like Twiggy and Biba’s Barbara Hulanicki flipped the derogatory origins of the term “dolly bird” on its head by building successful brands at a time when women were still expected to become housewives.

Of course, there’s no shortage of actual fashion dolls featured in the exhibition. Britain’s Sindy and Japan’s Jenny are two international examples, and designer collaborations with Barbie, Blythe and Monster High also make appearances. Toys like these also acted as the earliest mannequins for acclaimed couturiers like Martin Margiela, Anna Sui and Jason Wu, who got their start by making clothes for their childhood dolls.

“So many designers begin thinking about clothing by making things in miniature. Dolls are available to them, scraps of fabric are available. It’s a way to start thinking about the body and thinking about design,” Dr. Hill said.

Some designers have even worked dolls into their collections. Long before Labubus became coveted accessories, Paul Poiret popularized the boudoir doll in the early 20th century, dressing them in looks that coordinated with his life-size designs.

“They were like little accessories or mascots,” Dr. Hill explained. “It was a real trend during the 1920s to just go out for the evening with your doll by your side. For the most part, they’re not functional. There are a few bags — I have one in the show that’s shaped like a doll, and its skirt conceals a little purse — but usually, you just carried a doll.”

Dr. Hill was also drawn to the ways in which dolls intersect with pop culture. As a teenager in the ‘90s (before Olivia Rodrigo was even born), she was obsessed with the “kinderwhore” aesthetics of bands like Hole and Babes in Toyland, who incorporated dolls — and babydoll dresses — into their album art and music videos. These appear in the exhibit alongside a Nasty Gal minidress designed in collaboration with Courtney Love.

Given her reputation as the preeminent fashion doll, Barbie — who’s worn approximately one billion outfits in her nearly 70-year history — fills an entire section of the gallery. Jeremy Scott’s longtime obsession with the miniature blonde manifested in his Spring 2015 line for Moschino. The finale look, an iridescent gown plastered with giant paillettes, is displayed beside a blown-up version of Barbie’s fold-out wardrobe. 

Hanging on one rack are pieces from Margiela’s Fall 1994 collection, for which the designer recreated doll clothes and accessories by enlarging them to 5.2 times their original size. Dr. Hill was also adamant about exhibiting Margiela’s G.I. Joe-inspired dog tag necklace — released in 1999 as a nod to his original “doll’s wardrobe” collection. Though it initially proved tricky to track down, she happened to find one thanks to a noteworthy donor, poet Mei-mei Berssenbrugge, wife of artist Richard Tuttle.

“We’d been working with her for a few months, and she’d given us some absolutely incredible things,” Dr. Hill said. “She invited us back for one last look at a trunk full of clothes she found, and there the necklace was.”

There are many more recent and recognizable designers featured throughout the exhibit as well, including Conner Ives (his “Protect the Dolls” tee, of course), Vettese, Fashion Brand Company, Bode and Simone Rocha.

“Doll Dressing” is on view now through Jan. 3, 2027 at the The Museum at the Fashion Institute of Technology.

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Related: NYFW Showgoers Get Casual for the Spring 2027 Shows

But these academia-adjacent looks offered surprising range. Sure, there were plenty of expectedly prim, tailored ensembles typically associated with prep school uniforms. (Headmaster Charleston would approve.) But creative showgoers also got playful by subverting stereotypes and personalizing the back-to-school aesthetic with punk or boho elements. Combat boots, asymmetrical hemlines, wallet chains, Kangol hats, vivid color schemes, baseball caps and black leather came into rotation, lending just enough edge to keep all those Mary Janes and socks from looking overly twee.

Keep scrolling to see all our favorite street style looks from London Fashion Week Spring 2027.

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Cindy Crawford’s Son Dies at 27

On Sunday, Cindy Crawford’s son, Presley Gerber, died at 27. While his cause of death has not been revealed, he passed away in a rehab facility. Gerber started his modeling career at age 16, and walked in runway shows for brands including Bottega Veneta, Tommy Hilfiger, Burberry and Ralph Lauren. {WWD/paywalled}

Asos Appoints Law Roach as Its First-Ever Stylist in Residence

Law Roach has joined Asos as its first-ever stylist in residence, a year-long partnership meant to help shape the brand’s creative direction. To kick off the collaboration, Roach will style six covers for the relaunch of Asos Magazine. Throughout the year, he will also oversee seasonal campaign styling and offer styling advice to customers. {Fashionista inbox}

Donatella Versace Is Launching a New Brand With Revolve

Donatella Versace and Revolve have joined forces to launch a new fashion and beauty business. The independent venture will merge Versace’s unique creative vision with Revolve’s digital-first approach. “This partnership gives me the freedom to speak to that generation in a completely new and personal way, through beauty and fashion…Together, we want to create that connection with a new voice, a new look and a new energy,” Versace said in a press statement. The business name, creative direction and first launch details (beginning in beauty) will be revealed in the coming months. {Fashionista inbox}

Christopher Kane Unveiled His Debut Collection for Mulberry

On Sunday, Christopher Kane presented his debut collection for Mulberry at London Fashion Week. It’s been 10 years since the brand last showed on a runway. Kane spoke to Business of Fashion’s Editor-at-Large, Tim Blanks, about his design process, saying he drew inspiration from the mulberry plant itself and used an axe motif throughout the collection. Kane also introduced a new bag, the Chop, which he hopes will become a new hero item. The designer aimed to restore Mulberry’s cool factor without sacrificing its heritage. {Business of Fashion/paywalled}

Fendi Faces Backlash for Cultural Appropriation Accusations

Fendi is facing backlash after it reissued an embellished Baguette handbag without crediting the South Asian craftspeople behind the embroidered technique. The lack of recognition sparked major debates in India, with many people calling out Western luxury brands for profiting off of different cultures without credit. A Fendi spokesperson commented on the controversy, stating that the brand “remains committed to supporting and recognizing India’s rich craft heritage and its continued transmission to future generations.” However, Fendi declined to comment on whether it will start crediting cultural inspirations in future product descriptions. {Business of Fashion/paywalled}

Why Asics Is Taking Its Walking Shoes Global

For the first time in 43 years, Asics is rolling out its Walking Line — previously sold only in Japan — to the global market. Its latest shoe, the Moon Amble, will launch online in China at the end of September and gradually expand worldwide. The decision capitalizes on the post-pandemic walking boom and consumers’ continued interest in wellness and staying healthy. {Vogue Business/paywalled}

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Rather than throwing in the towel, the British Fashion Council/Vogue Designer Fashion Fund 2026 finalist revisited an unrealized collection she designed in 2020 entitled “Rising From the Ashes.” Perhaps in a stroke of serendipity, Onalaja reworked her original sketches through the lens of a phoenix, drawing upon her experience with the devastating fire and her courage to start from scratch. The particularly poignant collection, which debuted at LFW on Sunday, explores “a new story of a rebirth, moving from the darkness into a new life,” Onalaja tells Fashionista.

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Separated into three stages — The Burn, The Ash and The Rebirth — Onalaja’s Spring 2027 offering begins with textural burnt oranges mirroring crackling embers and molten lava before settling into a smokey gray color palette representing stillness. Just as the dust settles, flashes of color and light emerge from the darkness, symbolizing a brand reborn. Intentionally broken beads embellish evening gowns, while fringe and feathers abound, fusing the label’s signature ’70s “disco glam” aesthetic with phoenix-inspired motifs.

“We’re in an in-between [moment] where we know who we are as a brand, but it’s like a new beginning and it’s a time for us to explore a slightly different path,” she says.

Rewinding to Onalaja’s fashion beginnings, the British-Nigerian designer pursued a master’s degree in fashion design at Istituto Marangoni and later worked as an embroidery consultant. While collaborating with other designers, Onalaja got a first-hand look at the industry’s size-inclusivity issue: She noticed most sizing stopped at a U.K. 12 (U.S. 8), with the largest she saw going up to a U.K. 26 (U.S. 22).

“I wanted to create a brand that fused the size inclusivity aspect, but also it was an expression of my heritage and being able to take things that I’ve learned over time, cultures that we have in Nigeria, and fuse it with my love for textures and embroidery,” Onalaja explains.

Thus, in 2014, Onalaja founded her own luxury label, which she calls a “maximalist dream.” Rooted in craftsmanship and cultural storytelling (the designer hails from the Yoruba and Edo tribes), Onalaja’s vibrant offering explodes with beads, tassels, sequins, feathers, fringe and crystals. The designer’s penchant for intricate embroidery shines throughout the label’s assortment, which already stands apart in the occasionwear space thanks to its extended 2XS to 5XL size range.

“When you walk into a room, people can hear you,” Onalaja said, reflecting on what initially drew her to textural techniques. “It was about creating very statement pieces with the embroidery.”

And statement pieces are exactly what the brand’s customer is searching for. The Onalaja woman is a “global citizen,” filling her social calendar with parties and galas. With the label’s prices ranging from $130 to $6,680, the Onalaja consumer is looking for clothing with a deeper connection. This isn’t an audience merely seeking overpriced elevated basics; Onalaja’s tactile wardrobe, which is built on three-dimensional ornamentation, caters to its community’s appetite for individuality.

Onalaja already counts multiple celebrities among its fans — Chloe Bailey, Jennifer Hudson and Lizzo, to name a few — and it also recently crafted a custom look for Olivia Dean’s “The Art of Loving Live” tour. At her Atlanta concert, Dean donned the label’s Zellie Slip Maxi Dress, an elongated gown with three-dimensional embroidery inspired by the African tradition of body marking. “A lot of the scars and a lot of the bead placements would be exactly where they would be on a body,” Onalaja notes.

But how do these glittering gowns actually come together? For each collection, Onalaja starts by nailing down her fabrics, embroideries and prints. Then, she “work[s] backwards” to incorporate her beloved ’70s references, often turning to Studio 54 or Diana Ross. “I always focus on texture and fabrication first and then infuse the silhouette after so that the embroidery is the standout and then the silhouette complements it,” Onalaja says. The label collaborates with artisans worldwide, but the designer handles all final finishings.

As a demi-couture label, Onalaja operates on a made-to-order business model. Each garment is handcrafted with intention, which helps prevent overproduction. As she continues to gradually scale the business, the designer notes that the label is exploring more capsule collections, along with expanding into footwear and accessories. Currently, Onalaja is stocked at major players like Revolve, Saks Fifth Avenue and Cult Mia, in addition to its global retail presence across the U.S., the U.K., the UAE, Nigeria, Ghana and South Africa.

“We cater to women that luxury forgot, especially with the size inclusivity and every woman being a different body type,” Onalaja said. “So our retailers really respect that and they really champion our larger sizes and our very small sizes as well.”

Looking ahead, retail expansion is on the horizon for Onalaja. With one brick-and-mortar flagship in Lagos under its belt, the designer wants to continue building out the brand’s retailers in different regions, along with hosting more IRL activations with its community. After all, Onalaja’s tactile pieces — dresses dripping with beaded fringe and sparkling with sequins — benefit from in-person discovery.

“We’re at such a crossroads of rebuilding and trying to find out what our new story is,” she says. “Even though we do have some core pillars, for me, it’s an interesting journey because we’re also seeing and learning and seeing where this rebirth will take us.”

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Homepage photo: Gilbert Flores/WWD via Getty Images

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“Glenn Martens’ contribution to Diesel has been extraordinary,” said Rosso in the press release. “Through his vision, talent and commitment, he has transformed the way the brand is perceived, forging a strong connection with younger generations and creating a solid foundation for its future. He brought Diesel back to the centre [sic] of the global fashion conversation while preserving the openness, energy and accessibility that have always distinguished us. We are deeply grateful for everything he has achieved.” 

Martens’ provocative campaigns helped push the brand beyond its denim-focused roots and back into the broader fashion conversation — a sensibility that carried through to the teaser for his final Spring 2027 show, posted on his and the brand’s Instagram, which features a model baring their backside on foggy glass.

Per the press release, Diesel will announce the next chapter of its creative leadership in due course, leaving unanswered the question of who will inherit the momentum Martens has generated over the past six years.

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At Le Café Louis Vuitton, the French fashion house turns snacking into a luxury via truffle eggs and caviar (even down to monogrammed butter). The Beekman, a stunning, historic hotel in Lower Manhattan, served as a relaxing refuge on busy days. As for this season’s standout show locations, Carolina Herrera celebrated its 45th anniversary at the opulent David H. Koch Theater and Emily Dawn Long screened her Spring 2027 short film in Chinatown’s Bridges.

Ahead, see all of our editors’ favorite fashion week haunts from the Spring 2027 season.

The Beekman, a Thompson Hotel

“This was my second time staying at The Beekman for NYFW, but I was no less blown away by how beautiful this landmark property is. From the famous atrium, to the antique furnishings, every detail is aesthetically perfect, but not at the expense of comfort. The accommodations, which are very spacious for NYC, feel more like chic apartments than hotel rooms. It’s just the perfect relaxing atmosphere after a chaotic day of shows — I genuinely never wanted to leave!” —Dhani Mau, Editor-in-Chief

(Disclosure: The hotel provided a complimentary stay as part of an editorial partnership with Fashionista.)

Barlume

“Team Fashionista kicked off NYFW with a dinner at Barlume, where we loved the chic, spacious atmosphere and Mediterranean menu (we all ordered pasta). It was a cozy space for our remote team to get a leisurely proper IRL catch up — espresso martini tower included.” —Steph Saltzman, Beauty & Style Director

(Disclosure: The restaurant provided a complimentary meal for Fashionista editors.)

Le Café Louis Vuitton

“I’ve had my eye on Louis Vuitton’s café since it opened two years ago, but never really had an excuse to try it while visiting. That is, until Dhani and I went to NYC for Fashion Week and got together with Steph for a spread of LV logo-emblazoned French butter, ravioli, waffle with caviar and chocolate cake. Everything is obviously very aesthetically pleasing, but more delicious than I was expecting for a tourist spot. Also: The surprisingly great iced matcha lattes kept our energy up for the week.” —Elizabeth Denton, Deputy Content Editor

(Disclosure: The restaurant provided a complimentary meal for Fashionista editors.)

Bridges

“Emily Dawn Long’s debut fashion week event brought me to a bustling part of Chinatown near the Manhattan Bridge, where the beautifully designed and Michelin-rated Bridges typically serves up refined, French-inspired dishes. In this instance, we mingled with lemonade and popcorn and screened Long’s Spring 2027 short film in a back room. It was delightful, but I can’t wait to go back for a meal.” —Dhani

Straker’s

“A Net-a-Porter party brought me and Steph to this narrow bar/restaurant — a London export apparently — in what used to be the beloved restaurant Lucky Strike. I can’t attest to the food as there wasn’t much available, but I did have quite literally the best spicy margarita I’ve ever tasted.” —Dhani

RPZL

“I hate washing and styling my hair when I travel because I don’t have all my products and tools. What did I do before the Dyson Airwrap? I’m useless! Thankfully, RPZL invited me in for its pre-NYFW event, and I got the full wash-blowout-and-curl treatment that lasted for days, even in the heat and humidity. I used to go to the salon’s original location in Flatiron when I was a young beauty editor in 2013, and I’m glad to see it’s still around — and growing.” —Liz

Fanelli Café

“It had been years since I’d been to Fanelli’s, a classic Italian restaurant two blocks from the Fashionista office, and it’s evolved a bit — for the better, with ample outdoor seating and a fun, slightly younger crowd that feels more ‘in-the-know local’ than ‘SoHo tourist.’ Just be very careful with the poured-to-the-brim dirty martinis, which are dangerously good.” —Dhani

Iconic Magazines

“I miss a lot about NYC, but easy access to newspapers and magazines via cute indie sellers is a big one. There aren’t as many spots as there were in the 2010s, but the 13-year-old Iconic Magazines is thankfully still around. I hit up the Lower East Side location near my hotel and stocked up on publications you can’t find just anywhere. I spent too much money, but hey, I’m supporting my industry, right?” —Liz

David H. Koch Theater at Lincoln Center

“This theater at Lincoln Center is considered by many to be among New York City’s most beautiful. The opulent venue — which the Carolina Herrera team filled with thousands of yellow tulips, reminiscent to Park Ave. in the spring — served as a stunning background for Wes Gordon’s beautiful 45th anniversary collection.” —Steph

Studio 54

“Studio 54 — an iconic NYC institution and disco-era time capsule — now doubles as the venue for Broadway’s ‘The Rocky Horror Show,'”‘ which I got the chance to see with beauty brand Ogee for a mid-NYFW runway break. Although I wasn’t brushing shoulders with Diana Ross or Liza Minnelli, the theater’s glamorous energy feels right at home for the raucous cast of otherworldly beings.” —Catie Pusateri, Associate Editor

Sartiano’s

“I’ve been pretty out of the NYC party scene in recent years, so I didn’t know what to expect when going to Sartiano’s, the restaurant below The Mercer Hotel, for Marc Jacobs Beauty’s NYFW party. While I can’t say much about the food — there weren’t many vegetarian passed apps for me to try — I can see why the restaurant has become a bit of a hot spot for brands since it took over the Mercer Kitchen space. The interiors give that moody, sexy, old-world vibe that a party should have — especially with beauty products scattered around. We even found our way downstairs through a wine cellar (a real one? Unsure!) which led to a speakeasy area with a stripper pole. I need to go back and actually eat next time.” —Liz

The Spa at The Hotel Chelsea

“I’ve been fortunate to have experienced many New York City spas, and The Hotel Chelsea‘s is one of my all-time favorites. It’s cozy, charming and quiet, with an outdoor terrace, fireplace and little snacks on offer before you go in for a treatment. It’s luxurious without being stuffy or uptight (like some other fancy spas in the city) and the perfect place to recover from NYFW, when all I feel like doing is sitting in a dark room by myself for a week. (YSL Beauty hosted editors there on Thursday, may the Fashion Week Goddesses bless them.) You can’t go wrong with just about any treatment, but I’m a deep tissue massage girl all the way.” —Steph

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PETA Protesters Crash H&M’s London Fashion Show

H&M’s London runway show was disrupted on Thursday night by three PETA protesters objecting to the use of wool, the latest in a string of demonstrations that hit COS’ New York show the week before. Unlike the protest at COS, security let the protesters exit the runway without physical contact. The show went on to debut H&M’s collaboration with Nick Knight and ShowStudio, featuring AI-generated visuals that turned live photos of models into moving painted backdrops. {WWD/paywalled}

Mbappé Leaves Nike for On as It Expands Into Soccer

On is expanding into soccer, signing Kylian Mbappé away from Nike and hiring former French soccer player Thierry Henry as its director of football. The move marks the Swiss sportswear brand’s push into a new category as growth in its core running business slows and investors question expansion within the category. “Our ambition is to bring On’s approach to the pitch, the pavement and the runway – connecting elite performance with the culture that surrounds the game,” Founder and Co-CEO David Allemann said in a statement. {On; Business of Fashion/paywalled}

LVMH Signed an Agreement To Buy Hermès Heir’s Shares

In a June court filing, LVMH denied trying to buy Hermès shares from heir Nicolas Puech, but legal documents show the company signed a 2002 agreement to purchase Puech’s shares, Reuters reported. Records also show LVMH and its chairman’s family holding company paid Eric Freymond’s wealth management firm (Puech’s late financial adviser) at least $20 million between 2001 and 2009. Puech says his 6% stake in Hermès, worth an estimated $10 billion today, vanished without his knowledge, and he is suing LVMH and Chairman Bernard Arnault, along with companies affiliated ​with Freymond, for €14 billion ($16 billion) in damages. {Reuters}

Half Magic Beauty Raises Series A

Half Magic Beauty, the color cosmetics brand founded by “Euphoria” makeup artist Donni Davy, has raised a Series A round led by Point King Capital, with existing backers A24, Access Industries and ACG also participating. The funding will support the brand’s retail expansion with partners like Ulta, Sephora U.K. and Mecca, plus new product categories and hiring, as it eyes further growth in Australia, New Zealand and Europe. {WWD/paywalled}

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About the Role
This internship offers a behind-the-scenes look at the world of celebrity, red carpet, and editorial styling. The pace is fast and ever-changing, so we’re seeking individuals who are organized, adaptable, and enthusiastic about fashion. Candidates should bring initiative, attention to detail, and a positive, solutions-oriented attitude. Please note that some evenings and weekends may be required.

Responsibilities
● Coordinate sample pulls and returns with showrooms and PR teams
● Steam, prep, and pack garments for set days
● Provide on-set support and assist with fittings
● Manage studio organization and inventory, including logging items in and out
● Run errands to showrooms and PR offices
● Transport wardrobe to and from fittings, shoots, and events
● Support on clothing sourcing

Requirements
● Based in Los Angeles with reliable transportation
● Available 3–5 days per week
● Extremely organized, punctual, and professional
● Strong sense of discretion and trustworthiness
● Comfortable working in a fast-paced environment with shifting priorities
● Flexible, dedicated, and genuinely passionate about fashion and styling

How to Apply
Email your resume and weekly availability to Jenna Biersch: assistant1@chloeandchenelle.com.

chloeandchenelle.com
@chloeandchenelle

For our Weekly Drop Watch column, Fashionista scours the market to curate the most noteworthy releases from our favorite fashion and beauty brands. Keep scrolling for this week’s highlights.

Fashion Launches

Reformation x Olivia Jade

Reformation partnered with Olivia Jade for its new “Good Sport” campaign and collection. “People have been studying Olivia’s outfits for a while, so we figured it was time she gave everyone a lesson in dressing for sport,” read press materials. The lineup includes preppy, academic-themed items (including a particularly cheeky “College” crew sweatshirt, $128, shown on Jade in the above image). Other items include a shoulder bag, belted denim jacket and scoop-neck cashmere sweater. The brand will also be donating 100% of net proceeds from the limited-edition College Crew to YES Scholars, a nonprofit that expands college access and opportunities for promising students from
 under-resourced communities. Shop the collection at thereformation.com.

Ganni x Hunter

Ganni teamed up with Hunter for the first time to create a limited-edition collaboration that “blends Hunter’s British legacy in weather-ready design with Ganni’s joyful Copenhagen spirit,” per a press release. The collaboration includes three waterproof ponchos, coordinating rain hats, a protective poncho cover for the Ganni Bou bag, tall and Chelsea-style Wellington boots and an umbrella adorned with Ganni’s signature leopard print. Prices range from $150 to $440. Shop the collection at ganni.com.

Clarks x Damson Madder

Footwear brand Clarks Originals partnered with Damson Madder on a capsule collection featuring two of the former brand’s signature silhouettes, with a twist from the latter company. The Nomad Mary Jane Mule comes in chocolate brown and retails for $220, while the Wallabee Lace Up Shoe in red retails for $200. The collab also includes a striped rugby sock for $40. Shop them all at damsonmadder.com.

Rixo Fall 2026

Rixo dropped its Fall 2026 collection this week, marking “a significant evolution for the brand, expanding its proposition beyond the printed dress and into a more complete lifestyle wardrobe,” as described in a press release. With the launch of outerwear, knitwear, separates and accessories, Rixo’s latest offering has already been so popular that several of the coats have racked up 1,000 pre-order sign-ups. Rixo Fall 2026 will continue to roll out with further drops following in October and November. Shop the September drop at rixolondon.com.

Leset Fall 2026 Footwear

Leset uneviled its Fall 2026 shoe collection, comprising three styles “designed to serve as the foundation of a wardrobe.” Made in Italy, the footwear lineup includes the Romy Mule in Chocolate Caribbean ($480, shown above), Sonny Slip On in Amaranth Multi Floral ($590) and Rose Mary Jane in Midnight ($480). Shop them at leset.com.

The Rosé by Sami Miró

Designer Sami Miró launched The Róse by Sami Miró in partnership with Pacsun, across the retailer’s 50 brick-and-mortar stores and online. The expansive lineup of separates features basics like bralettes, T-shirts, low-rise jeans, sweatpants and cropped hoodies alongside a host of going out tops and mini skirts. Priced from $30 to $100, all of the pieces are available now at pacsun.com.

Staud’s Maud Bag Collection

Staud introduced its Maude bag collection, a silhouette that’s “designed to move effortlessly through every moment, blending quintessential Staud design details — including our iconic curved handles and concealed phone pocket — with timeless silhouettes.” The bag comes in four styles: Maude Carryall, Maude Tote, Maude Satchel and Maude Shoulder, each available in a variety of sizes and colorways. Priced from $395 to $850, the Maude bag is available now at staud.clothing.

Beauty Launches

New Beauty Brand Carte Blanche

Carte Blanche, a new beauty brand from Saie Beauty veterans Geri Hirsch and Sarah Tallman, launched exclusively with Violet Grey on Thursday. The brand “raises the standard for hybrid beauty by combining clinically proven skin care with high-performance makeup through a narrow-and-deep hero product strategy,” according to a press release. “Rather than launching dozens of SKUs, the brand is introducing products designed to become everyday essentials, delivering immediate cosmetic payoff while actively improving skin over time.” At launch, Carte Blanche introduced only one SKU: Multi-Hyphenate Brightening Skin Tint Mineral SPF 35, a “next-generation complexion product that reimagines what a skin tint can be.” The tinted formula features mineral sunscreen, exosomes, vitamin C and other antioxidants for a multi-targeted treatment/cosmetic hybrid. Shop it in eight shades at violetgrey.com.

Ogee’s New Liquid Eye Shadow

Beauty brand Ogee introduced its new Lid Sculpt Liquid Eye Shadow ($32) this week. A “skin-care-infused liquid-to-powder formula designed to deliver luminous, crease-resistant color while visibly smoothing the look of the eyelids,” the product comes in 10 “mineral-inspired” metallic shades. Shop them all at ogee.com and bluemercury.com.

Neutrogena’s New Bemotrizinol (BMT) Sunscreen

Neutrogena launched its first bemotrizinol (BMT) sunscreen, Bemotrizinol (BMT), Ultra Sheer Daily Face Sunscreen SPF 60 ($17) this week, making it the first U.S. brand to bring a formula to market with the breakthrough sun filter that was recently approved by the FDA. The “weightless, invisible” formula is supposedly “50% lighter on skin than leading sunscreens, non-greasy and doesn’t leave a residue or sticky feeling, layering well under makeup.” Shop it at amazon.com.

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Some trends were difficult to pin down this time, which speaks to how varied (and stacked) the New York schedule has become, and perhaps the increasingly individualized evolution of personal style in general. But there were some clear standouts: Sweaters and scarves moved from our shoulders to our waists; a winner was chosen in the battle of capris vs. culottes; primary and diluted colors all found their place and traditional details like buttons and symmetrical sleeves were rendered irrelevant.

Scroll through the galleries below for nine NYFW trends you should definitely know about.

Low Tied

For too many seasons to count, the practice of artfully tying a clothing item — usually a sweater or a scarf — around models' shoulders was every designer's go-to runway styling trick. The preppy trend has finally loosened its grip and, for Spring 2027, these items — suit jackets at Coach, silk shirts at Cult Gaia, light knits at Tibi and fringe scarves at Heirlome — are instead being styled around models' waists. It feels more down to down-to-earth (literally and figuratively).

Bras Out

New York designers proposed a solution to something showgoers dealt without throughout the week: overheating and sweating under our clothes. The answer: just leave your blouses, jackets and cardigans wide open. (Were buttons, like walkable shoes, in short supply?) But make sure you have a really pretty (or outfit-matching) bra on underneath.

Primary Source

Many designers went back to the literal basics when it came to choosing their Spring 2027 color palettes: Primary colors — red, yellow and blue, in their purest forms — were all over the runways, underscoring the Americana vibes at Tommy Hilfiger and Ralph Lauren, and bringing a playful feel to TWP and Sergio Hudson. "Luminous Blue," the 2027 color of the year, was especially popular.

Sheer-Review

It's official: The naked skirt is the new naked dress. There's something so fun and subversive about pairing an otherwise conservative outfit with a see-through skirt, as seen at Calvin Klein, Eckhaus Latta, Brandon Maxwell and Thom Browne. That said, wearing revealing separates from head to toe is also an option; see: Aknvas, Prabal Gurung and Vettese.

Wearing Thin

The resurgence of long, skinny, purely decorative scarves, largely popularized in the 2000s boho-chic era, continues into Spring 2027. They do put excess fabric to good use, and given their size, they shouldn't cost too much at retail. (Recession indicator?)

Good as Marigold

Spring 2027's most overwhelmingly popular color was marigold: It felt like the floral orange-y yellow was popping up at every runway, from Ashlyn and Emily Dawn Long, to Carolina Herrera and Michael Kors — and it's not even a "color of the year" ...yet.

Right to Bare Arm

One of Spring 2027's least straightforward trends involved deliberate attempts to subvert the traditional two-sleeve (or -strap) concept we've come to expect from clothing. At Collina Strada, Cult Gaia, Rio and 6397, models walked the runway looking liked they'd begun the process of removing their sweater and just decided to stop with one arm out. Carolina Herrera achieved the cardigan equivalent of whatever that was. Elsewhere — Zankov, Ashlyn, Grace Ling and others — garments were designed to keep one arm (or at least part of it) free and bare, while clothing the other. Good luck with hangers!

Modern Mauvel

For whatever reason, it's rare to encounter a pink-free collection these days; this season, several designers seemed unable to decide what shade of pink to go with, so perhaps they mixed them all together to create an assortment of muted, dusty mauves.

Big 'Lottes

Capris and culottes are going neck-and-neck (calf-and-calf?) for the title of fashion's favorite cropped pant silhouette, and judging by the New York collections, culottes may be winning. The elongated shorts came in all shapes in sizes: sleek and tailored at Fforme and Calvin Klein, big and baggy at Area and Collina Strada, and even sequined at Patbo and Advisry.

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After season upon season of teeny bags that barely fit a lip gloss, let alone a laptop, we’re here to report that luxuriously capacious bags are officially making a triumphant return, and we couldn’t be more pleased. Social media and the fashion crowd have fully endorsed the roomy tote, and it’s not difficult to see why everyone has been so obsessed: Bags that are stylish and functional just make sense.

While it’s fair to assume a handbag that fits a laptop, tablet, reusable water bottle, makeup case, notebook and every other busy-girl essential is going to be a bulky, unwieldy outfit-ruiner, Charles & Keith has accessories figured out. So of course, the Singapore-based brand cracked the code on making roomy bags that are actually chic.

A recent viral TikTok video featuring the Charles & Keith’s Calla Tote proved just how possible it is to meld form and function in an elevated accessory that’s perfectly on-trend. It even spurred waitlists for the bag’s next colorway drop. (Stone Grey Suede? Yes, please.)

@ctinefg

Replying to @sofia.zxr ok but the calla tote bag actually fits a lot 🤨 for reference I have a 13 inch MacBook Pro!! @CHARLESKEITHOFFICIAL code COMAMBAU15-RG6DI32K3H to save 15% 💗 #charleskeithcommunity #imwithcharleskeith #corporategirlies #workbag #unibag

♬ original sound – chrissy

The label also recently expanded its oversized bags offering with the introduction of the Aislin Tote, a versatile shoulder bag that can also be slung cross-body for a modern, laid-back look. Despite its sophisticated exterior, three wearable colorways and easy-yet-polished aesthetic, the Aislin isn’t just about looks. It’s also, in fact, a carryall that – like its aforementioned Charles & Keith sister, the Calla — can accommodate, well, all you could possibly want to carry.

Another new addition to the brand’s spacious bag lineup is the Large Ginerva Tote, a softly structured, vintage-y silhouette that’s equal parts “cool girl” and “chic professional.” With a zip closure, short double handles and adjustable, detachable shoulder strap, it’s the perfect bring-with-you-everywhere bag.

View the 2 images of this gallery on the original article

With back to school season and RTO in full swing, Charles & Keith’s accessories are ready to get you through everything fall has in store. See (and shop!) the brand’s most stylish, waitlist-worthy handbag styles below.

Charles & Keith Large Ginerva Tote Bag, $149, available here

Charles & Keith Aislin Hobo Bag in Pecan Brown, $139, available here

Charles & Keith Aislin Hobo Bag in Black, $139, available here

Charles & Keith XL Calla Tote Bag in Stone Grey, $159, available here

The Palisades Village location came first because of the sense of community in the area post-Jan. 2025 fires. (Fashionista heard this from Leset’s neighbor Xirena, too.) “We’ve been incredibly intentional about retail and wanted to make sure we were opening stores in places where we could really become part of the community, rather than just adding doors for the sake of growth,” Chemla said over email.

“Palisades Village felt especially right because it has this intimate, neighborhood quality that I love,” she continued. “I wanted the store to feel warm, considered and easy, and to create a place where our customer could come in often, discover something new and feel at home.” In addition to Xirena, Misa, A.L.C. and Anine Bing are also nearby.

The store’s intimate footprint (read: pretty small space) and edited-down merchandise are meant to put the focus on the clothes and feel like a “dream closet.” It was designed by Phoebe Little, who also led the design of the brand’s NYC store. The assortment includes the core wardrobe staples (including the popular The Margo tee and its many iterations), alongside the newest seasonal collection, per press materials.

One of the more distinctive details of the store is the curtain framing the storefront. When it’s drawn closed each evening and opened each morning, it adds a residential touch to the space. That cozy feeling is central to how Chemla envisions Leset stores, but don’t expect each new location to be the same style.

“West Hollywood will be our second store in L.A., and while it will have its own identity, there are certain elements that will carry through all of our stores,” she said. “I always want our spaces to have a residential feeling — warm, intimate and collected rather than overly designed or traditionally retail.”

“At the same time, I don’t want to copy and paste the same store into different neighborhoods,” she continued. “West Hollywood will have a different energy that reflects its location and customer, while still feeling unmistakably Leset.” We’re told the store will also be much larger, with two levels of merchandise.

For Chemla, the most important goal of expanding into retail is to create spaces where customers can experience the brand beyond their phone screens.

“My dream is for our stores to become a real expression of the world of Leset,” she said. “There’s something really special about experiencing the clothes in person — feeling the fabrics, trying everything on, seeing how the pieces work together and creating a space around them that brings the full world of the brand to life.”

See more images of the new Leset store, below.

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British Fashion Council Announces The Fashion Awards 2026 Nominees

The British Fashion Council (BFC) announced the nominees for The Fashion Awards 2026 on Wednesday. For its top award — Designer of the Year — nominees include Ashley and Mary-Kate Olsen for The Row, Anthony Vaccarello for Saint Laurent, Haider Ackermann for Tom Ford, Matthieu Blazy for Chanel, Michael Rider for Celine and Sarah Burton for Givenchy. The BFC also unveiled the nominees for British Womenswear Designer, British Menswear Designer and the Vanguard Award. See the full list of nominees here. Winners will be announced on Nov. 30. {Fashionista inbox}

Nike Appoints Alexandre Arnault to Board of Directors

Nike has appointed LVMH executive Alexandre Arnault to its board of directors. Since February 2025, Arnault has served as the deputy chief executive of Moët Hennessy. He is joining the board ahead of Nike’s exit from the S&P 100 on Sept. 21. “[Arnault’s] experience across innovation, digital transformation and brand building will be an asset as we continue to strengthen our connection with consumers, sharpen our competitive edge and accelerate Nike’s next chapter of growth around the world,” Nike CEO Elliot Hill said in a statement. {Business of Fashion/paywalled}

Mikey Madison Covers Vogue

Mikey Madison is Vogue‘s second October 2026 cover star for its three-part Vogue World special issue. Photographed by Drew Vickers and styled by Carlos Nazario, Madison wears a Prada jacket and Tiffany & Co. jewelry on the cover. In conversation with Marley Marius, Madison talks winning the Oscar for Best Actress, her dreams of starting a family and her upcoming film “The Social Reckoning.” Vogue‘s October 2026 issue will be available on newsstands on Sept. 29. Read the full cover story here. {Fashionista inbox}

Will Fashion Ban Wool?

At PETA’s protest on the COS runway during New York Fashion Week, activists urged the label to stop selling wool and claimed that sheep are abused in the shearing process. The conversation around banning wool is nearly non-existent: Knitwear is booming, and the International Woolmark Prize is one of fashion’s leading talent incubators. Even if the fashion industry issued a ban on animal-derived fibers tomorrow, it would take years before plant-based alternatives reach the scale needed to replace them. {Vogue Business/paywalled}

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Her four-year-old Los Angeles-based brand has found success in making trend-driven clothes for sizes 10 to 30 (or L to 5X) and she’s recently teamed up with model and content creator Emma Arletta on a September collection out now. It’s their first ready-to-wear collaboration (and Sinatra’s first with any influencer) following their bridal collaboration earlier this year.

Fashionista caught up with the duo at their New York Fashion Week-timed launch preview held in Dolce Vita’s showroom. The shoe brand was also previewing its fall boot collection, which comes in three different calf sizes — Sinatra was a fit model for the brand and continues to work with it to advocate for inclusivity. That same push for greater inclusivity is what brought Sinatra and Arletta together in the first place.

“Our bridal collection together was such a success, and Emma’s eye is just chef’s kiss,” Sinatra said. “Together we work so well, so we decided to do a fall collection together.”

“It had so much success because the big girls want cool clothes, too,” Arletta added.

The collection dips into the trends that the “skinny girls” are wearing, Arletta said. Clothing options for plus-size women are often dated and frumpy (with “grandma florals”), but Gia/irl x Emma Arletta hawks a going-out top, gauchos, a tracksuit and zebra-print separates, all made to look cool and never hide.

The duo admitted that Arletta did have to push Sinatra to go this trendy. For example, Arletta really wanted the overlay detail on the cream Juliette Trousers and eventually won — though Sinatra chose the neutral color. It pairs with the Juliette Jacket with a trendy funnel neck, which Sinatra says is her favorite piece. The Gabi Gauchos were also a “battle,” Sinatra said, but she loves how they came out.

“This is our cool-girl workwear. You walk into the office and everybody’s like, ‘Where’d you get that?’ Arletta said.

Having an interesting print set (in this case, the Zoey Top and Skirt) was especially important to the duo. “As big girls, we’re told to stay away from prints,” Arletta said. “‘They make you look bigger.’ Uh-uh. We don’t feed into that. Zebra is truly the print of the season.”

Sinatra said she looks to the brand’s community for feedback and she hopes to do more influencer collabs in the future, with girls of all sizes and backgrounds. “Every single event we’ve hosted this weekend has a 200-plus-person waitlist,” Arletta added. “So when I tell you the girls want community, they want community. At Fashion Week, we don’t see ourselves on the runways. We don’t see ourselves at the events. So, what did we do? We created the space to do it.”

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To name a few highlights: British designer Conner Ives made his NYFW debut, showcasing a new catchy slogan T-shirt; Carolina Herrera’s 45th anniversary show paid tribute to New York City; and Rachel Scott presented her sophomore Proenza Schouler collection, unveiling her version of the iconic PS1 handbag.

Scroll through the galleries below to see Fashionista’s favorite Spring 2027 collections from New York Fashion Week.

Proenza Schouler Spring 2027

Related: Rachel Scott Is Feeling More at Ease at Proenza Schouler — and It Shows

Diotima Spring 2027

Related: Rachel Scott’s Sea-Inspired Diotima Collection Plays With Our Expectations of the Brand

Kallmeyer Spring 2027

Related: As Kallmeyer Grows, Its Commitment to the (Very Chic) Customer Never Wavers

Tibi Spring 2027

Related: At Tibi’s Spring 2027 Show, Dolly Parton’s Spirit Lives On

Wiederhoeft Spring 2027

Related: Wiederhoeft Imagines a Beautifully Dressed Apocalypse for Spring 2027

Altuzarra Spring 2027

Related: Altuzarra Gets a ‘Vibe Shift,’ Plays With Gender Codes for Spring 2027

Carolina Herrera Spring 2027

Related: Carolina Herrera’s 45th Anniversary Collection Pays Tribute to New York City

Tory Burch Spring 2027

Related: Tory Burch Spring 2027 Offers a Joyful, Colorful Escape From Our Modern Dystopia

Conner Ives Spring 2027

Eckhaus Latta Spring 2027

Thom Browne Spring 2027

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But no one seems to feel the NYFW pressure more than the designers themselves. For months, they work tirelessly to sew, cut, embroider and drape their collections to perfection. So we can only imagine the sigh of relief they take when they finally present their work and can take a much-needed break (at least, before starting next season’s collection).

For Spring 2027, team Fashionista asked multiple designers what exactly runs through their minds when the runway finale ends and they come out to greet their audience. Andrew Kwon and Grace Ling, for example, reflected on how grateful they are for their teams. Others, like Tory Burch and Heirlome’s Stephanie Suberville, felt emotional. All of them were relieved. As Rachel Antonoff described it: “Thank fucking God.”

View this post on Instagram

Ahead, read what was going through designers’ heads as they took their final bows.

Rachel Scott of Proenza Schouler and Diotima

“Oh God, you don’t even know how much I think about this. Well, first of all, we had to orchestrate to make sure [the] closing model could help me up the stairs. It was logistically challenging, but she was so sweet to hold my hand. But I also, when I come out, it’s intimidating. I’m not a model. I started this job so I could make clothes, not walk on a runway, but you always walk out and when you see friendly faces, it’s just really nice. So the first person I saw when I walked out was Samira Nasr, who is such a legend.”

Tory Burch

“On some levels I’m like, it’s quite emotional because you’re [working] until the very last minute. I saw a girl, she didn’t realize she was about to walk so she didn’t have her shoes. My team is upset. I’m like, ‘Barefoot’s the new black. Who cares?’ You just can’t worry about it. But it’s just a relief. This one was a lot of work for all of us. It was just like, wow, I just breathed it.”

Nicola Brognano of 7 For All Mankind

“I’m thinking: I did a good job.”

Joseph Altuzarra of Altuzarra

“I think that I’m really relieved.”

Wes Gordon of Carolina Herrera

“I actually get really nervous. I have bad anxiety in general and there’s something very scary about it. I have enormous respect for models who can do that, because it’s scary. It’s like walking onto a stage and then having to walk a long way. I’m trying to think to hold my shoulders back. I’m trying to think not to make a goofy face. And then I’m also trying to find my mom and dad, Mrs. Herrera and my husband.”

Patricia Bonaldi of PatBo

“I’m not thinking about anything. It’s more like very high adrenaline. I can barely say ‘Hi,’ but it’s a moment that feeds me. It makes me feel very confident and sure that I need to keep doing this.”

Stephanie Suberville of Heirlome

“I was actually really scared and I didn’t want to do it because I just wanted to pop up and say hi, but I wanted to have a moment with [Maricarmen Jimenez] and she actually helped me because I was holding her hand really tight. She was very calm and she’s an artist, so she kind of calmed me down. So it was kind of nice.”

Veejay Floresca

“I’m always thinking about, ‘When is the next one?’ I think it’s really fun to do something that I love, and am passionate about. So, I’m just thinking about, ‘what’s next?'”

Keith Herron of Advisry

“It’s funny because when I first was doing runway shows, I would always run down and it kind of makes it faster, that moment, because it’s a nerve-wracking moment. But lately I was like, ‘Oh, let me take it slow and enjoy this moment.’ So I guess I try to feel the energy of the room and finally be present in that room, because you spend so much time preparing for this runway show and then you don’t actually experience it yourself. That’s the one moment you get to really be there. So I just try to take it slow and enjoy that moment.”

Ella Mae Jepsen of Ella Mae

“Oh my gosh, I don’t know if I was thinking about anything except for like, ‘ahhh!'”

Prabal Gurung

“I’m thinking about my mother. My mom lives in Nepal. Sometimes she’s in New York. It’s been a while [since] she came to my show. Honest to God, that’s all I’m thinking about. I’m thinking about my mother and how grateful that I am that she allowed me to live my dreams ever since I was a kid. And then my team, who without whom, I wouldn’t be able to do this. And I get to walk out in the end, but it’s an entire village who does this work. So I’m thinking of my mother and my team and then hopefully a long rest.”

Rachel Antonoff

“Thank fucking God. With humans, you can’t always anticipate what’s going to happen, but with animals, you absolutely can only anticipate that you have no idea what’s going to happen. You know, it was fine and we’re thrilled.”

Susan Korn of Susan Alexandra

“We had our two dogs with us, our elders, backstage with us, and we told them that this is all for them because they both inspired us to put all this rescue dog love into the world.”

Patricio Campillo of Campillo

“I’m blank. I’m like, ‘Holy shit, thank God it’s done.’ I don’t know. It’s a lot every time I do a show and I do a collection. I don’t know what to think. I don’t know if I’m happy or if I’m devastated. It’s just every time I do it, it’s so important to me. So yeah, I’m not necessarily the most balanced person emotionally after the shows.”

Kate Barton

“Everyone’s always like, ‘Are you excited for your show, fashion week?’ And I’m like, ‘I’ll be excited once we’re there.’ So I feel like now I’m excited to have a fun night and we have a party after this, so I’m excited to just have fun after.”

Christian Cowan

“I hate doing my bow, so my mind is at, ‘How long do I have to be out here before I can hide again?’ So I just keep it quick. Of course I like to wish everybody a ‘thank you,’ but I just don’t love everybody looking at me.”

Christian Juul Nielsen of Aknvas

“I was thinking about [my husband] Casper. I wanted to wave at him, but I couldn’t see him because he was at the end of the runway, and I wanted to… just grab him, but there was too much light.”

Sergio Hudson

“Thank God it’s over. But this year when I take a bow, I’m going to be wearing a shirt we did in collaboration with Live Free 999. I’m trying to get a message out there about mental health: You’re not alone, and you don’t have to suffer in silence.”

Ben Doctor

“I was thinking, ‘thank God it’s over.’ I’m not kidding. I think this year was especially hard to push at the end. So, I was just really happy that it was over and that it was a success.”

Andrew Kwon

“I think about my team. Not just my team in the atelier, but also the teams who are helping to build [the show] the day of. The shows literally last 12-15 minutes, yet it’s months and months of building and creating. So all I’m thinking about is the teams helping to build Andrew Kwon, and I feel so grateful for them.”

Jackson Wiederhoeft of Wiederhoeft

“It’s hard to describe. It’s like every feeling at once — it’s very intense. It’s very vulnerable, yet it’s very exciting. I’m very proud but also very sad to move on from this world and close the tomb.”

Grace Ling

“I’m really thankful for everyone who came. I’m also thinking, ‘It’s done, thank God. It’s done and it’s done well.’ To be honest, what’s running through my mind is how thankful I am for my team. It takes a whole village, and there are just so many behind [the show and the collection], and everybody works so hard.”

Jane Wade

“I’m actually a pretty shy person when it comes to large crowds. So I would prefer to be the person that’s just hiding in the back and pops out with a little wave. But my whole team always pushes me to go out and do a clap and I like to bring my team out as well so that way they can feel celebrated for all the hard work they contributed as well.”

Kim Shui

“I’m just like, ‘I can’t believe we did this.’ When I was backstage, everybody started crying, so that got me more emotional.”

Amy Smilovic of Tibi

“I just want to get in and get out. This is not for me to run out there and take the accolades.”

Jonathan Simkhai of Simkhai

“I can’t believe that all these people are here to see my collection and I hope they like it.”

Aisling Camps

“I can sleep tonight.”

Tyler McGillivary

“I was thinking relief, relief. It’s such a very stressful show to coordinate with all the animations and stuff, but I was also just thinking how proud I am of my team, and just amazed at how far we’ve come from ‘Date Night’ to here in a couple of seasons.”

Olivia Cheng of Dauphinette

“You’re so mortified, personally, embarrassed and not a model. You’re not used to all the big lights, and you’re not used to other people. My desire is always to sprint away. But I tried not to jog this time, because I’m not a runner. It’s better to keep it moving at a medium pace. So, I was thinking about not running.”

Rachel Comey

“I’m thinking when I take my post show bow, how quickly and fast can I do it.”

Fletcher Kasell of Tanner Fletcher

“I’m probably blacked out by that time. I can hardly get words out of my mouth. It’s very exhausting, but it’s very rewarding. It’s kind of like a crazy emotional arc.”

Tanner Richie of Tanner Fletcher

“I think doing this together….we feel like we kind of just, I always say it’s like having a baby. You’re putting something out there into the world that we did together and that is a really special moment.”

Kimberley Gordon of Selkie

“I’m thinking about my daughter because I’m worried about what she’s thinking. I’m looking at the room because we don’t see the room until we come out, so it’s insane to see all the outfits and all the people. You lose all thought, honestly.”

Reporting by Dhani Mau, Steph Saltzman, Elizabeth Denton, Janelle Sessoms, Catie Pusateri and Neia Dizon.

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September’s NYFW shows have officially come to a close, marking the end of a whirlwind week for fashion editors, including team Fashionista. Our bi-coastal team convened in New York City to hit up all the biggest runway shows, presentations, parties and events for Spring 2027 — including, of course, Coach’s 85th anniversary show. But what were the chic-yet-functional bags and on-trend footwear that got us through it all in style (and, equally as important, comfort)? Coach’s accessories lineup was in heavy rotation to be sure.

Related: Coach Throws Itself a Birthday Party for Spring 2027

This September, New York Fashion Week’s biggest street style trend was dressing down. Showgoers swapped teetering heels and other impractical shoes for flats and sneakers that kept them looking (and feeling) good through the week.

Our editors are big fans of the casual-yet-cool style trend, and so Coach’s Margot and Soho shoes became true fashion week MVPs. The former, a classic ballet flat with a buckle detail, comes in both chocolate brown and black. We love that it’s sleek, timeless and adds a bit of polish to any look.

But for sneaker lovers, it doesn’t get better than the Coach Soho: This canvas-and-jacquard shoe features a lining made from 100% recycled polyester, a midsole that contains at least 28% bio-based content and a grooved rubber outsole detailed with a map of Manhattan. These sneakers were basically made for NYFW.

Our bags are just as crucial for enabling us to tote around our laptops, cameras, notebooks, water bottles, makeup pouches, mini fans (September subway temperatures are no joke!) and 47 lip products.

This season, we loved the roomy spaciousness of Coach’s Brooklyn bag, and there’s something about a slouchy shoulder bag casually slung over your shoulder that radiates fashion “It” girl. But because the Brooklyn is a structured sort of slouchy, it’s a more elevated, elegant way to get in on the trend. Even better: It comes in multiple sizes. The Brooklyn 39 fits a 15″ laptop, while the Brooklyn 34 can accommodate a tablet, notebook and water bottle. The smaller Brooklyn 28 is perfect for days so jam-packed we decide to leave our laptops on standby at the office.

Shop the on-trend bags and footwear that got us through NYFW:

Coach Margot Ballet in Black, $155, available here

Coach Margot Ballet in Brown, $155, available here

Coach Soho Sneaker in Chalk/Poppy, $155, available here

Coach Soho Sneaker in Mixed Green Signature, $155, available here

Coach Brooklyn 34 in Natural Grain Leather/Brass/Scarlet, $395, available here

Coach Brooklyn Shoulder Bag 28 in Brown Suede, $295, available here

Brooklyn Shoulder Bag 34 in Natural Grain Leather/Brass/Black, $395, available here

Coach Brooklyn Shoulder Bag 39 in Suede/Brass/Warm Brown, $495, available here

LuxExperience Returns to Profit in Fourth Quarter

LuxExperience, the parent company of Mytheresa and Net-a-Porter, returned to profitability in its fiscal fourth quarter. CEO Michael Kliger cited strong growth at Mytheresa, as well as a turnaround at Net-a-Porter and Mr Porter. Yoox also recorded growth for the first time since its acquisition. LuxExperience’s net sales rose 7.6% to €653.6 million ($754 million) in Q4, and executives forecast further sales and margin gains in the new fiscal year, which began in July. {LuxExperience; WWD/paywalled}

Authentic Brands Group Eyes IPO

Authentic Brands Group could pursue an initial public stock offering (IPO) as early as the first half of next year. CEO Matthew Maddox told Bloomberg TV that the licensing giant is “ready to go.” The company posts an 81% profit margin on $2.2 billion in revenue, with organic growth between 7% to 8% annually. Authentic owns $10 billion of intellectual property, and Maddox wants to double that over the next 24 months. {Bloomberg/paywalled}

Jil Sander Names Marco Viganò CEO

Jil Sander has named Marco Viganò as its new CEO, effective Sept. 15. He succeeds OTB Group CEO Ubaldo Minelli, who had been overseeing the brand on an interim basis. Viganò joins from Moncler, where he served as global chief client officer and president EMEA, and previously held senior roles at Audemars Piguet, Saint Laurent, Louis Vuitton, Gucci and L’Oréal. {Fashionista inbox}

L’Oréal Overtakes LVMH as France’s Most Valuable Company

L’Oréal overtook LVMH on Tuesday as France’s most valuable listed company, reaching market capitalization of about €203 billion ($234.2 billion) versus LVMH’s €201 billion ($231.9 billion). Analysts say consumers are favoring small indulgences over big-ticket items, lifting L’Oréal shares by 5% this year while LVMH fell by 35%. LVMH also dropped out of Europe’s top 10 companies by market capitalization, and CEO Bernard Arnault lost his title as Europe’s richest person to Zara Founder Amancio Ortega. {Reuters/paywalled}

Prada Rules Out Armani Bid

Prada is not considering a bid for Armani and remains focused on turning around Versace, which it acquired last year, CEO Andrea Guerra told Reuters. Armani is preparing for a sale of a 15% ​stake in the company. Guerra also said smart glasses launch under a Prada-owned brand is unlikely in the “near future,” despite past “exploratory talks” with EssilorLuxottica. {Reuters/paywalled}

TikTok Shop’s Luxury Resale Boom Driven by Livestreams

TikTok Shop said livestreams now drive 94% of its U.S. luxury resale revenue. The category’s gross merchandise value surged 400% year-over-year, fueled by handbags and watches. Resale brands such as Fashionphile, Rebag and MyGemma have built sizable followings on the platform, part of a broader shift toward secondhand shopping among younger consumers. ThredUp predicts the global secondhand apparel market will reach $393 billion by 2030. {Modern Retail}

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PhotoBook Magazine is a digital high-fashion publication dedicated to celebrating diversity, sustainability, inclusivity, and the ethical treatment of animals. We advocate for cruelty-free fashion and responsible industry practices through compelling photography and insightful editorial content.

PhotoBook focuses on high-profile talent across television, film, music, theater, and fashion, while also highlighting emerging talent through our “On the CUSP” and “RADAR” sections.

Explore PhotoBook Magazine: photobookmagazine.com

Social Media Intern
PhotoBook Magazine is seeking a diligent and creative Social Media Intern who is comfortable working remotely and interested in gaining hands-on experience in fashion media, digital content, and social media strategy. If located in NYC, can do BTS for shoots, appointments and events.

Responsibilities include:
•⁠ Create graphics and social media assets for PhotoBook stories
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Collaborate with the editorial and social media teams to support PhotoBook’s digital presence

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“I am honored to take on this dual role across Emporio Armani and Giorgio Armani, and deeply grateful to Silvana [Armani] and Leo [Dell’Orco] for welcoming me into their world,” Vitale said in a press statement. “Armani has a powerful legacy and unmistakable design language; a heritage that has spanned decades and shaped the history of fashion. I approach all of this with a deep sense of responsibility and excitement as we build upon that rich foundation, defining a new era together.”

The 43-year-old Italian designer has an impressive fashion resume: He’s worked at Bottega Veneta (under Tomas Maier), and in 2010, joined Miu Miu, working closely with Miuccia Prada. He worked his way up to becoming Miu Miu’s design director of ready-to-wear and brand image director, before stepping down in March 2025. He then notably succeeded Donatella Versace as Versace’s chief creative officer, becoming the first non-Versace family member to helm that brand in April 2025. Even though his debut Versace collection was well received, he left in December 2025 (amid the brand’s acquisition by Prada Group), after only one season.

Now, at Emporio Armani, he’s tasked with ushering in a new chapter for the brand, bringing an innovative edge while maintaining the label’s established identity and aesthetic, per the press statement.

“The appointment of Dario Vitale marks an important milestone for the Armani Group: a decision that strengthens our creative organization and confirms our commitment to looking ahead, consolidating the Group’s path of evolution while remaining faithful to Giorgio Armani’s values and vision,” added Giuseppe Marsocci, CEO and managing director of the Armani Group.

Vitale is the latest high-profile designer to join a major luxury house: Other recent appointments include Olivier Rousteing at Rabanne, Loris Messina and Simone Rizzo at Moschino and Kai Nesselrath at Carven.

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On the heels of Matthieu Blazy’s viral “barefoot sandals” for Chanel — introduced at the label’s Cruise 2027 show and later co-signed by Margaret Qualley — perhaps NYFW’s foot-forward looks took the shoeless trend a step further. But most of this season’s foot-baring styling choices weren’t actually choices at all.

At 7 For All Mankind’s show, models strutted down the catwalk in Y2K-era platform pumps (the kind that make your ankles hurt just from looking at them), but when it came time for the final walk, one brave soul (sole?) returned to the runway sans the towering heels. (Good for her!)

Over at Tory Burch, the designer told Fashionista’s Editor-in-Chief Dhani Mau that the show’s one barefoot model wasn’t a stylistic choice, but rather, she simply hadn’t been given her shoes in time. “My team was upset,” Burch said. “I’m like, ‘Barefoot’s the new black!’ You just can’t worry about it.”

Burch’s incident was an honest mistake that likely looked intentional to the casual viewer, and makes us wonder if any of the other aforementioned designers encountered a similar shoe predicament and just chose to put a spin on it. Because whether fashion brands are intentionally opting for barefoot runway moments or not, there’s an ongoing problem that can’t be denied: Too many designers are selecting footwear that puts models in precarious situations, potentially rendering them as fall risks. Across Fashionista’s Spring 2027 reporting, multiple editors witnessed stumbles (or full-on falls) that resulted from difficult footwear.

For the final look in Henry Zankov’s debut collection for Diane von Furstenberg, the model — who was wearing platform heels — fell to the ground after her billowing train swept up under her (though, in her defense, The High Line’s wind made her voluminous gown particularly unruly). Multiple footwear mishaps clouded Area’s runway: One model stumbled, one held her kitten heels at her side to finish her walk and another kicked off her pesky heels mid-finale. Attendees said it was clear the shoes were “falling apart.” Meanwhile, a carpeted runway made a Retrofête model wobble, and Luar‘s cobblestone-like catwalk at the Queens Museum was grounds for potential twisted ankles.

Sure, uncomfortable footwear can be written off as an expected job hazard for models, but ensuring a safe work environment should be a top priority for designers. The barefoot “trend” we saw across this season’s runways was not technically a trend at all. Most instances were unintentional happenstances where models were faced with two options: Kick off the shoes or risk faceplanting.

Barefoot Looks at NYFW Spring 2027

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The show presented a traveling pirate circus with “warrior girls” living off the grid (complete with retro music devices) in the aftermath of an imagined apocalypse, per show notes. They’re haunted by the past and unsure of what lies ahead. Rebellious circus performers turn to creativity and joy as acts of survival. (Plus, an impressively flexible performer opened and closed the show.)

The collection brings maritime folklore, historical fantasy and circus imagery into Selkie’s hyperfeminine world. Pirate and harlequin motifs appear alongside armor, corsetry, romantic dresses and theatrical silhouettes. Chainmail, religious jewelry, seashells and oversized accessories give the brand’s usual fantasy a darker edge.

Gordon was inspired by Cheryl Strayed’s “The Ghost Ship That Didn’t Carry Us,” a 2011 Dear Sugar advice column later collected in her book, “Tiny Beautiful Things.”

“It’s about choice in the end. It’s about not regretting anything that you’ve chosen in your life,” Gordon told Fashionista after the show on Monday. “[In the essay, Strayed] talks about how we will never know of the life that we don’t choose. It’s sort of like two ships passing and there’s nothing you can do but wave to it from the shore.”

Gordon pointed to decisions she’s made in the past and the online response to them. “I’ve made some controversial ones and I’ve regretted some of them,” she said. “And when you’re on social media, you get a lot of things, like being called a clown, that it’s all a circus, like ‘what a clown show.’ And I thought, ‘why not put on the ultimate clown show then and embrace the fool?'”

She wanted the show to have an “apocalyptic feeling” because “of the zeitgeist right now.” “There’s a lot of discussion about the world ending and a lot of people live in terror of this and I don’t live in terror of that,” Gordon added. The designer also pulled inspiration from the Emily St. John Mandel novel, “Station Eleven” (and subsequent TV series), which follows performers continuing to be creative at the end of the world.

“Even in an apocalypse, even at the end of the world, creativity and love survive and they are the foundations of all things that are important,” Gordon said. “And we have so much fear, but we don’t need to be afraid when we have creativity. [For] these performers, it’s an act of service to put out art and to perform.”

“All life’s a stage and to be performative — what does that even mean?” the designer continued. “Because we are all performing on a constant basis. And so I thought, ‘what about a show about performing?'”

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Ahead, see all the looks from Selkie’s Fall 2026 collection.

Selkie Fall 2026

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“It’s really reflecting on how every generation feels that they’re living through the end of the world,” Herron told Fashionista at his studio ahead of the label’s show on Tuesday. “So, in doing so, I took a look back at how this nation felt 50 years prior in the ’70s.”

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Staged in three separate acts, Advisry’s Spring 2027 collection (titled “America, Still”) opens with a procession of croc leather straitjackets and distressed denim inspired by Bickle, who represents New York City’s gritty past. Though, as the show notes read: “This is not glorifying. It is diagnosing.” A mohawked model even wore a military jacket made in the specific army green color Bickle wears in “Taxi Driver.”

The collection’s second act introduces formal suiting with checkerboard motifs sprinkled throughout. Pearl masks concealed models’ faces, while sculptural fascinators accessorized buttoned-up coats. Herron used “fringe wool,” as he calls it, throughout this section, most prominently shown in the ruffled linings on jackets. “It’s to symbolize how something that can be perfectly constructed can still come apart at its edges,” he said.

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Its third act bursts with color, as seen in sequin basketball shorts, furry gloves and striped sweaters made from glitter yarn (a new fabric for the label, Herron said). The pearl motifs that veiled models’ faces in the second act travel down to a cream-colored jacket embellished with the gemstones. When addressing this section of the show in the collection’s show notes, Herron specifically called out Nina Simone, Sly Stone and Gil Scott-Heron, referring to them as “the people who took everything from the first two acts and made something beautiful from it.”

Ahead, see all the looks from Advisry’s Spring 2027 collection.

Advisry Spring 2027

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On Tuesday afternoon, the New York-based designer presented his Spring 2027 collection, titled “Séraphine.” Inspired by Nicolino Calyo’s painting, “Arcadian Landscape,” it explores femininity through the beauty and mystery of the natural world, according to the show notes. The resulting spring offering translates the movement of shifting lights and cascading waterfalls into iridescent fabrics and sweeping trains. Kwon incorporated more direct natural references through hand-tacked crystallized floral embroideries and an earthy color palette (spanning violet and midnight blues, sage green and cloud grey).

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“[Pushing] myself as a designer means listening to my own intuition, not listening to trends and not knowing if it’s going to sell or not,” Kwon told Fashionista backstage ahead of the show. “Creating something that feels different and that other people don’t have is something I’m always challenging myself to do…It was something that I was uncomfortable with at certain points before, but I’m fully embracing now.”

Ahead, see every look from Andrew Kwon’s Spring 2027 collection.

Andrew Kwon Spring 2027

Photo: Launchmetrics Spotlight

“The water has always been really important to me, but after last season, I had quite mystical experiences with the water and specifically the water in the Caribbean,” Scott, who was born in Jamaica, said backstage after the show. “It reminded me of, obviously the beauty and the density of it, but also the fact that this is a site where mystical and also quite awful things happen. It’s a burial ground, essentially.”

She considered how much the water changes over centuries, and then “all of the women that existed across time” throughout the Caribbean archipelago, from someone working on a colonial plantation 200 years ago, to an anti-colonial poet like Suzanne Césaire, to a woman there today.

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The resulting collection doesn’t necessarily look tethered to any specific time period, but there’s always a distinct modernity to Scott’s work and the innovative ways in which she layers and manipulates materials. A prime example is the voluminous, almost fluffy-looking fabric on dresses, tops and skirts: strips of organza cut up and reapplied to garments. It appears dense and voluminous, but is also lightweight and airy; Scott sculpted this and other materials in unique ways to evoke water, undulating waves and sargassum. The collection’s color palette — deep blues, muted greens, sand tones and browns — also nod to the sea and its evolution over time on our warming planet.

“The Caribbean is so often imagined through crystalline blue water, but the sea is never only one color,” read the show notes. “As the waters warm and sargassum gathers at the surface, the colors and textures of the sea change. These changes are not only environmental. They touch communities, knowledge and living traditions.”

It feels like a deeply personal collection for Scott; while continuing to helm two brands, she sees Diotima as an opportunity for experimentation. “I’m quite rebellious in that, if I think people expect something from me, I want to do something else,” she shared. “And so instead of having a collection that was embellished all over or all crochet, I really wanted to think about form and I really wanted to think about tailoring… I think what’s really nice about Diotima is that there is this freedom to play. The only expectations I have are to myself.”

See every look from Diotima Spring 2027 below.

Diotima Spring 2027

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Although Heirlome refuses to re-issue designs without the original artist’s permission, Jimenez’s daughter Maricarmen (a third-generation alebrijes artisan and a local shaman) asked Suberville to bring back the sold-out prints. Thus, Heirlome revisited Jimenez’s craftsmanship for Spring 2027, but this time, with Maricarmen’s distinct feminine perspective.

“This was like a posthumous collaboration with her dad and a collaboration with her,” Suberville told Fashionista after Heirlome’s runway show on Tuesday morning. “So the prints and the concept really came from her. She has Zapotec ancestry, so we took a lot of inspiration from that with her permission.”

Maricarmen designed this season’s dash-like prints, which reference her father’s trademark “fur strokes.” The oval-shaped pattern appears across a button-up shirt, a maxi skirt, a flowing strapless dress and a huipil (or a traditional tunic from Mexico). She also crafted all of the wood-carved jewelry pieces, including vibrant necklaces and rings depicting the Zapotec zodiac. (Each attendee also took home their very own alebrije; Mine was a spotted owl.)

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Against a backdrop of mostly monochromatic styles (a signature for the minimalist label), a few pops of color emerged: a cerulean tassel-embellished maxi skirt, an aqua blue collared shirt and a marigold yellow silk dress. The collection’s tassel motifs stem from a type of shirt worn in Zapotec culture that features a braided tassel (or “yechee”) on the front. Alongside Heirlome’s other textural brand codes — fringe, pom-poms — they’re seen throughout the collection’s structured trench coats, patterned shawls (or “rebozos”), sleeveless tops and statement headpieces. The Spring 2027 offering also introduces denim via relaxed, wide-leg silhouettes that seamlessly fit into the Heirlome woman’s wardrobe.

“We’ve grown a lot in the last year and it felt like the right time,” Suberville said of Heirlome’s decision to stage its first runway show. “Also, because the artisan collaboration was so important to me, because I’ve grown very close with the Jimenez family, I wanted to give them a bigger platform.”

Ahead, see all the looks from Heirlome’s Spring 2027 collection.

Heirlome Spring 2027

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Marketing, Social Media & Content Coordinator
Verstolo | New York City
Employment: Full-time
Workplace: In person — New York City

The Opportunity
Verstolo is a growing luxury jewelry company looking for a creative, energetic, and highly motivated Marketing, Social Media & Content Coordinator to join our team in person at our New York City office.

This is a fast-paced, hands-on role for someone who loves social media, content creation, marketing, fashion, jewelry, and luxury — and who wants to be directly involved in growing a brand.

The coordinator will play an important role in shaping Verstolo’s marketing strategy and brand presence across social media, email, events, B2B and B2C marketing, and other customer-facing channels.

More Than a Posting Role
We are looking for someone who can think creatively and strategically about our brand, audience, and growth goals — and who is excited to execute those ideas hands-on.

The Role
You will help manage and grow Verstolo’s overall marketing presence, including social media, email marketing, events, B2B initiatives, B2C campaigns, and general brand content.

Social Media & Content

• Manage Verstolo’s presence across Instagram, TikTok, YouTube, Pinterest, and other relevant platforms.
• Create, plan, schedule, and publish engaging social content.
• Film, edit, and produce Reels, TikToks, Stories, short-form videos, and other content.
• Develop creative concepts, posts, graphics, and campaigns.
• Build and manage content calendars.
• Help develop and execute Verstolo’s overall social media growth strategy.
• Stay current on social media, fashion, bridal, jewelry, luxury, and cultural trends.
• Bring new ideas consistently and test new formats and approaches.
• Capture content with clients, jewelry, events, and members of the Verstolo team.
• Monitor performance and use results to continuously improve content.
• Maintain a consistent Verstolo brand voice and visual identity.
• Follow appropriate approval and release procedures before publishing client, team, or event content.

Marketing Strategy & Creation

• Help develop and execute Verstolo’s overall marketing strategy.
• Create marketing campaigns for both B2C and B2B audiences.
• Develop email marketing campaigns, including concepts, copy, visuals, and campaign planning.
• Create initiatives for bridal clients, past clients, industry partners, venues, planners, stylists, and other professional relationships.
• Develop campaigns around rentals, Rent. Own., engagement rings, custom jewelry, fine jewelry, and other Verstolo offerings.
• Create marketing materials for industry events, bridal events, private client events, trunk shows, and other company initiatives.
• Develop invitations, promotional materials, presentations, digital assets, and other marketing collateral.
• Help plan and promote client and industry events.
• Support seasonal campaigns, launches, promotions, and strategic initiatives.
• Create brand and marketing content beyond social media.
• Maintain consistency across social media, email, events, website content, and other customer touchpoints.
• Proactively bring new marketing ideas and opportunities to the team.

Additional Responsibilities

Because we are a growing company, everyone on our team plays an active role in the business. This position will also include administrative and office responsibilities, including:

• Managing incoming and outgoing jewelry rental shipments.
• Receiving and organizing returned rental orders.
• Assisting with daily office tasks and organization.
• Supporting the sales and operations teams when needed.
• Helping wherever necessary to keep the office running smoothly.

Who We’re Looking For

The ideal candidate is:

• Highly creative with a strong visual eye.
• Extremely comfortable with Instagram, TikTok, Reels, Stories, and emerging social platforms.
• Experienced with filming, video creation, and editing.
• Interested in both creative execution and marketing strategy.
• A strong writer who can create compelling marketing copy.
• Able to understand how social, email, events, B2B, and B2C marketing work together.
• Organized and capable of managing multiple projects simultaneously.
• Hard-working, proactive, dependable, and willing to take ownership.
• Comfortable working in a busy, fast-paced environment.
• Naturally curious and excited to constantly learn and try new things.
• Someone who stays on top of trends and understands what makes content engaging.
• A strong communicator and team player.
• Detail-oriented and willing to handle both creative and administrative responsibilities.

Experience with fashion, jewelry, bridal, luxury, lifestyle brands, email marketing, or event marketing is a plus.

About Verstolo
Verstolo is a growing fine jewelry company with a unique approach to luxury jewelry, bridal, rentals, custom design, and fine jewelry.

We care deeply about our team culture and office atmosphere. We want Verstolo to be a positive, collaborative, creative, ambitious, and enjoyable place to work.

We are looking for someone who wants to become an important part of the team, contribute ideas, take ownership, and grow with the company.

This is a great opportunity for someone who wants more than a traditional marketing or social media job and is excited to be involved in many aspects of building a growing luxury brand.

This is a full-time, in-person position based in New York City.

How to Apply
Please email info@verstolo.com with the subject line: “Marketing, Social Media & Content Coordinator Application”

Please include:

• Your résumé.
• Links to your Instagram, TikTok, portfolio, or other relevant work.
• A few examples of social media, video, email, or marketing content you have created.
• A short introduction telling us why you are interested in Verstolo and why you think you would be a great fit for the role.

We are especially interested in seeing your creativity, personal style, understanding of social media, and ability to think beyond simply posting content.

@verstolo

“For me, this season, I felt ready to show our new vision for Retrofête,” designer and co-founder Ohad Seroya told Fashionista over email. “After eight years of Retrofête, we’re in a very different place…This season, the creative side of me was inspired, the emotional side was ready and the businessman in me said, ‘Okay, let’s do it.’ That’s when I knew it was time to return to the runway.”

While Seroya didn’t have one exclusive starting point for the brand’s Fall 2026 collection (presented during NYFW’s Spring 2027 shows), one of his most prominent sources of inspiration was old European hotel interiors. He studied the upholstery, vintage carpets, velvet, embroidery and the shapes of old furniture.

“I started looking at every little detail and thinking about how I could bring that feeling into the collection,” he shared. “Then I started thinking about the woman who belongs in that world…She walks into a restaurant, a hotel, a party, and immediately you think, ‘Who is she?’ The collection became my way of bringing the Retrofête girl into this world.”

The lineup is full of tapestry-inspired prints, lace blouses and rich textures such as fur and feathers. Plenty of glamour — Retrofête’s DNA — also shows up in the collection, taking shape in dramatic fur coats and crystal-embellished gowns.

“I want our girl to look like she just walked out of a movie, or like she could be going to the Met Gala,” he said. “I know my girl. I know how she wants to dress, how she wants to feel and I love connecting with her in different places. Every year, she becomes a little more evolved.”

Below, see every look from Retrofête’s Fall 2026 collection.

Retrofête Fall 2026

Photos: Courtesy of Retrofête

In addition to celebrating the brand and honoring the legacy of Mrs. Herrera herself, Creative Director Wes Gordon wanted to pay homage to New York City. “We’ve been doing destination shows: Last spring we were in Madrid, and before that, Mexico City and Rio. So this time we made our destination New York,” he told Fashionista backstage in a post-show interview.

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One nod to the city comes via a collaboration with The New Yorker: The collection features an embroidered version of the magazine cover that ran on the day of Mrs. Herrera’s first show in 1981, adorning both a marigold yellow mini dress and boatneck top. (There’s also a red knit featuring the magazine’s logo.)

Other cheeky NYC-specific details include black and white cookie earrings and frog adornments on handbags and earrings. “The frogs were a little reference to La Grenouille [French for “frog”], which was Mrs. Herrera’s favorite restaurant,” said Gordon. Renderings of Andy Warhol’s 1979 portrait of Mrs. Herrera also appear throughout the collection, on handbags and a mini dress. Gordon brought a clear playfulness to the designs, underscoring the celebratory nature of the show. “It was about characters. It was about clothes with soul, clothes that are fun,” he said.

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But where Mrs. Herrera and New York City were the inspirations, beauty was the true overall theme of the show. From the venue — one of Manhattan’s most beautiful theaters — and the thousands of yellow tulips that served as the striking center of the runway, to the baubles peppered throughout the show (a collaboration with Taffin and James de Givenchy) and the billowing trains, sheer fabrics and delicate details, the overall impact was a visual feast. “I just feel there’s a desire for beautiful, pretty things,” said Gordon. “Gone are the days where those are bad words.”

As for the designer’s favorite pieces (“It’s really hard to ask me [that] about two minutes after the show because I’m so emotionally invested in all 63 looks,” said Gordon of the question), “There’s a fabulous dress that I love that’s a silver lace dress with three tiers around the neck of gray organza and silver lace, a big black organza bow right at the front and then the back is completely cut out….I loved her. She was great,” he said.

For Gordon, Carolina Herrera’s 45th anniversary is a momentous occasion for the fashion industry — but also for New Yorkers, Americans, immigrants and women. Reflecting on its significance, he said: “This anniversary is really something that all of us as New Yorkers and Americans should celebrate because it’s a story of a woman who moved to New York from Venezuela. And in 1981 — as a mother of four in an industry that was largely male dominated — started a fashion line. One of the hardest industries, one of the hardest businesses, and here we are 45 years later. It’s a global super brand with fragrance, beauty, fashion, accessories, eyewear. I mean, it’s the American dream in so many ways. She’s a great American talent. She’s an icon and it’s my great honor to get to be a caretaker of her legacy.”

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Ahead, see every look from Carolina Herrera’s Spring 2027 collection.

Carolina Herrera Spring 2027

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