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When @takashipom “Takashified” Fashion’s biggest designers for Harper’s Bazaar March 2014

So…did you guess them all?

When @takashipom “Takashified” Fashion’s biggest designers for Harper’s Bazaar March 2014

So…did you guess them all?

Years ago, I came across @husseinchalayanofficial work through his Spring/Summer 2007 collection. I was immediately fascinated by his innovative approach to merging fashion and technology. As I explored more of his work, I noticed a recurring theme in his creations: airports and airplanes. I wanted to understand why, and here’s what I discovered.

Years ago, I came across @husseinchalayanofficial work through his Spring/Summer 2007 collection. I was immediately fascinated by his innovative approach to merging fashion and technology. As I explored more of his work, I noticed a recurring theme in his creations: airports and airplanes. I wanted to understand why, and here’s what I discovered.

If you’re an Alexander McQueen fan, you’ve definitely heard of the legendary 1993 collection Taxi Driver, created after his graduation from CSM — his first official collection. The collection is especially famous for introducing the first prototypes of the bumster trousers, which were sadly lost.
Since then, more information about the collection has come to light. In 2023, for the first time, the story of Taxi Driver was documented by McQueen’s old friend and collaborator Simon Ungless as part of REBEL: 30 Years of London Fashion. Through this exhibition, I finally saw images of Lee McQueen at the presentation with his garments.

Here’s the material I’ve collected about this collection so far:

1. Alice Smith wearing the Alexander McQueen feather bodice — featured in the Sunday Telegraph, March 7, 1993.

3.BTS of Lee and Alice Smith — featured in the McQueen documentary (2018).

5.Nihilism S/S 1994 photo by Niall McInerney

7.Collection notes written by Lee McQueen.

9 & 10. Photos of McQueen at his presentation at the Ritz — part of REBEL: 30 Years of London Fashion. (Photographer unknown.)

12. Harper’s & Queen, September 1993.

14. The Observer.

16. The Sunday Times, March 7, 1993.

17. The Sunday Telegraph, June 27, 1993.

18. Photo by Andy Stagg.

If you’re an Alexander McQueen fan, you’ve definitely heard of the legendary 1993 collection Taxi Driver, created after his graduation from CSM — his first official collection. The collection is especially famous for introducing the first prototypes of the bumster trousers, which were sadly lost.
Since then, more information about the collection has come to light. In 2023, for the first time, the story of Taxi Driver was documented by McQueen’s old friend and collaborator Simon Ungless as part of REBEL: 30 Years of London Fashion. Through this exhibition, I finally saw images of Lee McQueen at the presentation with his garments.

Here’s the material I’ve collected about this collection so far:

1. Alice Smith wearing the Alexander McQueen feather bodice — featured in the Sunday Telegraph, March 7, 1993.

3.BTS of Lee and Alice Smith — featured in the McQueen documentary (2018).

5.Nihilism S/S 1994 photo by Niall McInerney

7.Collection notes written by Lee McQueen.

9 & 10. Photos of McQueen at his presentation at the Ritz — part of REBEL: 30 Years of London Fashion. (Photographer unknown.)

12. Harper’s & Queen, September 1993.

14. The Observer.

16. The Sunday Times, March 7, 1993.

17. The Sunday Telegraph, June 27, 1993.

18. Photo by Andy Stagg.

Obsessed with this 1973 campaign by Richard Avedon for Jun Ropé, featuring Lauren Hutton, Jean Shrimpton, Anjelica Huston, Pat Cleveland, and Veruschka. I love everything about it—from the concept to the clothes—especially the brown dress worn by Lauren Hutton.

Obsessed with this 1973 campaign by Richard Avedon for Jun Ropé, featuring Lauren Hutton, Jean Shrimpton, Anjelica Huston, Pat Cleveland, and Veruschka. I love everything about it—from the concept to the clothes—especially the brown dress worn by Lauren Hutton.

I was really excited when I read the news that Olivier Theyskens has launched a new fashion house called @boloria . Here’s a look at the first campaign, shot by @willyvanderperre . The debut collection is set for 2026, so mark your calendars!

I was really excited when I read the news that Olivier Theyskens has launched a new fashion house called @boloria . Here’s a look at the first campaign, shot by @willyvanderperre . The debut collection is set for 2026, so mark your calendars!

i-D Launches “The Beta Issue” with their youngest cover star ever!
Deva, wearing looks by @maisonalaia @courreges @loewe

Talent by @nhu_duong_ @octaveperrault
Photography @torso.solutions
Styled by @pauavia
Editor in Chief @thomthomclub
Text @douglasgrnwd @saramcalpine__
Set Design @christianfeltham
Production @morgannesque @division.global
Post Production @inkretouch

i-D Launches “The Beta Issue” with their youngest cover star ever!
Deva, wearing looks by @maisonalaia @courreges @loewe

Talent by @nhu_duong_ @octaveperrault
Photography @torso.solutions
Styled by @pauavia
Editor in Chief @thomthomclub
Text @douglasgrnwd @saramcalpine__
Set Design @christianfeltham
Production @morgannesque @division.global
Post Production @inkretouch

@elsaperetti.official revolutionized diamonds with her “Diamonds by the Yard” for @tiffanyandco turning them into jewelry for every day, not just special occasions. In my conversation with @chrisroyercollections , we uncover how the idea was born during a brainstorming session with Halston.

@elsaperetti.official revolutionized diamonds with her “Diamonds by the Yard” for @tiffanyandco turning them into jewelry for every day, not just special occasions. In my conversation with @chrisroyercollections , we uncover how the idea was born during a brainstorming session with Halston.

Whenever I think of Armani, I think of the women’s power suit of the 1980s and American Gigolo. Armani began his career in menswear and later extended his vision to womenswear, a pivotal move in fashion history. At the time, suits for women were far from common, and Armani was among the few designers who made this groundbreaking contribution. I recently learned that Gia Carangi appeared in one of his campaigns, thanks to a post by @sandylinter

Rest in power, Signor Armani.

1, 6-8. Gia Carangi for Armani shot by Aldo Fallai

2. Giorgio Armani Spring/Summer 1984

4. Armani 1994 campaign by Peter Lindbergh

10. American Gigolo

Whenever I think of Armani, I think of the women’s power suit of the 1980s and American Gigolo. Armani began his career in menswear and later extended his vision to womenswear, a pivotal move in fashion history. At the time, suits for women were far from common, and Armani was among the few designers who made this groundbreaking contribution. I recently learned that Gia Carangi appeared in one of his campaigns, thanks to a post by @sandylinter

Rest in power, Signor Armani.

1, 6-8. Gia Carangi for Armani shot by Aldo Fallai

2. Giorgio Armani Spring/Summer 1984

4. Armani 1994 campaign by Peter Lindbergh

10. American Gigolo

As usual, research led me to another treasure. This time it was a video titled “Willoughby Sharp’s Downtown New York 1986.” It’s a one-hour dive into the avant-garde downtown scene, featuring incredible creatives of the era. Among them are the legendary @stephensprouse , David Spada, and @asvof , who later shared her memories of that time on Substack (a must-read!).

Diane’s reflections reminds us of the fear that gripped New York during the AIDS epidemic, and of the resilience and solidarity within the community, which came together to support those affected.

I highly recommend watching the full video, available on the Internet Archive.

As usual, research led me to another treasure. This time it was a video titled “Willoughby Sharp’s Downtown New York 1986.” It’s a one-hour dive into the avant-garde downtown scene, featuring incredible creatives of the era. Among them are the legendary @stephensprouse , David Spada, and @asvof , who later shared her memories of that time on Substack (a must-read!).

Diane’s reflections reminds us of the fear that gripped New York during the AIDS epidemic, and of the resilience and solidarity within the community, which came together to support those affected.

I highly recommend watching the full video, available on the Internet Archive.

Elsa Peretti’s work with Halston is legendary, but her first collaboration was actually with Giorgio di Sant’Angelo (something I learned from my conversation with @chrisroyercollections ) While digging through Vogue archives, I found these gems: the heart belt, early prototypes of her flower vase, and even a silver sword hairpiece. Seeing Peretti’s beginnings is like unearthing hidden gems!

Elsa Peretti’s work with Halston is legendary, but her first collaboration was actually with Giorgio di Sant’Angelo (something I learned from my conversation with @chrisroyercollections ) While digging through Vogue archives, I found these gems: the heart belt, early prototypes of her flower vase, and even a silver sword hairpiece. Seeing Peretti’s beginnings is like unearthing hidden gems!

Here’s another video in my series with @chrisroyercollections , where she shares the story of how @elsaperetti.official secured her iconic deal with @tiffanyandco and how Halston played a key role in making it happen. Thank you once again to Chris for sharing these incredible stories 😘

Here’s another video in my series with @chrisroyercollections , where she shares the story of how @elsaperetti.official secured her iconic deal with @tiffanyandco and how Halston played a key role in making it happen. Thank you once again to Chris for sharing these incredible stories 😘

Die neue linie (The New Line), was Germany’s first lifestyle magazine, published from 1929 to 1943 by Otto Beyer Verlag in Leipzig, with Bruno Erich Werner as editor and strong Bauhaus influence from artists such as Herbert Bayer and László Moholy-Nagy. The editorial staff was located in Berlin at Charlottenstraße 74/75.

Conceived as a prestige project aimed at intellectual and fashion-conscious readers (particularly women) it combined fashion, literature, travel, architecture, and technology with a radical modernist design, including the Bauhaus’s iconic Universal typeface, a sans-serif design developed by Herbert Bayer.

Priced at one Reichsmark, featuring contributions from leading figures like Walter Gropius and Marcel Breuer alongside theater and art scene reports. Initially celebrated for its avant-garde vision, Die neue linie gradually shifted under N*zi cultural policy after 1933, moving from internationalist modernism to nationalist themes, with German destinations and products dominating its pages. Bayer, who had designed 26 covers, emigrated to the U.S. in 1938, and by the war years the magazine had become little more than a propaganda tool before ceasing publication in 1943 due to paper shortages.

Here are some of the covers.

Die neue linie (The New Line), was Germany’s first lifestyle magazine, published from 1929 to 1943 by Otto Beyer Verlag in Leipzig, with Bruno Erich Werner as editor and strong Bauhaus influence from artists such as Herbert Bayer and László Moholy-Nagy. The editorial staff was located in Berlin at Charlottenstraße 74/75.

Conceived as a prestige project aimed at intellectual and fashion-conscious readers (particularly women) it combined fashion, literature, travel, architecture, and technology with a radical modernist design, including the Bauhaus’s iconic Universal typeface, a sans-serif design developed by Herbert Bayer.

Priced at one Reichsmark, featuring contributions from leading figures like Walter Gropius and Marcel Breuer alongside theater and art scene reports. Initially celebrated for its avant-garde vision, Die neue linie gradually shifted under N*zi cultural policy after 1933, moving from internationalist modernism to nationalist themes, with German destinations and products dominating its pages. Bayer, who had designed 26 covers, emigrated to the U.S. in 1938, and by the war years the magazine had become little more than a propaganda tool before ceasing publication in 1943 due to paper shortages.

Here are some of the covers.

[Reposting because it got deleted]

This is my current research topic: 1920s cabarets in Berlin. In many ways, they feel like an early parallel to the city’s legendary nightclub culture today: lively, hedonistic, and endlessly inspiring. Cabarets weren’t just entertainment; they were spaces of performance, fashion, and social commentary that flourished during the Weimar years. One fascinating detail I came across is that audiences would sometimes wear masks to conceal their identity while watching a nude performance (see slide 7). While I still have much more to uncover, here are some beautiful images from the book Cabaret Berlin.

1. Scene from the Charell Revue “Für Dich”, 1925

2. Alicia Alanowa

3. N/A

4. Irene Ambrus

5. Ilse Bois in the Chicago Queen of Crime in her sketch series, “On Air”

6. Käthe Erholz in the revue “The Women of Olympus”, 1923

7. A “night bar” on the 20s - patrons are wearing masks to conceal their identity while watching naked dancers

8. Etelka Marquita, dancer, on the occasion of her performance in the Charell revue “Casanova”

9. Trude Hesterberg, 1927

10. Margo Lion captured by Frieda Rriess

11. Marlene Dietrich in her dressing room 1923/24

12. Revue Girls during intermission

13. Anna Sten

14. N/A

15. Margo Lion and Wilhelm Bendow

16 & 17. Margo Lion in the bride scene from “Es liegt in der Luft”, 1928

18. Margo Lion

19. The “Tiller Girls” on their way him from a ball in the Admiralspalas

[Reposting because it got deleted]

This is my current research topic: 1920s cabarets in Berlin. In many ways, they feel like an early parallel to the city’s legendary nightclub culture today: lively, hedonistic, and endlessly inspiring. Cabarets weren’t just entertainment; they were spaces of performance, fashion, and social commentary that flourished during the Weimar years. One fascinating detail I came across is that audiences would sometimes wear masks to conceal their identity while watching a nude performance (see slide 7). While I still have much more to uncover, here are some beautiful images from the book Cabaret Berlin.

1. Scene from the Charell Revue “Für Dich”, 1925

2. Alicia Alanowa

3. N/A

4. Irene Ambrus

5. Ilse Bois in the Chicago Queen of Crime in her sketch series, “On Air”

6. Käthe Erholz in the revue “The Women of Olympus”, 1923

7. A “night bar” on the 20s - patrons are wearing masks to conceal their identity while watching naked dancers

8. Etelka Marquita, dancer, on the occasion of her performance in the Charell revue “Casanova”

9. Trude Hesterberg, 1927

10. Margo Lion captured by Frieda Rriess

11. Marlene Dietrich in her dressing room 1923/24

12. Revue Girls during intermission

13. Anna Sten

14. N/A

15. Margo Lion and Wilhelm Bendow

16 & 17. Margo Lion in the bride scene from “Es liegt in der Luft”, 1928

18. Margo Lion

19. The “Tiller Girls” on their way him from a ball in the Admiralspalas

KADZIDROGA, founded by Copenhagen designer Lukas Westerbrink, debuted at Copenhagen Fashion Week. Inspired by his coal-mining family roots, the label reflects on labour, migration, and resilience in the present day.

KADZIDROGA, founded by Copenhagen designer Lukas Westerbrink, debuted at Copenhagen Fashion Week. Inspired by his coal-mining family roots, the label reflects on labour, migration, and resilience in the present day.

@pln.official ,one of Copenhagen’s avant-garde brands, presented its SS26 collection titled SNIT in a former slaughterhouse in the city’s former Meatpacking District. The show was in collaboration with LA-based record label @halcyonveil . The collection carried a strong message warning against becoming livestock and urging disruption of the system. This narrative was expressed through garments such as butcher’s aprons and the mutation of double-breasted blazers.

@pln.official ,one of Copenhagen’s avant-garde brands, presented its SS26 collection titled SNIT in a former slaughterhouse in the city’s former Meatpacking District. The show was in collaboration with LA-based record label @halcyonveil . The collection carried a strong message warning against becoming livestock and urging disruption of the system. This narrative was expressed through garments such as butcher’s aprons and the mutation of double-breasted blazers.

Sometimes, when I do deep dives into fashion brands from the late ’90s, I stumble across quirky articles about their creative experiments with the early internet. One of those was about Thierry Mugler launching a website that featured snippets from his runway shows. When I tried visiting the site through the Web Archive, none of the videos would play.

Fortunately, @trussarchive recently shared screen recordings from @isaiahhaute , who used a virtual machine to preserve all its details. That was a real eureka moment! Finally, I could watch the videos that once lived on Mugler’s site. And there’s still so much more to explore! Let me know if you’d like to see more.

Sometimes, when I do deep dives into fashion brands from the late ’90s, I stumble across quirky articles about their creative experiments with the early internet. One of those was about Thierry Mugler launching a website that featured snippets from his runway shows. When I tried visiting the site through the Web Archive, none of the videos would play.

Fortunately, @trussarchive recently shared screen recordings from @isaiahhaute , who used a virtual machine to preserve all its details. That was a real eureka moment! Finally, I could watch the videos that once lived on Mugler’s site. And there’s still so much more to explore! Let me know if you’d like to see more.

In 1974, after creating midis, Halston introduced “The Skimp,” a versatile mini dress designed for both day and night, meant to be worn with flats. In my conversation with Halstonette Chris Royer, she shares the story behind its creation.

In 1974, after creating midis, Halston introduced “The Skimp,” a versatile mini dress designed for both day and night, meant to be worn with flats. In my conversation with Halstonette Chris Royer, she shares the story behind its creation.

Inspired by Martin Quad’s encounter with Eugene Richards’ The Knife and Gun Club, Sixfold Fate pt.2 explores the sensory tension of emergency medicine. Each piece in the collection disrupts traditional tailoring: blazers feature inward-facing sleeves, trousers rise unusually high, skirts stop just before the crotch, belt loops become suspenders, and collars sit high with clinical rigidity.

Cover ph by @kasperjernhag
Runway ph by @jamescochranephoto

Inspired by Martin Quad’s encounter with Eugene Richards’ The Knife and Gun Club, Sixfold Fate pt.2 explores the sensory tension of emergency medicine. Each piece in the collection disrupts traditional tailoring: blazers feature inward-facing sleeves, trousers rise unusually high, skirts stop just before the crotch, belt loops become suspenders, and collars sit high with clinical rigidity.

Cover ph by @kasperjernhag
Runway ph by @jamescochranephoto

Prada’s New York Epicenter, designed by Rem Koolhaas’s OMA/AMO, reimagines the fashion boutique as a hybrid space: a public forum, gallery, and experimental lab. Set in a former Guggenheim outpost in SoHo, its standout feature is a curving zebrawood “Wave” that doubles as seating and display, leading to a hidden stage for events. The space blends raw and high-tech materials, with motorized display cages, interactive fitting rooms, video projections, and a circular glass elevator; turning shopping into a theatrical, immersive experience.

📸 via @prada & @oma.eu

🎥 “Prada Retail Experience” & “Rem Koolhaas: A Kind of Architect”

Prada’s New York Epicenter, designed by Rem Koolhaas’s OMA/AMO, reimagines the fashion boutique as a hybrid space: a public forum, gallery, and experimental lab. Set in a former Guggenheim outpost in SoHo, its standout feature is a curving zebrawood “Wave” that doubles as seating and display, leading to a hidden stage for events. The space blends raw and high-tech materials, with motorized display cages, interactive fitting rooms, video projections, and a circular glass elevator; turning shopping into a theatrical, immersive experience.

📸 via @prada & @oma.eu

🎥 “Prada Retail Experience” & “Rem Koolhaas: A Kind of Architect”

I had the pleasure of speaking with the lovely and legendary Halstonette @chrisroyercollections about her time working with Halston and his brilliant creative circle. I’m endlessly fascinated by New York in the '70s, and our conversation was truly insightful.

I had the pleasure of speaking with the lovely and legendary Halstonette @chrisroyercollections about her time working with Halston and his brilliant creative circle. I’m endlessly fascinated by New York in the '70s, and our conversation was truly insightful.

The Gettys are credited with making Marrakesh fashionable in the late 1960s, hosting friends like Yves Saint Laurent and Mick Jagger. This famous Vogue photoshoot captures the boho-chic spirit of the era.
Talitha Getty was a Dutch actress and one of the original 60s “it girls.” She was born in Indonesia to Dutch parents, and her stepmother was Poppet John, daughter of the painter Augustus John. In 1966, she married John Paul Getty Jr., son of oil tycoon J. Paul Getty.
Their house in Morocco was built in 1880 by Prince Moulay Jamine, and interior designer Bill Willis helped decorate it. The house was known as Palais de la Zahia (“Zahia” means “pleasure” in Berber).
Tragically, Talitha died in 1971 in Rome from a suspected overdose. She was only 30 years old.

Photos by Patrick Lichfield

Interior photos by Jacques Bachmann

The Gettys are credited with making Marrakesh fashionable in the late 1960s, hosting friends like Yves Saint Laurent and Mick Jagger. This famous Vogue photoshoot captures the boho-chic spirit of the era.
Talitha Getty was a Dutch actress and one of the original 60s “it girls.” She was born in Indonesia to Dutch parents, and her stepmother was Poppet John, daughter of the painter Augustus John. In 1966, she married John Paul Getty Jr., son of oil tycoon J. Paul Getty.
Their house in Morocco was built in 1880 by Prince Moulay Jamine, and interior designer Bill Willis helped decorate it. The house was known as Palais de la Zahia (“Zahia” means “pleasure” in Berber).
Tragically, Talitha died in 1971 in Rome from a suspected overdose. She was only 30 years old.

Photos by Patrick Lichfield

Interior photos by Jacques Bachmann

I’ve been researching the history of Berlin fashion for two years, and the best way to understand history is through the people who lived it. That’s why I was so excited to discover the photobook ANFANG/BEGINNING: BERLIN 1994–99 by @stemmi . At just 17, newly moved into a squat, Stemmler began documenting the city around him: raw, unfiltered, and in transition.

If you want to learn about Berlin’s past, skip the books filled with clichés written from an outsider’s perspective. Start with images made by someone who was there, someone who witnessed the city transform in real time.

I’ve been researching the history of Berlin fashion for two years, and the best way to understand history is through the people who lived it. That’s why I was so excited to discover the photobook ANFANG/BEGINNING: BERLIN 1994–99 by @stemmi . At just 17, newly moved into a squat, Stemmler began documenting the city around him: raw, unfiltered, and in transition.

If you want to learn about Berlin’s past, skip the books filled with clichés written from an outsider’s perspective. Start with images made by someone who was there, someone who witnessed the city transform in real time.

@ditavonteese Vivienne Westwood wedding dress is by far one of my favorite dresses. To be honest, I’ve never cared much for traditional wedding dresses, so this stunning purple gown really struck a chord. Dita wore a royal purple silk taffeta gown, custom-made by Vivienne Westwood. Years later, she revealed on the NoGorge podcast ( @violetchachki @gottmik ) that the dress was actually created by Westwood’s husband, Andreas Kronthaler, after she confessed she didn’t like Westwood’s original sketch.
The breathtaking gown was accessorized with a matching tricorn hat designed by @stephenjonesmillinery , a custom corset by Mr. Pearl, and @christianlouboutin designed her shoes. Photos from the wedding appeared in the March 2006 issue of Vogue under the headline: “The Bride Wore Purple.” 💜

Cover photo shot by Steven Klein for Vogue

@ditavonteese Vivienne Westwood wedding dress is by far one of my favorite dresses. To be honest, I’ve never cared much for traditional wedding dresses, so this stunning purple gown really struck a chord. Dita wore a royal purple silk taffeta gown, custom-made by Vivienne Westwood. Years later, she revealed on the NoGorge podcast ( @violetchachki @gottmik ) that the dress was actually created by Westwood’s husband, Andreas Kronthaler, after she confessed she didn’t like Westwood’s original sketch.
The breathtaking gown was accessorized with a matching tricorn hat designed by @stephenjonesmillinery , a custom corset by Mr. Pearl, and @christianlouboutin designed her shoes. Photos from the wedding appeared in the March 2006 issue of Vogue under the headline: “The Bride Wore Purple.” 💜

Cover photo shot by Steven Klein for Vogue

Titled “Imitation of Life,” the show opened with a moment of silence for the victims in Gaza. With this gesture, @gmbh_official asked a pressing question: How do we keep living, loving, and holding onto our humanity in the face of global atrocities? Rather than focusing on death and destruction, @benjaminhuseby and @serhatisik__ turned to personal family memories, using them to channel playfulness and joy in the midst of despair.

Cover photo by @tarekmawad

Runway photos by @godenschweger_

Titled “Imitation of Life,” the show opened with a moment of silence for the victims in Gaza. With this gesture, @gmbh_official asked a pressing question: How do we keep living, loving, and holding onto our humanity in the face of global atrocities? Rather than focusing on death and destruction, @benjaminhuseby and @serhatisik__ turned to personal family memories, using them to channel playfulness and joy in the midst of despair.

Cover photo by @tarekmawad

Runway photos by @godenschweger_

Daniel Roseberry continues to honor the house’s rich artistic legacy with care and creativity, referencing Salvador Dalí — a close friend and collaborator of Elsa Schiaparelli. The pulsing heart necklace recalls Dalí’s Royal Heart, created in 1953 by jeweller Carlos Alemany. This stunning piece was paired with a backward-facing dress, adding depth to the show’s surrealist vision.

Slide 1) via @danielroseberry

Slide 3) via @bbc

Slide 4) via @ly.as

Daniel Roseberry continues to honor the house’s rich artistic legacy with care and creativity, referencing Salvador Dalí — a close friend and collaborator of Elsa Schiaparelli. The pulsing heart necklace recalls Dalí’s Royal Heart, created in 1953 by jeweller Carlos Alemany. This stunning piece was paired with a backward-facing dress, adding depth to the show’s surrealist vision.

Slide 1) via @danielroseberry

Slide 3) via @bbc

Slide 4) via @ly.as

The M-RNR 3D-printed sneaker by @t11_studio is available online throughout July — US shipping only — and this release also includes a capsule clothing collection.

The M-RNR 3D-printed sneaker by @t11_studio is available online throughout July — US shipping only — and this release also includes a capsule clothing collection.

@andrejgronau is a German multidisciplinary artist and designer who launched his eponymous label in 2022, building on his MA Fashion graduate collection from Central Saint Martins.
His Spring/Summer 2026 collection, titled Alpine Fiction, was inspired by a trip to the German Alps. The journey sparked a series of references to Bavarian folklore — including traditional Bauernmalerei — as well as personal objects from Gronau’s grandparents, such as porcelain pieces and gingham textiles.

Runway photos by @borismarberg
Backstage photos by @inesbahr_photography and @thibilosoph

@andrejgronau is a German multidisciplinary artist and designer who launched his eponymous label in 2022, building on his MA Fashion graduate collection from Central Saint Martins.
His Spring/Summer 2026 collection, titled Alpine Fiction, was inspired by a trip to the German Alps. The journey sparked a series of references to Bavarian folklore — including traditional Bauernmalerei — as well as personal objects from Gronau’s grandparents, such as porcelain pieces and gingham textiles.

Runway photos by @borismarberg
Backstage photos by @inesbahr_photography and @thibilosoph

@sf1og creative director, Rosa Dahl, found inspiration from historic portrayals of women consumed by passion for the Spring/Summer 2026 collection. For Dahl, “these haunting portrayals offer a mirror to our own volatile, uncertain era.”
The collection also taps into teenage nostalgia, revisiting the indie subcultures of the late 2000s. A new collaboration with Converse fits seamlessly into the mood.
The show took place on a construction site, transformed into a suspended forest by set designer John Andrews — a fitting backdrop that captured the collection’s rawness.

Runway photos by James Cochrane
Backstage photos by Ines Bahr

@sf1og creative director, Rosa Dahl, found inspiration from historic portrayals of women consumed by passion for the Spring/Summer 2026 collection. For Dahl, “these haunting portrayals offer a mirror to our own volatile, uncertain era.”
The collection also taps into teenage nostalgia, revisiting the indie subcultures of the late 2000s. A new collaboration with Converse fits seamlessly into the mood.
The show took place on a construction site, transformed into a suspended forest by set designer John Andrews — a fitting backdrop that captured the collection’s rawness.

Runway photos by James Cochrane
Backstage photos by Ines Bahr

I had the pleasure of speaking with @kusikubi , the founder of @palmwine_icecream , during Berlin Fashion Week. This marks his second time presenting a collection in Berlin.

Splitting his time between his hometown of Accra and London, Kusi is quickly earning a reputation as the designer bringing color to Berlin. And in true Berlin fashion, he’s doing it through leather.
But not just any leather. Kusi works with repurposed materials that are naturally tanned under the sun and hand-dyed by local artisans. And the cherry on top — or rather, on the bottom — are the giraffe-like shoes, a playful tribute to his roots.

Runway Photographer: @borismarberg

Backstage Photographer: @ken.dumevi

I had the pleasure of speaking with @kusikubi , the founder of @palmwine_icecream , during Berlin Fashion Week. This marks his second time presenting a collection in Berlin.

Splitting his time between his hometown of Accra and London, Kusi is quickly earning a reputation as the designer bringing color to Berlin. And in true Berlin fashion, he’s doing it through leather.
But not just any leather. Kusi works with repurposed materials that are naturally tanned under the sun and hand-dyed by local artisans. And the cherry on top — or rather, on the bottom — are the giraffe-like shoes, a playful tribute to his roots.

Runway Photographer: @borismarberg

Backstage Photographer: @ken.dumevi

Willy Chavarria’s Spring/Summer 2026 collection, titled Huron, was named after his hometown, a small city in Fresno County that, coincidentally, was targeted by ICE the day before the show. The runway opened powerfully and was followed by a performance from Vivir Quintana, who sang Te Mereces un Amor. The collection continued to celebrate Chavarria’s Chicano heritage as well as the expansion of his womenswear line with the help of Rebecca Mendoza.

📸 by Umberto Fratini

Willy Chavarria’s Spring/Summer 2026 collection, titled Huron, was named after his hometown, a small city in Fresno County that, coincidentally, was targeted by ICE the day before the show. The runway opened powerfully and was followed by a performance from Vivir Quintana, who sang Te Mereces un Amor. The collection continued to celebrate Chavarria’s Chicano heritage as well as the expansion of his womenswear line with the help of Rebecca Mendoza.

📸 by Umberto Fratini

One of Helmut Lang’s rarest and most coveted creations, the Latex Lace Dress from 1994 was handmade in his Vienna studio—more akin to a couture piece than ready-to-wear. With the help of Susanne Bisovsky, a student from the University of Applied Arts in Vienna where Lang taught, each dress was carefully crafted using poured liquid latex in two tones. Chantilly lace was pressed onto the rubber, then the panels were sewn together by hand.

Only ninety-nine of these dresses were ever made, making them nearly impossible to purchase. Priced at around $850, just eighty pieces were shipped to select boutiques in New York, Paris, and London. The dress came in four color variations: black lace on black rubber, red lace on red rubber, red lace on black rubber, and pink lace on red rubber.

The dress caused such a stir in the fashion world that The New Yorker dedicated an entire article to it in November 1994,

This is easily one of the Helmut Lang archival pieces I dream of finding one day ✨

Slide 3) Vogue September 1994 by Arthur Elgort

Slide 4) Nadja Auermann by Steven Meisel for Italian Vogue

Slide 5) Sofia Coppola by Bruce Weber for Vogue Italia

Slide 6) British Vogue

Slide 7) Naomi Campbell by Mario Testino for Allure

Slide 8) Naomi Campbell album cover by Ellen von Unwerth

Slide 9) Traci Lords shot by Bettina Rheims for Details

Slide 10) Vogue Germany

Slide 12-15) Runway Photo by Niall McInerney

Slide 17-18) The New Yorker, November 1994

Slide 19) BTS via @susanne_bisovsky

One of Helmut Lang’s rarest and most coveted creations, the Latex Lace Dress from 1994 was handmade in his Vienna studio—more akin to a couture piece than ready-to-wear. With the help of Susanne Bisovsky, a student from the University of Applied Arts in Vienna where Lang taught, each dress was carefully crafted using poured liquid latex in two tones. Chantilly lace was pressed onto the rubber, then the panels were sewn together by hand.

Only ninety-nine of these dresses were ever made, making them nearly impossible to purchase. Priced at around $850, just eighty pieces were shipped to select boutiques in New York, Paris, and London. The dress came in four color variations: black lace on black rubber, red lace on red rubber, red lace on black rubber, and pink lace on red rubber.

The dress caused such a stir in the fashion world that The New Yorker dedicated an entire article to it in November 1994,

This is easily one of the Helmut Lang archival pieces I dream of finding one day ✨

Slide 3) Vogue September 1994 by Arthur Elgort

Slide 4) Nadja Auermann by Steven Meisel for Italian Vogue

Slide 5) Sofia Coppola by Bruce Weber for Vogue Italia

Slide 6) British Vogue

Slide 7) Naomi Campbell by Mario Testino for Allure

Slide 8) Naomi Campbell album cover by Ellen von Unwerth

Slide 9) Traci Lords shot by Bettina Rheims for Details

Slide 10) Vogue Germany

Slide 12-15) Runway Photo by Niall McInerney

Slide 17-18) The New Yorker, November 1994

Slide 19) BTS via @susanne_bisovsky

Rudi Gernreich was considered one of the most avant-garde designers of the 1960s. With a background in dance, he believed that clothing should never restrict movement. His designs frequently challenged social norms—none more famously than the iconic monokini.

In 1964, Gernreich predicted that topless swimsuits would soon become a reality. Susanne Kirtland, a journalist from Look magazine, urged him to design one for the publication. He agreed—partly because, if he didn’t do it, someone else (like Emilio Pucci) might.

And so, the monokini was born: a one-piece swimsuit that covered the lower half of the body but left the chest completely bare. Gernreich never intended for it to be sold or worn on the beach—it was conceived as a statement, not a product. But to his surprise, it became a global sensation—and a scandal. Even the Pope publicly condemned it.

Yet Gernreich wasn’t out to shock for shock’s sake. His goal was to challenge how women’s bodies—particularly their breasts—were hypersexualized. Ironically, while the top half of the suit made headlines, the bottom was quite modest: made of thick wool and offering full coverage. According to the Met Museum, it resembled old-fashioned Victorian swimwear.

Despite its conceptual origins, demand surged. Retailers began placing orders, and the monokini was eventually put into production. Today, modern versions continue to be manufactured in materials suitable for actual swimming.

Slide 1) Peggy Moffitt photographed by her husband William Claxton

Slide 2) via Life Magazine

Slide 3) Model Toni Lee Shelley arrested at North Avenue Beach in Chicago.

Slide 4) Life Magazine, 1964

Slide 6&7) Hush-Hush Magazine

Rudi Gernreich was considered one of the most avant-garde designers of the 1960s. With a background in dance, he believed that clothing should never restrict movement. His designs frequently challenged social norms—none more famously than the iconic monokini.

In 1964, Gernreich predicted that topless swimsuits would soon become a reality. Susanne Kirtland, a journalist from Look magazine, urged him to design one for the publication. He agreed—partly because, if he didn’t do it, someone else (like Emilio Pucci) might.

And so, the monokini was born: a one-piece swimsuit that covered the lower half of the body but left the chest completely bare. Gernreich never intended for it to be sold or worn on the beach—it was conceived as a statement, not a product. But to his surprise, it became a global sensation—and a scandal. Even the Pope publicly condemned it.

Yet Gernreich wasn’t out to shock for shock’s sake. His goal was to challenge how women’s bodies—particularly their breasts—were hypersexualized. Ironically, while the top half of the suit made headlines, the bottom was quite modest: made of thick wool and offering full coverage. According to the Met Museum, it resembled old-fashioned Victorian swimwear.

Despite its conceptual origins, demand surged. Retailers began placing orders, and the monokini was eventually put into production. Today, modern versions continue to be manufactured in materials suitable for actual swimming.

Slide 1) Peggy Moffitt photographed by her husband William Claxton

Slide 2) via Life Magazine

Slide 3) Model Toni Lee Shelley arrested at North Avenue Beach in Chicago.

Slide 4) Life Magazine, 1964

Slide 6&7) Hush-Hush Magazine

I’ve recently been reading the book Frida Kahlo: Making Her Self Up, edited by Claire Wilcox and Circe Henestrosa, and I came across a fascinating story about one of Frida Kahlo’s jade necklaces that I’m so excited to share with you.

Frida Kahlo loved wearing jewelry that connected her to Mexico’s ancient past. Some of her favorite necklaces were made of jade, likely sourced from ancient Maya ruins. It’s believed she strung the beads herself, and they closely resemble the ones she wore in her 1933 self-portrait [Slide 1].

A small green brushstroke was discovered on the necklace. Not a random stain, but paint that Frida had deliberately applied, likely to match the color of the stones. These beads weren’t just beautiful to her; they held deep meaning, reminding her of her roots and cultural heritage. Her husband, Diego Rivera, also collected pre-Columbian art, and his connections likely helped her acquire such special stones.

Slide 1) Frida Kahlo, ’Self-portrait with necklace’, 1933

Slide 5) Lucienne Bloch, ‘Frida at the Barbizon Plaza Hotel’, 1933

I’ve recently been reading the book Frida Kahlo: Making Her Self Up, edited by Claire Wilcox and Circe Henestrosa, and I came across a fascinating story about one of Frida Kahlo’s jade necklaces that I’m so excited to share with you.

Frida Kahlo loved wearing jewelry that connected her to Mexico’s ancient past. Some of her favorite necklaces were made of jade, likely sourced from ancient Maya ruins. It’s believed she strung the beads herself, and they closely resemble the ones she wore in her 1933 self-portrait [Slide 1].

A small green brushstroke was discovered on the necklace. Not a random stain, but paint that Frida had deliberately applied, likely to match the color of the stones. These beads weren’t just beautiful to her; they held deep meaning, reminding her of her roots and cultural heritage. Her husband, Diego Rivera, also collected pre-Columbian art, and his connections likely helped her acquire such special stones.

Slide 1) Frida Kahlo, ’Self-portrait with necklace’, 1933

Slide 5) Lucienne Bloch, ‘Frida at the Barbizon Plaza Hotel’, 1933

In July 1990, Elle published a fashion spread that introduced Hervé Léger’s bandage dress to the American market. Photographed by Marc Hispard, it featured @monicabellucciofficiel and @naomi , both wearing the designer’s signature bandage dresses.

Years later, during a talk at the Festival Mode & Design in Montreal (2016), Hervé Léger—by then known as Hervé Leroux—shared how that spread played a key role in getting him noticed in the U.S.

I’m incredibly passionate about Hervé Léger’s story and the legacy of the bandage dress, so naturally, I had to track down the issue that featured this iconic spread, and I’m so happy to share it with you!

In July 1990, Elle published a fashion spread that introduced Hervé Léger’s bandage dress to the American market. Photographed by Marc Hispard, it featured @monicabellucciofficiel and @naomi , both wearing the designer’s signature bandage dresses.

Years later, during a talk at the Festival Mode & Design in Montreal (2016), Hervé Léger—by then known as Hervé Leroux—shared how that spread played a key role in getting him noticed in the U.S.

I’m incredibly passionate about Hervé Léger’s story and the legacy of the bandage dress, so naturally, I had to track down the issue that featured this iconic spread, and I’m so happy to share it with you!

Halston’s curious window displays by Victor Hugo.

Slide 1) ph by Malan Studio, 1976

Slide 2) Ultrasuede: In Search of Halston, 2010

Slide 3-8) ph by Malan Studio, 1975-1977

Side 10-13) Victor Hugo Halston boutique, 1976 photographer unknown

Slide 14) ph by Malan Studio, 1975

Halston’s curious window displays by Victor Hugo.

Slide 1) ph by Malan Studio, 1976

Slide 2) Ultrasuede: In Search of Halston, 2010

Slide 3-8) ph by Malan Studio, 1975-1977

Side 10-13) Victor Hugo Halston boutique, 1976 photographer unknown

Slide 14) ph by Malan Studio, 1975

Madonna for Versace Spring/Summer 1995 shot by the legend @stevenmeiselofficial

Madonna for Versace Spring/Summer 1995 shot by the legend @stevenmeiselofficial

Zelda Wynn Valdes broke the barriers for designers of color during a time of widespread racism and discrimination. Although many of her contributions have been overlooked—and, as we saw in this year’s Met Gala, mistakenly credited, Valdes’ impact remains significant.

Today, I want to revisit her work with Joyce Bryant, a celebrated American singer, dancer, and civil rights activist. Their five-year collaboration played a key role in shaping Bryant’s sultry image, which helped propel her career. Valdes’ gowns were so form-fitting that Bryant had to develop a distinctive shuffle-step walk and often struggled to put them on, as shown in a 1953 Life magazine spread. Although Bryant stepped away from the spotlight after a performance in 1955 (Slide 2) the looks created by Zelda Wynn Valdes were crucial in her career.

If you want to learn more about Zelda Wynn Valdes I recommend reading “Defying Gravity” by Jim Byers via @metmuseum

Zelda Wynn Valdes broke the barriers for designers of color during a time of widespread racism and discrimination. Although many of her contributions have been overlooked—and, as we saw in this year’s Met Gala, mistakenly credited, Valdes’ impact remains significant.

Today, I want to revisit her work with Joyce Bryant, a celebrated American singer, dancer, and civil rights activist. Their five-year collaboration played a key role in shaping Bryant’s sultry image, which helped propel her career. Valdes’ gowns were so form-fitting that Bryant had to develop a distinctive shuffle-step walk and often struggled to put them on, as shown in a 1953 Life magazine spread. Although Bryant stepped away from the spotlight after a performance in 1955 (Slide 2) the looks created by Zelda Wynn Valdes were crucial in her career.

If you want to learn more about Zelda Wynn Valdes I recommend reading “Defying Gravity” by Jim Byers via @metmuseum

@palaisgallieramuseedelamode is presenting the first Paris exhibition dedicated to Rick Owens, on view from 28.06.2025 to 04.01.2026

A companion book, published by @rizzolibooks, will be released on 17.06.2025 to coincide with the exhibition.

Curatorial Team:

General Curatorship: Miren Arzalluz, Honorary Director of the Palais Galliera

Scientific Curatorship: Alexandre Samson

Artistic Direction: Rick Owens

@palaisgallieramuseedelamode is presenting the first Paris exhibition dedicated to Rick Owens, on view from 28.06.2025 to 04.01.2026

A companion book, published by @rizzolibooks, will be released on 17.06.2025 to coincide with the exhibition.

Curatorial Team:

General Curatorship: Miren Arzalluz, Honorary Director of the Palais Galliera

Scientific Curatorship: Alexandre Samson

Artistic Direction: Rick Owens

Last week, @griffe.revue made a post about Maison Margiela’s collaboration with H&M, highlighting some of Margiela’s signature designs—one of them being the cigarette-shoulder jacket. I remember learning about those shoulders at Parsons and how impactful they were in fashion, especially at a time when everyone was focused on the broad-shoulder power suit. Today, I wanted to revisit this Margiela favorite and share it with you guys 🖤

Last week, @griffe.revue made a post about Maison Margiela’s collaboration with H&M, highlighting some of Margiela’s signature designs—one of them being the cigarette-shoulder jacket. I remember learning about those shoulders at Parsons and how impactful they were in fashion, especially at a time when everyone was focused on the broad-shoulder power suit. Today, I wanted to revisit this Margiela favorite and share it with you guys 🖤

H.Lorenzo is celebrating 40 years of championing innovative luxury fashion with a series of exclusive collaborations. As part of the anniversary, the Spike sneaker—first seen on @waltervanbeirendonckofficial AW20 runway (slide 6)—makes its return.

Reimagined in collaboration with @grounds.official, led by Mikio Sakabe, the sneaker is available exclusively in-store and online at @h_lorenzo

Slide 3 credits: Visuals by @kakiarara
Texture/cover artist @nxbulahart

#hlorenzo40

H.Lorenzo is celebrating 40 years of championing innovative luxury fashion with a series of exclusive collaborations. As part of the anniversary, the Spike sneaker—first seen on @waltervanbeirendonckofficial AW20 runway (slide 6)—makes its return.

Reimagined in collaboration with @grounds.official, led by Mikio Sakabe, the sneaker is available exclusively in-store and online at @h_lorenzo

Slide 3 credits: Visuals by @kakiarara
Texture/cover artist @nxbulahart

#hlorenzo40

Sofia Coppola appears on the latest digital cover of @i_d, photographed by @dickpageface and @jggibbsiii, with styling by @jenny.shoo.pumps.

In a conversation with i-D’s Global Editorial Director @steffyotka, Coppola reflects on girlhood and her experience directing her first feature film, “The Virgin Suicides.” She also revisits Corinne Day’s intimate on-set photographs, now beautifully compiled into a book published by @mack_publishing

Hair: @hairbyorlandopita
Makeup: @dickpageface
Post Production: @camerin.stoldt

Sofia Coppola appears on the latest digital cover of @i_d, photographed by @dickpageface and @jggibbsiii, with styling by @jenny.shoo.pumps.

In a conversation with i-D’s Global Editorial Director @steffyotka, Coppola reflects on girlhood and her experience directing her first feature film, “The Virgin Suicides.” She also revisits Corinne Day’s intimate on-set photographs, now beautifully compiled into a book published by @mack_publishing

Hair: @hairbyorlandopita
Makeup: @dickpageface
Post Production: @camerin.stoldt

Rihanna looking gorgeous at Cannes Film Festival wearing Alaïa’s by Pieter Mulier styled by @illjahjah 🩵

Rihanna looking gorgeous at Cannes Film Festival wearing Alaïa’s by Pieter Mulier styled by @illjahjah 🩵

Known as society’s best kept secret, Ann Lowe was a talented black couturier who created stunning debutant and wedding gowns for some of America’s wealthiest families.

Known as society’s best kept secret, Ann Lowe was a talented black couturier who created stunning debutant and wedding gowns for some of America’s wealthiest families.

@jgalliano Autumn/Winter 1997 collection, titled Suzy Sphinx, was an example of his talent for weaving together eclectic cultural references into a single, theatrical presentation. For Suzy Sphinx, Galliano referenced Cleopatra, the rebellious charm of a St. Trinian’s-style schoolgirl with the gothic beauty of Siouxsie Sioux, the frontwoman of post-punk band Siouxsie and the Banshees. Adding another layer of inspiration, Galliano also referenced to silent film star Theda Bara, who played Cleopatra and was also one of Siouxsie Sioux’s own muses. The result was a visually rich, rebellious, and darkly romantic collection that exemplified Galliano’s theatrical approach to fashion storytelling.

@jgalliano Autumn/Winter 1997 collection, titled Suzy Sphinx, was an example of his talent for weaving together eclectic cultural references into a single, theatrical presentation. For Suzy Sphinx, Galliano referenced Cleopatra, the rebellious charm of a St. Trinian’s-style schoolgirl with the gothic beauty of Siouxsie Sioux, the frontwoman of post-punk band Siouxsie and the Banshees. Adding another layer of inspiration, Galliano also referenced to silent film star Theda Bara, who played Cleopatra and was also one of Siouxsie Sioux’s own muses. The result was a visually rich, rebellious, and darkly romantic collection that exemplified Galliano’s theatrical approach to fashion storytelling.

Sofia Coppola has always been that girl. Her films aren’t just beautiful and one-of-a-kind — they’ve inspired a whole generation. Her style is instantly recognizable, with that perfect touch of nostalgia. She’s not just behind the camera either… she’s a full-on fashion icon, from starring in Marc Jacobs campaigns to walking the runway. Happy Birthday @sofiacoppola 💝🎂

📸 by Niall McInerney
🎥 via Fashion Channel

Sofia Coppola has always been that girl. Her films aren’t just beautiful and one-of-a-kind — they’ve inspired a whole generation. Her style is instantly recognizable, with that perfect touch of nostalgia. She’s not just behind the camera either… she’s a full-on fashion icon, from starring in Marc Jacobs campaigns to walking the runway. Happy Birthday @sofiacoppola 💝🎂

📸 by Niall McInerney
🎥 via Fashion Channel

When Jacqueline Bouvier married John F. Kennedy in September 1953, it was called the wedding of the year. The media focused on every detail, especially Jackie’s beautiful ivory gown. But few people knew the story behind the dress or its maker.

When asked later who designed it, Jackie reportedly replied, “a colored dressmaker.” That designer was Ann Lowe, a talented Black couturier who had already made a name for herself dressing wealthy American families, though she rarely received credit.

Just one week before the wedding, disaster struck. A pipe burst in Lowe’s New York workshop, ruining 10 of the 15 dresses, including the bride’s gown. Lowe didn’t give up. She bought the same fabrics again and worked around the clock with her team to remake everything in just five days, a process that had originally taken eight weeks. Remaking the dresses cost Lowe more than just time, she lost money. What was supposed to be a $700 profit turned into a $2,200 loss. She never told Jackie’s mother what had happened.

When Lowe brought the dresses to Newport, the guards at the wedding venue told her to use the back door because of her skin color. She refused, saying, “If I have to use the backdoor, they’re not going to have the gowns!” They eventually let her in.

According to the New Yorker, after Lowe read an interview in which Jackie referred to her as “a colored dressmaker,” Lowe wrote her a letter saying, “I would prefer to be referred to as a ‘noted Negro designer,’ which in every sense I am. Any reference to the contrary hurts me more deeply than I can perhaps make you realise.” Jackie’s social secretary, Letitia Baldrige, called Lowe to apologize but didn’t take responsibility.

After losing an eye to glaucoma, Lowe was hospitalized and during her recovery, someone anonymously paid off her IRS debt. She believed Jackie was the one who helped.

Ann Lowe remains one of fashion history’s best-kept secrets. She was a brilliant designer who dressed America’s most powerful women, but her name was too often left out of the story.

When Jacqueline Bouvier married John F. Kennedy in September 1953, it was called the wedding of the year. The media focused on every detail, especially Jackie’s beautiful ivory gown. But few people knew the story behind the dress or its maker.

When asked later who designed it, Jackie reportedly replied, “a colored dressmaker.” That designer was Ann Lowe, a talented Black couturier who had already made a name for herself dressing wealthy American families, though she rarely received credit.

Just one week before the wedding, disaster struck. A pipe burst in Lowe’s New York workshop, ruining 10 of the 15 dresses, including the bride’s gown. Lowe didn’t give up. She bought the same fabrics again and worked around the clock with her team to remake everything in just five days, a process that had originally taken eight weeks. Remaking the dresses cost Lowe more than just time, she lost money. What was supposed to be a $700 profit turned into a $2,200 loss. She never told Jackie’s mother what had happened.

When Lowe brought the dresses to Newport, the guards at the wedding venue told her to use the back door because of her skin color. She refused, saying, “If I have to use the backdoor, they’re not going to have the gowns!” They eventually let her in.

According to the New Yorker, after Lowe read an interview in which Jackie referred to her as “a colored dressmaker,” Lowe wrote her a letter saying, “I would prefer to be referred to as a ‘noted Negro designer,’ which in every sense I am. Any reference to the contrary hurts me more deeply than I can perhaps make you realise.” Jackie’s social secretary, Letitia Baldrige, called Lowe to apologize but didn’t take responsibility.

After losing an eye to glaucoma, Lowe was hospitalized and during her recovery, someone anonymously paid off her IRS debt. She believed Jackie was the one who helped.

Ann Lowe remains one of fashion history’s best-kept secrets. She was a brilliant designer who dressed America’s most powerful women, but her name was too often left out of the story.

Remembering this iconic mother-daughter moment:

When Tracee Ellis Ross was a teenager, she dreamt of becoming a model.
That dream came true for her 18th birthday, when designer Manfred Thierry Mugler called her mother, Diana Ross. Diana agreed to walk in the show on one condition: that Tracee could join her. Tracee made her runway debut in Mugler’s legendary Butterfly show, and returned the following year to walk solo 💖

Happy Mother’s Day to all the incredible mamas out there 💐

Remembering this iconic mother-daughter moment:

When Tracee Ellis Ross was a teenager, she dreamt of becoming a model.
That dream came true for her 18th birthday, when designer Manfred Thierry Mugler called her mother, Diana Ross. Diana agreed to walk in the show on one condition: that Tracee could join her. Tracee made her runway debut in Mugler’s legendary Butterfly show, and returned the following year to walk solo 💖

Happy Mother’s Day to all the incredible mamas out there 💐

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