Dior’s new look for the next generation

At long last, after weeks of teasing first looks on the red carpet and social media, Jonathan Anderson presented his debut Dior women’s collection in Paris on Wednesday. 

It was a blockbuster, Dior’s New Look for the next generation, epitomized by a shrunken Bar jacket and denim miniskirt.

The Spring 2026 collection is going to change the way Hollywood dresses, with house ambassadors Anya Taylor-Joy, Greta Lee, Mikey Madison, Rosalia, Jenna Ortega, Jiman, Johnny Depp, Jisoo and Charlize Theron looking on from the front row at the stark runway set designed by director Luca Guadagnino.

To open, a cinematic, horror-tinged black-and-white documentary film by Adam Curtis flashed snapshots of the brand’s past, including Marlene Dietrich wearing Dior in Alfred Hitchcock’s “Stage Fright” and Princess Diana in a bias dress by John Galliano, setting the stage for the house transfer to come on the runway.

Anderson took a lot of risks with silhouette, proportion and sculptural form. But he balanced innovation with relatable everyday go-tos, like the jersey sweat suit with tuxedo bib below, which was simple but so chic.

He continued to play with elements of 18th century dress first introduced in his men’s collection shown in June, with deconstructed tricorn hats, cravat-tied shirts, pannier and bow tied mini skirts and cropped tailcoats flipped around so the tails fell in front.

Bows, a Dior house code of yore, were scattered throughout, as seen on a version of the bow-studded cocktail dress first worn by Taylor-Joy to the Toronto International Film Festival, and a version of the cape-back mini dress with long front bow detail first worn by Lee in Venice.

Also destined for the red carpet: ethereal lace gowns with bow backs, flowery bubble skirts, hydrangea-dotted dresses and clever updates to historic Dior looks, including the famed 1949 “Junon” gown seen above with ombré beaded petals, chopped to above the knee and rendered in a softer, easier fabrication. The shoes, including sparkly pumps with bunny ears, and Cigale top handle bags, were also terrific.

Except for a couple of wobbly parts—those hip bustles first worn by Alba Rohrwacher should have been left on the cutting room floor—there was a lot to admire, aspire to and wear.

The casual turn and plethora of miniskirts probably won’t hit with every Dior customer, but they should capture the attention of younger consumers, and their attention is paramount as Gen Z is expected to represent nearly a third of luxury purchases by 2030.

Versace wins Milan

Back in Milan, among the many anticipated designer debuts, Versace won the week with its own generational shift. 

Former Miu Miu designer Dario Vitale reframed Gianni Versace’s legacy and his obsessions with youth, sex and South Beach, for a younger customer. He also jettisoned Donatella Versace’s glossy, glamazon ideal for something more approachable and real. In short, he made Versace cool again, which it really hasn’t been for a long time.

The colored jeans — some with Andy Warhol face prints — scarf-like silk shirts and Baroque-etched leather pieces referenced Versace’s heritage, filtered through the casual lens of today.

I predict those, along with the backless tank tops that were layered up in several looks, will influence every level of the market, much as Vitale’s work at Miu Miu did, selling boat loads of boat shoes, school girl skirts, logo briefs, boxers, bloomers and more. I can’t wait to see young Hollywood get into these looks.

The devil wore Dolce

For all the celebrity sightings in Milan, the delightfully devilish “The Devil Wears Prada” duo Meryl Streep and Stanley Tucci took the cake sitting front row not at Prada, but at the Dolce & Gabbana runway show.

They were in character as fictional Runway magazine editor-in-chief Miranda Priestly and art director Nigel Kipling, filming a scene for the 20th Century film sequel due in May 2026. In a meta moment, Priestly sat across from Anna Wintour, who inspired the character in Lauren Weisberger’s original novel influenced from her time working as an assistant to the powerful Vogue editor. Priestly did not wear Prada (perhaps it would be too on the nose); she wore a sleek Dolce & Gabbana trench coat, black pants and pumps, a contrast to the casual lingerie and pajama dressing in the label’s Spring 2026 collection. 

This is not the first time a film crew has crashed a runway show. Ben Stiller and Owen Wilson closed out the March 2015 Valentino show in a runway “walk-off,” reprising their roles as male models Derek Zoolander and Hansel from the 2001 film  “Zoolander.” The viral stunt served as the announcement for the long-discussed follow-up to the over-the-top satire of the fashion world, and while it was used in marketing materials, it did not make it into the final film. Valentino the man did, however, alongside many other fashion figures, and a scene was even shot in the brand’s Rome store.

The Valentino brand’s integration into the film was an about-face from how the designer reacted to the filming of another fashion world satire, Robert Altman’s 1994 “Prêt-à-Porter,” during Paris Fashion Week, including at the Sonia Rykiel show. Valentino and Karl Lagerfeld banned Altman’s cameras from their runway shows, fearing they would portray the industry in a bad light, according to Newsweek.

At the time, the fashion week scene was described by the newsmagazine as “circuslike” (still true) with faux fashion folk Lauren Bacall, Julia Roberts, Kim Basinger and Sophia Loren mixing with real-life reporters, buyers and designers. “We have paid extras,” groused one veteran fashion writer. “We have work to do and they are holding up the shows,” the magazine reported.

How times have changed. The minute the Dolce & Gabbana show ended, the fashion crowd leapt onto the runway with their iPhones to try to get photos of Streep and Tucci. I wouldn’t be surprised if we see more “The Devil Wears Prada 2” and Dolce & Gabbana promotional moments to come in the lead up to the film’s release.

Armani, per amore

Hollywood also descended on Milan to bid farewell to Giorgio Armani, the Italian fashion legend and red carpet maestro who died Sept. 4. Cate Blanchett, Richard Gere, Glenn Close, Lauren Hutton and Spike Lee were among guests at the runway show featuring the last collection the designer worked on. 

It was also a moment to mark the company’s 50th anniversary, which began in August with the launch of Armani/Archivio at the Venice Film Festival, and the opening of “Giorgio Armani: Milano, per Amore,” a retrospective exhibition open through Jan. 11 at the Pinacoteca di Brera in Milan, where 133 archive creations tracing the designer’s vision for tailoring, decoration and decorum are displayed among Italian works of art.

On the runway, the collection had it all — elegant tailoring in neutral shades, jewel-toned separates with a hint of exoticism, and even the balloon pants the designer has always loved, finally back in the fashion conversation. It also offered easy evening wear with a measured take on embellishments, as seen in the striking midnight-blue, long-sleeve finale gown with a swishy long skirt, a drop-waist bodice, and Armani’s profile lovingly embroidered on it.

Dressing America’s sweethearts

In Southern California, Selena Gomez and Benny Blanco were married last weekend in Santa Barbara, and both the bride and groom wore Ralph Lauren. Gomez also wore a custom gown by the brand for this year’s Oscars.

Lauren didn’t send out a press release about the two looks, at least not one I received. (Tiffany & Co. did, however, suggesting those 12 carat diamond earrings may have been gifted or loaned as part of a partnership with the brand.) Still, it was a coup for the American designer who launched bridal wear in 2015. And it follows on the heels of Gomez’s pal Taylor Swift wearing a Ralph Lauren sundress for her engagement shoot, leading to a near immediate sell-out of the $398 style. 

Ralph Lauren has been one of the rare brands that has continued to perform well amidst the luxury industry slowdown. If he manages to also dress Swift for her big day, there’s no stopping him. 

Hermès takes up residence at John Lautner’s Silvertop house

There’s no party like an Hermès party.

On Tuesday night, the French luxury brand took over the spectacular John Lautner Silvertop house, filling every inch of the mid-century marvel with furniture and accessories from its Maison collection, from Sofa Contour seating and Les Trotteuses side tables in the living room, to the handsome Samarcande chess set in the office, to the covetable piles of blankets in the closet and Donald Judd for Panthère silverware in the kitchen.  

Mitch Glazer and Kelly Lynch, Michael Chow and daughter China Chow, Jeffrey Deitch, Tina Craig, Trina Turk and others from the design, art and fashion worlds wandered the rooms, taking in every detail of the glass-walled house now owned by Beats by Dre president Luke Wood.

The prized spot, which has a dramatic cantilevered pool and stunning views of downtown L.A., was recently seen in “The Oner” episode of “The Studio,” in which the filming of a complex sunset scene is botched after Continental Studios honcho Matt Remick (Seth Rogen) visits the set and hilarity ensues.

True to Hermès form, the party took a whimsical turn when the chef de cuisine and uniformed wait staff broke out in song and dance before serving the buffet dinner, which was followed later by a glamorous chanteuse performing “La Vie en Rose.” On Wednesday, the house takeover went from social scene to selling, with Hermès hosting two days of appointments for clients to shop the luxe wares inside, from desks to dishes.

Dior mega-flagship opens on Rodeo Drive

Following the debut of the first L.A. Khaite store on Melrose Avenue, another eagerly awaited flagship has finally arrived: Dior at 323 N Rodeo Drive.

Designed by Peter Marino, the four-story building is light-filled with  a central staircase, courtyard garden with a delightful Nikki de St. Phalle sculpture, an airy VIP rooftop terrace, Dior’s first U.S.-based restaurant from Michelin-starred chef Dominique Crenn (not open yet, but slated for October) and a charming installation of snow globes in the window commemorating some of the house’s Hollywood moments.

The massive store is the first domino in Dior parent LVMH Moët Hennessy Louis Vuitton’s game of expansion on Rodeo Drive. Bernard Arnault’s conglomerate is planning a new Tiffany & Co. flagship store on the site of the old Luxe Hotel, and has submitted plans for a new Louis Vuitton store and cultural campus designed by architect Frank Gehry in the spot planned for the Cheval Blanc hotel, which was rejected by voters in 2023. 

The Dior store was busy on opening day, with the fall women’s collection by Maria Grazia Chiuri, her last for the house, front and center, and not much evidence of Anderson’s arrival. 

No doubt that will change soon, considering the designer’s seismic runway collection and love affair with Hollywood. I’m waiting for that “No Dior, no Dietrich!” T-shirt.

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Fashion’s Hollywood Face Race

Fashion is in the midst of an epic shakeup this runway season, with 15 designers debuting at big brands. And the Hollywood-fashion ecosystem is changing along with it, affecting who is being paid to wear and sell what.

Luxury brands, under pressure from the industry slowdown, are in a race for relevance, flooding the zone with celebrity faces and content in the hopes that it will continue to capture the attention of shoppers and scrollers, powering the business as it has for the last decade.

Top designers, in a quest to bring their favorite celebrity ambassadors from their last gigs to their new ones, have created a bidding war among brands to secure some high-profile talent. Meanwhile, other celebrity ambassadors have resisted going along to new brands that may not be as appealing.

Gucci’s new designer Demna, who with the brand’s sizable financial losses, has arguably the biggest challenge of the season, showed his first collection as costumes in a star-stuffed short film titled “The Tiger” by directors Spike Jonze and Halina Reijn.

Debuted at Milan Fashion Week, “The Tiger” doesn’t have any of Demna’s celebrity pals from Balenciaga but rather a new cast of characters: Demi Moore, Edward Norton, Ed Harris, Elliot Page, Keke Palmer, Alia Shawkat, Julianne Nicholson, Heather Lawless, Ronny Chieng, Kendall Jenner and Alex Consani. The narrative is about a family gathering that turns psychedelic, according to reports.

The Milan premiere, overwhelmingly and somewhat confusingly, had even more celebrities, including Gwyneth Paltrow and Serena Williams, who were wearing the collection IRL. And there were other notables at a premiere of the film in New York, as well.

Perhaps fearing the actual collection would be a bit lost in the story, Gucci dropped it on social media earlier this week. Titled “La Famiglia,” the lineup remixes (slightly) the house codes of nostalgic Italian elegance, sex appeal, luxe leathers, GG monograms and Horsebit hardware.

The streetwise touches (leather bombers, slouchy jeans, square-toed loafers) and couture-like sculptural silhouettes, will be familiar to those who followed Demna’s work at Balenciaga, but will they signal enough of a departure from the same old Gucci to excite shoppers? Hmm. The collection is available Sept. 25 at 10 stores worldwide, including Rodeo Drive, and will roll out globally in January. 

The look book was photographed by L.A. artist Catherine Opie, with each portrait named after a personality, including “Direttore” (Director); “La Vip,” (VIP) and “L’Influencer” (Influencer), which is  reminiscent of a film cast, too.

If it all seems like alot — and maybe trying a bit too hard — remember Gucci’s premier Hollywood event, the LACMA Art + Film Gala, is coming fast on Nov. 1, so now is the time to make an impression.

Of course, competing brand Dior’s new designer is also coming on strong. Jonathan Anderson, who once wanted to be an actor himself, was a whiz at dressing up-and-coming talent while he was at Loewe, from Ayo Edebiri to Greta Lee, and cemented his Hollywood insider role by designing costumes for Luca Guadagnino’s film “Challengers.”

Several of Anderson’s Dior designs have already hit the red carpet at the Venice Film Festival, the Toronto International Film Festival and the Emmys weeks ahead of his runway debut, which is Oct 1. He also announced a trio of new ambassadors — Greta Lee, Mikey Madison and Mia Goth — and then continued the drumroll by dropping his first ad campaign, a beauty, with all three posing with Lady Dior handbags. 

Not to be overshadowed, perhaps, Jack McCollough and Lazaro Hernandez, the New York designers who are replacing Anderson at the luxury brand Loewe, also released a sneak peek at their first collection featuring seven, count ’em seven, up-and-coming Hollywood faces, and really just their faces, in mood-setting images shot by artsy photographer Talia Chetrit.

Those faces range from Isla Johnston, above, who has been cast as Joan of Arc in Baz Luhrmann’s upcoming film, to Lewis Gribben, who recently wrapped a leading role opposite Hunter Schafer in Ridley Scott’s “Blade Runner 2099.” (The press release bios were so detailed in listing credits, co-stars and studio affiliations, they read like IMDb entries.)

Will this celebrity hoopla actually create buzz for the debut fashion collections, or make them seem like old news by the time they actually come down the runway? Who knows. It’s a lot to take in, but most people are probably not paying close attention, hence the need to flood every channel with content.

Maybe following Hollywood’s marketing playbook of deploying previews and trailers to drive audiences to screens will work when the screen is the runway show, too. Let’s hope so for both industries because there’s a lot of money riding on it.

Museum of Modern Art Film Queen

Also in luxury land, The Museum of Modern Art’s 2025 Film Benefit supported by Chanel will honor Academy Award-winning writer, director and producer Sofia Coppola on Nov. 12, which should be a major showcase for red carpet looks by the French fashion house’s new designer, Matthieu Blazy. (His runway debut is Oct. 6 in Paris.)

Coppola has written and directed nine films to date, winning the Oscar for Best Original Screenplay in 2004 for “Lost in Translation,” which she also directed. Five of Coppola’s films are in MoMA’s collection: “The Virgin Suicides” (1999), “Lost in Translation” (2003), “Marie Antoinette” (2006), “Somewhere” (2010) and “The Bling Ring” (2013).

Coppola, a long-serving artistic collaborator and ambassador for Chanel, just released her first documentary based on her designer friend, Marc Jacobs, titled “Marc by Sofia.” She has also been in the news because the new blockbuster Victoria & Albert Museum exhibition “Marie Antoinette Style” includes several items from her film about the French queen, including footwear designed by Manolo Blahnik.

Chanel has sponsored the museum’s film benefit since 2011 and has served as lead sponsor of film at MoMA since 2021. 

In other news, the luxury house announced Karishma Dev Dube and MG Evangelista as winners of the 1oth annual “Through Her Lens: The Tribeca Chanel Women’s Filmmaker Program” for their film “Strangers.”

The winners received full financing for their short film about “shy newlyweds Ronny and Pari clumsily navigating intimacy in the early days of their arranged marriage when a charged subway altercation jolts them into a surprising new dynamic,” according to the release.

“To have a chance to make a film at this level is what you hope for, so it’s kind of like a dream,” Dube said. “It’s very American, I think, but it’s also a very specifically Indian story, and the support in that is hugely validating.”

Taylor Swift-Approved Jewelry, the Clare V. Sample Sale and a Fashion Photography Show Not to Miss

At South Coast Plaza, French accessories house Roger Vivier has opened a new space with parquet flooring and mirrored walls inspired by the Palace of Versailles and shoes fit for a queen. Gherardo Felloni’s magical designs include colorful satin pumps with sculpted roses on the toes, crystal-covered Belle Vivier pumps and rose petal ruffle evening bags. Max Mara has a new store just in time for cooler weather, whenever that arrives, with the brand’s iconic Italian coats, tailoring, Teddy capes, knitwear and Whitney bags. And Aussie brand Camilla has debuted a Hotel of Curiosity store concept, reflecting the colorful boho prints of the collections in a residential-like space showcasing the latest ready-to-wear, swim and accessories inspired by founder Camilla Franks’ travels.

In L.A., the Taylor Swift-approved up-and-coming Japanese fine jewelry brand Kimitake has opened its first store just off Sunset Boulevard in West Hollywood showcasing the designs of Kimio Fukutani. His chic, modern-looking and comfortable Links Iconic chain rings and bracelets have been worn by Swift on several date nights like the one pictured above. Kerry Washington and Brandi Carlile are also fans, while Tramell Tillman has rocked the brand’s Harmony Iconic cross necklace.

The by-appointment bungalow also sells the brand’s popular Samurai braided cord bracelets with charms, and one-of-a-kind pieces that seem destined for the red carpet, such as a diamond and ladybug button cover. Prices start at $1,200. 

This weekend brings several fashion-related events to downtown L.A.. The annual Clare V. sample sale is such a draw, some travel from out of state to attend, and line up at 5 a.m. to be first to shop the L.A. designer’s colorful leather accessories and clothing. The popular Grande Fanny bags, Simple Totes, Flat Clutches, Coin Clutches and more will be on offer, as well as “cut-ups” which are special edition styles made just for the event from surplus materials. The sale runs Sept. 26 from 9 a.m. to 6 p.m. and Sept. 27 from 9 a.m. to 5 p.m. at Row DTLA, 777 S. Alameda St. Bldg 3, Suite 128.  

A Current Affair will bring together more than 70 vintage dealers at Cooper Design Space Sept. 27 and 28. The vintage fashion bonanza is a must-shop for stylists, costume designers, collectors and even a celebrity or two, with January Jones hitting the event in 2024.  

Keep the stylish party going at the opening of “Icons of Fashion” at Duncan Miller Gallery featuring fun portraits of more than 40 designers, including Salvatore Ferragamo fitting Sophia Loren with a high-heel shoe, Jacques Fath partying with Ginger Rogers and Halston having a laugh with Liza Minnelli and Elizabeth Taylor.

The exhibition, which runs through Nov. 28, includes the work of Herb Ritts, Harry Benson, Irving Penn, Bruce Weber, Cecil Beaton, Jean-Loup Sieff, Horst P. Horst, Yousuf Karsh, Peter Hujar, David Bailey, Dorothy Wilding and more. The opening reception is Sept. 27 from 4 to 6 p.m..

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Awards Season Fashion Blasts Off

The Emmys red carpet did not disappoint.

First off, the number of people who wore Armani made it feel like Oscar night. In a touching fashion tribute, 15 stars paid homage to the late designer who died earlier this month by wearing his clothing, including heavyweights Cate Blanchett and Harrison Ford. My favorite look, however, was Keri Russell’s sculptural Armani Prive black gown with a silk-satin bow and black velvet skirt. It was simply sublime, the Hollywood red carpet maestro at his best.

Jenna Ortega has become quite the fashion plate since she and stylist Enrique Melendez dialed it up for her “Wednesday” Season 2 press rollout. She stunned with her revealing goth glam Emmys look, a midriff-baring jeweled top by Sarah Burton for Givenchy, paired with a black skirt slit to the thigh.

Scarlett Johansson and hubby Colin Jost both wore Prada, the same week the brand announced the actress’ Galleria bag campaign with award-winning director Yorgos Lanthimos, and the next Prada Fondazione exhibition with Alejandro González Iñárritu in Milan. Opening Sept. 18, “Sueño Perro: Instalación Celuloide” features never-before-seen footage from the film “Amores Perros” and will be on view until Feb. 26, 2026.

Ruth Negga and stylist Karla Welch also worked with Prada to create a special gown in the lovely 2008 fairy print by artist James Jean, underscoring the growing allure of archival and vintage fashion on red carpets.

Also in the European luxury brand camp, Pedro Pascal was a tall drink of water in a white suit by new Celine designer Michael Rider, complete with the coolest white sneakers and round wire sunglasses, adding some sex appeal to the brand’s new story. And this may have been Colman Domingo’s best Valentino look yet, his ice blue polka dot mandarin collar shirt and windowpane check jacket dripping with fringed crystal embellishments and grounded by chocolate brown trousers, which kept it all from veering into costume.

Speaking of earth tones, designers have really been trying to make rust orange a thing, and thanks to Seth Rogen’s custom Etro velvet tuxedo and Britt Lower’s modernist Calvin Klein off-the-shoulder silk gown, it just might get there.

Her gorgeous custom Calvin dress with crease details was the best thing to come out of creative director Veronica Leoni’s first year designing for the American label. Lower, whose office-core style on Severance came to mind when I saw Leoni’s first collection in February, sat front row for the second runway show just last week in New York. She repped the brand well there and at the Emmys.

Perhaps because it’s less global and high stakes than the Oscars, TV’s biggest night is often a place where up-and-coming designers can have a moment in the red carpet spotlight. To wit, “The Penguin’s” chic villain Cristin Milioti chose a sleek red gown by New York designer Danielle Frankel. The cool girl’s answer to Vera Wang, Frankel has made wedding gowns for Julia Garner, Alexandra Daddario and Alex Cooper, and is becoming popular for her eveningwear, as well. If you haven’t been yet, her store on Melrose Place is a gem.

Both Alan Cumming and Chris Perfetti wore up-and-coming New York label Tanner Fletcher by designers Tanner Richie and Fletcher Kasell, who have become celebrity darlings of late for their genderless clothing combining masculine cuts and feminine frills. Cumming’s elegant white-piped black silk pajamas-meets-tuxedo with a charming oversized bow at the neck should be a new classic.

Also of fashion note, “Adolescence” star Owen Cooper, who at 15 became the youngest actor ever to win an acting Emmy, here for Outstanding Supporting Actor in a Limited Series or TV Movie. He wore a Gen Z take on a tux with a black trucker jacket and baggy pants by GapStudio, the elevated collection from Gap VP and creative director Zac Posen that’s also been worn on the red carpet by Demi Moore and Timothée Chalamet.

This moment was another stroke of marketing genius (and a bit of luck that Cooper won) for the American brand, which is in the midst of a turnaround led by CEO Richard Dickson. Formerly of Mattel, where he helped get “Barbie” to the big screen, Dickson has put Gap at the center of major pop culture moments from the Met Gala to the Emmys and tapped stars including Katseye and Parker Posey for campaigns.

“TheWrapBook Vol. 4: The Art of Television” Issue Debuts at NYC Party

TheWrap’s premiere luxury publication, “TheWrapBook,” celebrated its fourth edition during New York Fashion Week.

“TheWrapBook Vol. 4: The Art of Television” debuted at a party Sept. 12 at New York City’s VFA Gallery. 

Fashion editors, artists and representatives from Dior, Gabriela Hearst and other luxury brands joined Sharon Waxman, founder and editor-in-chief of TheWrap; Stefano Tonchi, editorial director of “TheWrapBook” and Alexandra von Bargen, publisher of “TheWrapBook,” to celebrate the launch of the latest volume of TheWrap’s bespoke book.

Cocktails and conversation flowed as guests enjoyed art from the new release’s pages lining the walls of the gallery.

“TheWrapBook” exhibition “Artists by Artists,” curated by contributor Sayuri Tanabe, includes artwork from the last four issues, all commissioned by “TheWrapBook.”

The exhibition will be on view through Oct. 8 at VFA Gallery, presented by UOVO: Fashion, Art and Wine.

“TheWrapBook Vol. 4: The Art of Television” features a fashion editorial inviting the cast of “The White Lotus” to a 1970s-themed party; an essay on the Emmy Award-winning series “Adolescence” and its investigation of incel culture with artwork by Hernan Bass, a portfolio of artists’ work inspired by the classic box TV; a look at how the season’s biggest shows inspire fashion trends and more. Order it here.

Death Becomes Him

L.A. photographer Matthew Rolston is best known for his celebrity portraiture of Madonna, Michael Jackson, Cindy Crawford and more, which makes the subjects of his latest exhibitions – plural since there are multiple venues – a perhaps  disquieting departure: the no-longer-living residents of Palermo’s catacombs.

The works that appear in “Vanitas: The Palermo Portraits“ were photographed by Rolston over the course of one week during a 2013 visit to the historic Catacombe dei Cappucini, The macabre attraction is home to 8,000 mummified Sicilian luminaries interred between the 1500s and the 1930s, many buried in their finest clothing.

Rolston’s images are a later-in-life reflection on what he did before, he explained during an interview. “The practice of Hollywood imagery and image-making is a powerful denial of death. And as much as Hollywood elevates the human experience, it prevents us from having a healthy relationship with the passing of life and negates aging. Because stars are eternal, they will never die … even the nature of fame seems immutable,” he said, explaining that the realization led him to an exploration of death through books, art and culture. That included visits to see the Sedlec Ossuary in the Czech Republic, where the entire interior is made of human remains, Europe’s jeweled Catacomb Saints skeletons and eventually to the crypt in Palermo.

“The minute I walked in, I cried. I knew I found the subject. I thought, OK, I’ve dealt with the denial of death, I’m going to go nose to nose and look death in the face. And after I spent time there, I discovered they were trying to cheat death just as much as Hollywood,” he said.

The first monk to be embalmed and laid to rest there did not decompose after one year, which was interpreted as a miracle, setting the place up as a portal to the afterlife, Rolston said.

“The thought was if you were placed there and preserved, you would be one of the first to enter the kingdom of heaven,” the artist added, explaining how the crypt became the burial spot reserved for the elite who were mummified and placed upright and ready to go in their finest clothes – as if on judgement day, God would restore them to their perfect bodies.

“If that isn’t vanity, I don’t know what is, hence the name of the project, ‘Vanitas,'” Rolston said. His images of the deceased were photographed with expressionist lighting. The result is incredibly painterly and beautiful, with similarities to the work of artists Otto Dix and Francis Bacon.

The four-venue exhibition of 10 “Vanitas” works begins Sept. 20 at ArtCenter College of Design’s South Campus, which will display a wall-sized triptych of two children and an adult. From Sept. 25, Fahey/Klein Gallery will unveil four works, including Untitled (Long Face), a hauntingly beautiful portrait of a scarf-sporting corpse, which also appears as the cover photo for the accompanying limited-edition monograph published by Nazraeli Press. 

Two venues will exhibit a single “Vanitas” work each; Daidō Moriyama Museum/Daidō Star Space and Leica Gallery

Rolston’s meditation on death kicks off Sept. 20 at 6 p.m. with an opening reception at the ArtCenter College of Design (free, RSVP required) and coincides – wholly ironically, we can only assume – with the artist being celebrated with the ArtCenter College of Design’s Lifetime Achievement Award Sept. 28.

Khaite Lands Prime L.A. Retail Spot

Buzzy New York luxury brand Khaite has opened its first Los Angeles store in a marquee spot at the corner of Melrose and Melrose Place,  following openings at South Coast Plaza and on the Upper East Side of Manhattan as the growing business spreads its wings. The brand got the clutch billboard, too.

Designed by founder Catherine Holstein’s architect husband, Griffin Frazen, who grew up here and had a stint as a child actor, the space plays with L.A.’s legendary light, which has inspired filmmakers and artists for decades, along with the noir that is Khaite’s stylistic calling card.

The entrance of extruded steel frames acts as a portal, drawing shoppers from daylight into shadow, before opening into the luminous interior. The space has large-scale windows, bringing in even more light. And ceiling slots focus beams onto surfaces below to spotlight the brand’s new Blake crossbody bags and Jett D’Orsay pumps, among other pieces on display.

Overlapping sliding glass screens act as doors, partitions and veils, bringing what’s behind them in and out of focus. The full fall collection of luscious leather jackets and pants, argyle sweaters and cocktail frocks is on the racks.

The interior is also furnished with pieces by pioneering Italian female architect and designer Cini Boeri, Japanese minimalist furniture maker Kazuhide Takahama, Danish designer Poul Kjærholm and British designer Max Lamb. 

Most recently the short-lived Gucci private salon store, the location at 8409 Melrose Ave. has a lot of history. The arrival of Marc Jacobs in the corner spot in 2005 transformed Melrose Place from a sleepy antiques store row to a luxury fashion destination, ushering in the arrival of  The Row, Chloé, Bottega Veneta, Balmain, Maison Margiela, Irene Neuwirth and recently Danielle Frankel and Thom Browne.

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Dior’s Red Carpet Blitz Continues

How much is too much? Dior continued its red carpet blitz in Toronto this week, this time spotlighting just off-the-runway looks from designer Jonathan Anderson’s debut men’s collection shown in Paris in June.

At the “Roofman” premiere, LaKeith Stanfield brought swagger to a  white sweater, denim blue bowtie and khakis with protruding pleats, which he topped with a black leather beret. Meanwhile, at the “Dead Man: A Knives Out Mystery” premiere, Josh O’Connor played the dandy in Anderson’s reworked hourglass-shape Bar jacket for men, with a black-and-white check sweater and a white bow tie in the same throwback cravat style. The looks were a more casual take on the red carpet, but that seems to be a trend at TIFF.

One exception was longtime Dior face Anya Taylor-Joy in an ice-blue Dior silk dress that was a custom design. Like Greta Lee’s killer Dior dress from Venice, this one really hinted at the  direction Anderson could be taking the women’s ready-to-wear, and indeed, couture.

I loved the volume in the skirt, and the thicket of satin ribbons – classic but modern. In other Dior news, the first women’s ambassador of the J.A. era has been named, and it’s “Anora” best actress Oscar winner Mikey Madison. Anderson’s debut women’s ready-to-wear Dior show is Oct. 1. No telling how many more red carpet credits he’ll have by then, but the anticipation is building.

Elsewhere at the festival, I was intrigued by the Gabriela Hearst chocolate silk double breasted trench coat Angelina Jolie wore to the premiere of her film, “Couture.” Following on the heels of Ashley Olsen wearing a trench by The Row as a dress to the YES Scholars 25th Anniversary Gala in L.A. recently (see photo above), coat dresses are really starting to look cool.

Wonderfully Wacky VMAs Fashion

At the VMA Awards, in the midst of the wonderfully wacky and weird red carpet, the night’s most memorable look came courtesy of FKA Twigs, who chose a blood red bandeau-meets-bolero jacket with corset lacing in back, and heavily distressed flared pants from Matières Fécales.

Yes, that does translate to fecal matter in English, and it’s one of the hottest new fashion labels in Paris, with designers Hannah Rose Dalton and Steven Raj Bhaskaran already earning comparisons to Alexander McQueen and Rick Owens. The headphones may also have been the best accessory of the night.

Chanel Gets Screen Time in “Couture” 

The fashion-film crossover continues in Toronto. Angelina Jolie’s film “Couture,” which shines a light on three women working in the shadows of the fashion industry – an independent filmmaker, a makeup artist and a fresh face in modeling from South Sudan – is getting a boost from Chanel.

The project from filmmaker Alice Winocour is set during Paris Fashion Week, and Chanel granted access to its haute couture salons and workrooms to shoot several scenes. Chanel also collaborated with costume designer Pascaline Chavanne to reimagine looks inspired by collections from the house, which appear in the final fashion show.

Also at TIFF, Gucci announced its involvement with the Romain Gavras film “Sacrifice,” which is about a confrontation between celebrities and eco-terrorists at an environmental fundraiser. (Sounds delicious, and like a more natural star vehicle for sustainable fashion advocate Jolie, but anyway.)

Gucci created select costumes for the characters played by Chris Evans, Vincent Cassel and Salma Hayek Pinault, as well as sponsoring the premiere after party.

These partnerships follow news from Venice that Tiffany & Co. supplied jewelry for “Frankenstein,” and Saint Laurent Productions’ “Father Mother Sister Brother” took the Gold Lion. 

Lisa Eisner x The Row Is All in the Family 

Lisa Eisner, one of L.A.’s most stylish women, whose work spans fashion, photography and now statement jewelry, has launched a striking new Silver Foil collection with The Row – and it’s all in the family.

The Row co-founder Ashley Olsen is married to the designer’s artist son Louis Eisner (the three are pictured above at the 25th YES Scholars Gala in L.A. earlier this month).

“The Row is a dream … And I guess I’m a nepo mother-in-law,” joked Eisner, who launched her namesake line in 2014, taking inspiration from the American West and raw stones. The line debuted on the spring 2015 Tom Ford runway.

The Silver Foil collection is gorgeously sculptural and textured, in keeping with the rest of her handmade work. “I wanted it to be like silver nuggets, because I’ve done gold nuggets. And it’s a little inspired by John Chamberlain’s sculptures,” she said of the collection. Prices range from $650 to $8,950 and includes a powerful collar, double link bracelet, wave cuff, six-drop earrings and more. (She’s wearing the pieces in the photo above). 

Silver is having a serious fashion moment. (Ralph Lauren showed silver jewelry on his spring 2026 runway Wednesday in New York.) Perhaps it’s because of the soaring price of gold, or maybe it looks modern again thanks to contemporary jewelry designers like Juju Vera, Sophie Buhai, Uncommon Matters and Eisner, whose work has been worn by Ayo Edebiri, Tracee Ellis Ross and Maya Rudolph just this week at the “One Battle After Another” premiere in L.A.

The Lisa Eisner x The Row Silver Foil collection is available on the designer’s website and at The Row stores.

An Exciting NYFW Debut 

The September-to-October fashion month run of new designers debuting at brands kicked off in New York Wednesday with Rachel Scott at Proenza Schouler.

The Jamaican-American talent, who won the Council of Fashion Designers of America’s Womenswear Designer of the Year award in 2024 for her brand Diotima, joined Proenza Schouler a few months back, following the announcement that the brand’s founders Jack McCollough and Lazaro Hernandez would be heading to Loewe, where they will show their first collection in Paris Oct. 3.

The Spring 2026 Proenza Schouler collection was a prelude to the new chapter designed as a collaboration between the studio team and Scott.

She built her own brand as a sultry haven for women with sexy knits, tailoring and denim with artisanal crochet and lace doilies inspired by domestic work. And you could see that spirit and hand on some of the Proenza pieces, including lovely reverse jacquard tailoring in black or ivory, with threads drawn outward for a touch of lived-in luxe.

Stylists and stars should make room in their awards season wardrobes to support Scott, one of too few rising female designers in fashion.

Frank Romero Returns With Timely New Paintings 

Back in L.A., a Chicano art movement pioneer returns to the gallery scene Sept. 13 with “Frank Romero: California Dreaming,” a solo exhibition of new paintings and seminal works from the artist’s six-decade career, including neon nightscapes dotted with symbols of the city’s golden age of cinema.

His new work introduces flying saucers as a nostalgic throwback to the 1950s and a cheeky reference to sombreros.

“When I was growing up, the UFO wasn’t just related to science fiction, it was symbolic of a primordial fear of something coming. I thought it was rather silly. And these paintings are tongue-in-cheek, they’re supposed to be jokes. They are jokes. But really, though, the government has labeled the Mexican American this and others like us similarly before,” Romero said.

The exhibition will run Sept. 13–Oct. 25 at Luis de Jesus Los Angeles gallery, with an opening reception Sept. 13.

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The post Dior Red Carpet Blitz, a Bright NYFW Debut and a Sterling Collab appeared first on TheWrap.

Style-conscious shows like The White Lotus and The Studio are inspiring viewers to seek out the on-screen looks, creating opportunities for brand placement, collaborations and organic fashion trends.

By Booth Moore
Artwork by Drake Carr

The chicest source of fashion inspiration right now isn’t on the runway, the red carpet or the street. It’s streaming on your TV. This season’s most stylishly costumed shows feature a raft of recognizable labels, in part because so many of the stories chronicle the lives of the rich and famous. 

Viewers care—a lot—about what their favorite characters are wearing. (Consider the uproar over the early photos from Ryan Murphy’s American Love Story of Sarah Pidgeon as Carolyn Bessette Kennedy.) They are treating shows as personal fashion mood boards, using Google Image Search to track down even the most obscure vintage items and taking to TikTok to re-create the looks.

The fashion brand bonanza on Season 3 of HBO’s The White Lotus included many memorable designer pieces in the show itself and extended off-screen to licensed capsule collections from H&M and Banana Republic, among others. Fashion hounds even pounced on IRL moments, like Parker Posey taking her character’s Gucci Bamboo 1947 bag out on the town multiple times (who knows about the lorazepam that her TV alter ego, Victoria Ratliff, kept there). 

But not a single fashion brand paid to be on screen, according to The White Lotus costume designer Alex Bovaird, who had plenty of access to borrow top looks following the popularity of the first two seasons. Bovaird set up her own makeshift showroom on set in Phuket, Thailand, for the nearly 100 brands that sent pieces for consideration.

To make it easier for viewers to find the Gucci logo sun hat worn by Michelle Monaghan’s Jaclyn, the Valentino bag toted by Leslie Bibb’s Kate and the Ortiz dress on Carrie Coon’s Laurie, Bovaird launched her own storefront on ShopMy, the online platform that lets influencers earn affiliate income for items they recommend and sell. “I was kind of jumping on my own bandwagon,” she says of organizing the looks by character. 

Resort-loving French fashion designer Simon Porte Jacquemus was such a fan of The White Lotus that he reached out to Bovaird asking to collaborate. Cut to Chloe (Charlotte Le Bon) sporting sheer sarong over a gorgeous pastel pink high-cut one-piece bathing suit with a wide-brimmed straw hat, while holding court on the yacht of her boyfriend, Greg (Jon Gries). That look was custom-made, so not available at retail, but the partnership did come full circle when Jacquemus tapped Gries for its racy summer ad campaign.

Meanwhile, Apple TV+’s Your Friends & Neighbors is a luxury brand’s wet dream, peppered with pop-up explainers about the heritage, craftsmanship and dollar value of the One Percent’s most potent status symbols, including Patek Philippe Nautilus watches and Hermès Birkin bags, blurring the line between content and commercial.

Now that people point their phone at the TV when they watch something to Google ‘What is that car,’ ‘What is that dress,’ it feels like a springboard for a fashion company.”  Sirens Costume Designer — Caroline Duncan

But the products appearing on screen weren’t ads, according to the show’s costume and prop designers, who used rental services to source the loot and paid for goods from Zegna, Tom Ford, Loro Piana, The Row and others to outfit the characters of Westmont Village. Andrew “Coop” Cooper (Jon Hamm) sports a Tom Ford sweater and Nili Lotan jeans, even when he’s stealing form his friends and neighbors, and his off-duty finance-bro luxe has resonated with viewers. “There’s a lot of wives reaching out for their husbands,” costume designer Jacqueline Demetrio says. “They even want to know who makes the tennis and golf gear.” 

For the second season, brands are clamoring to be included. “When Hermès said we’re going to loan, I said, ‘Oh, my God,’ because they’re so tricky. And Cartier. There are a lot of brands on board now—it’s almost like it’s an ad for them, too.” 

It’s no wonder brands take notice of stylish shows, because powerful storytelling on TV can ignite trends in real life. Erik and Lyle Menendez, or rather their on-screen alter egos, became unlikely fashion icons with Netflix’s Monsters: The Lyle and Erik Menendez Story, when TikTokers began tracking down the brothers’ killer 1980s country club looks, including a Lacoste varsity sweater with an “L” for Lyle that costume designer Paula Bradley sourced from the crocodile-loving brand founded by French tennis champ René Lacoste. “The 1980s was the last great decade of swagger and style,” she says.

While blue-chip tech, beverage, food and car brands are major players in the product placement space, alongside mass-market clothing labels with recognizable logos like Nike, Adidas, Ralph Lauren, Lacoste and Levi’s, few high-fashion brands are paying to be in TV shows, according to Stacy Jones, CEO and founder of Hollywood Branded, a Los Angeles-based agency for influencer marketing, branded content and product placement. “[Fashion] is one of the least paid partners out there,” she says, explaining that some brands are willing to lend garments to help costume designers and get the chance to be featured on screen, but that more often costume designers have to shop to build looks—sometimes in multiples, with enough pieces on hand for numerous takes and stunts.

There’s typically no money exchanged even for verbal mentions, such as the nods to Brunello Cucinelli on The Studio and Tory Burch on Season 4 of Hacks. (Reps for the brands and the costume designers of both shows confirm it.) “A lot of it is because there is a fan in the writers’ room, there is a fan in the costume department, there is a fan on set,” Jones says. In the case of The Studio, star and co-creator Seth Rogen often wears the Italian luxury label’s suits on red carpets, though costume designer Kameron Lennox bought the tuxedo he wears during the Golden Globes episode. “We wanted him to look like that man you meet who has butter hands,” says Lennox, adding that Rogen’s ‘70s-looking Cutler and Gross glasses were also part of his throwback Hollywood mogul style. 

Even when a brand isn’t cutting a check for on-screen placement, the exposure can have a big impact on the bottom line. Austin-based menswear brand Huckberry has sold “thousands” of its $288 Flint and Tinder Waxed Trucker jackets since zaddy Pedro Pascal first stepped out in one on the first season of HBO’s The Last of Us, according to a rep for the outfitter. That’s why many brands are willing to be collaborative.

Netflix’s Sirens has helped sell Lilly Pulitzer dresses, Nantucket basket necklaces and J. Press “Yale” sweatshirts, according to costume designer Caroline Duncan, who sees potential in co-designing with fashion brands to integrate their looks into future shows. “Now that people point their phone at the TV when they watch something to Google ‘What is that car,’ ‘What is that dress,’ it feels like a springboard for a fashion company.”

The fashion-costume ecosystem could further evolve as streamers grapple with how to generate more revenue. “Apple is getting into the space,” Jones says. “Netflix is tightening its approach to integrations, requiring a lot of media buys on the backend that are expensive. Amazon is getting into shopping features and giving caveats that brands need to pay to unlock opportunities to their biggest [shows]. So they’re all going to get there.” She predicts that more series will start to follow films like Barbie and F1 in using brand partnerships to extend marketing, build awareness, create a buzz, and ultimately lure more viewers. “Right now, [streamers] are going after the biggest brands with the biggest pockets, but they need to be looking at luxury designers who could do cool collabs, produce a limited collection everyone is going to want. That will be a conversation point.” 

The post How Shows Like ‘The Studio’ and ‘The White Lotus’ Inspire Real-Life Fashion Trends appeared first on TheWrap.

As The Broad marks its 10th anniversary, founding director and president Joanne Heyler reflects on the museum’s impact on downtown Los Angeles and the city’s cultural scene

By Rochelle Steiner

The late Eli Broad and his wife, Edythe L. Broad, began acquiring contemporary
art more than 50 years ago, but the architectural wonder known as The
Broad that houses their collection turns 10 in September. The distinctive
white honeycomb-veiled building, designed by Diller Scofidio + Renfro (in
collaboration with Gensler), has become a beacon of culture in Downtown
L.A. “Over 6.5 million visitors later, it’s easy to forget The Broad is very much
a startup—it’s still a young institution,” says Joanne Heyler, the museum’s
founding director and president. “We’ve had a lot of success in our first
10 years, yet our real goal is to keep going, keep evolving. We don’t look back
as much as we look ahead.”

Looking ahead is exactly what Heyler and her colleagues are doing, with
ground broken this past spring on a $100 million, 50,000-square-foot addition
that is expected to open in time for the 2028 Summer Olympics. “We decided
for the 10th anniversary of our opening on Grand Avenue, let’s not have a
gala. Let’s open a very real, new chapter and break ground for a new building,”
Heyler says. “That’s something Eli would have appreciated—let’s do
something practical to mark the decade, chart the future and keep moving
forward.”

The new building, also designed by Diller Scofidio + Renfro, will add 70%
more space for displaying art, including skylit galleries and open-air
courtyards. Another feature will be an immersive storage ”vault” where
visitors can walk among racks holding some of the Broad’s 2,000-plus works.
“Art and artists—that’s where it all starts,” Heyler says. In its first decade,
the Broad has mounted knock-out exhibitions highlighting many of
contemporary art’s most sought-after figures: Cindy Sherman, Keith Haring,
Jasper Johns, Shirin Neshat, William Kentridge, Takashi Murakami, Mickalene
Thomas and many others. The Broad has also gained a reputation for
openings, parties and special events that attract both artists and celebrities.

The public turns out, too, with lines often snaking out the door and around the block. The colorful street life of Grand Avenue is fully visible through
the museum’s front glass facade, welcoming pedestrians into a lobby that
lacks a traditional entry desk or check-in counter. That’s deliberate, Heyler
explains. “Museums are social spaces—and I wanted to lean on that as
much as possible at a time when we are so isolated on the screens of our
phones and monitors of our home computers,” she says. “We decided to
make sure fundamentally that The Broad would be a social experience—
a museum with emotional intelligence.”

Art and artists—that’s where it all starts,”
—Joanne Heyler 

An embarrassment of riches awaits an escalator ride up from the lobby.
The Broads (Edythe is 89; Eli died in 2021 at age 87) amassed an enviable
collection with multiple works by 20th-century American legends such as
Roy Lichtenstein, Andy Warhol and Jean-Michel Basquiat. “We want to
focus on continuing to follow individual artists through their careers and
collect in depth,” Heyler says. “This is one of the secrets of The Broad’s
distinct identity. We cannot collect everyone, so we are less comprehensively
covering an era or a moment, and more focused on expressing an era or
eras through singular voices.”

That focus has enabled The Broad to mount mini-retrospectives of many
artists, a practice that Heyler and her team plan to continue after the
expansion. “Depth takes time to do right, but the benefit for our audience
and deepening the integrity of the institution is worth the wait,” she says.
“The Broad is less about showing highlights and more about how an artist
evolved over time.”

The Broad’s success also highlights the transformation of Downtown
L.A.—and the pioneering role that Eli Broad played in developing nearby
landmarks such as the Museum of Contemporary Art (MOCA), the Walt
Disney Concert Hall and Gloria Molina Grand Park. “Eli had a vision for
Downtown L.A.,” Heyler says, “and it’s exciting to see these institutions thrive
that his grit and determination helped create.”

The post Broad Minded: The Broad Museum Director on LA Impact and Olympics Plans appeared first on TheWrap.

The 77th Primetime Emmy Awards, presented by the Academy of Arts & Sciences, brings together nominees, presenters and honored guests to the Peacock Theater in Downtown Los Angeles to celebrate the best of television this year, hosted by comedian Nate Bargatze.

Celebrities like “The White Lotus” stars Walton Goggins and Sam Nivola, “The Studio” star Chase Sui Wonders, “Nobody Wants This” standout Justine Lupe and “The Pitt” fan-favorites Gerran Howell and Patrick Ball were among the first stars to enjoy their time in the spotlight. Check out some of the biggest fashion moments from the 2025 Emmy Awards below:

Walton Goggins

Noah Wyle

Cate Blanchett

Lisa

Kathryn Hahn

Colman Domingo

Jude Law

Pedro Pascal

Aimee Lou Wood

Cristin Milioti

Seth Rogen

Sydney Sweeney

Julianne Nicholson

Adam Brody

Keri Russell

Halsey

Selena Gomez wore earrings in platinum and 18k gold with unenhanced rubies and diamonds from the Blue Book 2025 Collection, a Jean Schlumberger by Tiffany Vigne ring and a Tiffany & Co. Schlumberger® Stitches ring.

Selena Gomez and Benny Blanco

Selena Gomez wore earrings in platinum and 18k gold with unenhanced rubies and diamonds from the Blue Book 2025 Collection.

Selena Gomez wore earrings in platinum and 18k gold with unenhanced rubies and diamonds from the Blue Book 2025 Collection, a Jean Schlumberger by Tiffany Vigne ring and a Tiffany & Co. Schlumberger® Stitches ring.

Michelle Williams

Seth Rogen and Lauren Miller Rogen

Ben Stiller

Owen Cooper

Catherine Zeta-Jones

Stephen Colbert

Justin Hartley

Jake Gyllenhaal

Jake Gyllenhaal and Jeanne Cadieu

Elizabeth Banks

Adam Scott

Naomi Scott and Adam Scott attend

Alexis Bledel

Carrie Coon

Chloë Sevigny wore Jean Schlumberger by Tiffany Maltese Cross clips, a Mini Cooper bracelet and a Four Leaves ring with earrings in 18k gold with diamonds of over 30 total carats.

Chloë Sevigny wore Jean Schlumberger by Tiffany Maltese Cross clips, a Mini Cooper bracelet and a Four Leaves ring with earrings in 18k gold with diamonds of over 30 total carats.

Jenna Ortega

Lauren Graham

Jenny Slate

Isa Briones

Ariel Dumas

Quinta Brunson

Leighton Meester

Charlie Hunnam

Harrison Ford and Calista Flockhart

Charlotte Le Bon

Keri Russell

Sarah Paulson

Jennifer Coolidge

Anna Sawai

Kathy Bates

Alan Cumming

Parker Posey

Owen Cooper and Erin Doherty

Catherine O’Hara

Angela Bassett

Hiroyuki Sanada

Kimberly Schlapman

Noah Wyle and Sara Wells

Jason Isaacs

Katherine LaNasa

Rita Ora

Evan Peters

Thomas Kail and Michelle Williams

Steve Martin

Elaine Hendrix

Ike Barinholtz

Wendie Malick

John Turturro and Diego Turturr

Nicole Brydon Bloom

Jesse Williams

Britt Lower

Tramell Tillman

Meghann Fahy wore a pendant and earrings in platinum and 18k yellow gold with diamonds and a Jean Schlumberger by Tiffany & Co. ring.

Meghann Fahy wore a pendant and earrings in platinum and 18k yellow gold with diamonds and a Jean Schlumberger by Tiffany & Co. ring.

Sara Foster

Jimmy Kimmel and Molly McNearney

Lisa Ann Walter

Tyler James wore a Jean Schlumberger by Tiffany & Co. Bird on a Rock brooch, a Tiffany Cocktail watch and a Tiffany Knot ring.

Tyler James wore a Jean Schlumberger by Tiffany & Co. Bird on a Rock brooch, a Tiffany Cocktail watch and a Tiffany Knot ring.

Erin Foster and Sara Foster

Janelle James

Chase Sui Wonders

Taylor Dearden

Jeff Hiller

Skye P. Marshall

Dichen Lachman

Tracy Ifeachor

CJ Perry

Kaitlyn Dever

Ben Stiller and Christine Taylor

Kathy Bates and Skye P. Marshall

Jackie Tohn

Paul W. Downs

Jason Segel

Ross Mathews and Dr. Wellinthon García-Mathews

Lucky Starzzz

Lucia Aniello and Paul W. Down

Acacia Forgot

Desi Lydic

Gayle King

Gerran Howell

Arrietty

Walton Goggins and Nadia Conners

Krys Marshall

Leslye Headland

Matty Matheson

Justine Lupe

Megan Stalter

Fiona Dourif

Brett Goldstein

Dewayne Perkins

Ryan Ken

Jessica Lee Gagné

Sam Nivola

Molly Gordon

Jon Beavers

Nikki Boyer

Mark Indelicato

Zuri Hall

Carolyn Lipka

Rhenzy Feliz

Sam Star

Jeannie Mai

Haley Kalil

Patrick Ball

Derek Hough

Shanina Shaik

Phaedra Parks

Philip Keoghan

Cole Walliser

Shannon Murphy

Bridget Everett and Murray Hill

Nicholas Alexander Chavez

Lexi Love

The post 2025 Emmys Red Carpet: Noah Wyle, Cate Blanchett and More Arrivals | Photos appeared first on TheWrap.

TheWrapBook exhibit “Artists by Artists”, curated by TheWrapBook Contributor Sayuri Tanabe, will be on view through Oct. 8 at VFA Gallery, presented by UOVO: Fashion, Art and Wine.

Several influential members of the fashion and art worlds turned out to sip cocktails and admire the pop culture-inspired collection. Tania Franco Klein, an interdisciplinary artist whose work appears in the book, was in attendance as were visual artists Anna Park, known for her charcoal work, and Elbert Perez, known for his oil paintings. Designers from Lafayette 148 and Montblanc admired stylized plates inspired by “The Bear” and colorful paintings of RuPaul alongside influential people from Montblanc, Tiffany, Prada and Van Cleef.

Peruse photos from the event below, snapped by photographer Yago Ventura.

TheWrapBook Vol. 4 launch party was sponsored by UOVO: Fashion, Art and Wine and Ketel One Vodka.

Explore TheWrapBook Vol. 4 here.

Marco Tomasetta, creative director, Montblanc and Stefano Tonchi, editorial director, TheWrapBook

Sharon Waxman, CEO and Editor in Chief of TheWrap (Center) Kelly and Herve Couturier.

TheWrapBook Vol. 1-4 at TheWrapBook 4 launch party

Isabel von Bargen-Burke, Susan Oster, Cristina von Bargen and TheWrapBook publisher Alexandra von Bargen

TheWrapBook publisher Alexandra von Bargen outside of the VFA Gallery NYC during TheWrapBook 4 launch party

Artist Tania Franco Klein and TheWrapBook “Artists by Artists” curator Sayuri Tanabe

Artwork at TheWrapBook 4 launch party

Guests looking through TheWrapBooks

Corbin Bolies, TheWrap Media Reporter, and Sharon Waxman, CEO and Editor in Chief of TheWrap

TheWrapBook publisher Alexandra von Bargen

Marcus Correa, Carlos Jaramillo, and Michaela Dosamantes, Fashion & Visual Creative Director TheWrapBook

ICP president Jeffrey Rosen, Lazard Bank

Guest viewing that artwork at TheWrapBook Presents: Artists by Artists at VFA Gallery, NYC

Zachary Presley, Founder, VFA Gallery (center)

Guests attend TheWrapBook 4 launch party

Jo Cronk, Whalar

Cole Feins at TheWrapBook Vol. 4 Launch

Guest attends TheWrapBook 4 launch party

Jasmine Perillo, Emily Vogel, director of programing, TheWrap, and Valerie Greenberg

Stefano Tonchi, editorial director of TheWrapBook

Guest attends TheWrapBook 4 launch party

Daniel LaGrua and Valerie Greenberg

Guests attend TheWrapBook 4 launch party

Javvad Shah, Assistant Vice President, Marketing Prada Beauty, attends TheWrapBook 4 launch party

Ivonne Klein at TheWrapBook 4 launch party

General atmosphere at TheWrapBook 4 launch party

Guest attends TheWrapBook 4 launch party

Ivonne Klein and Jimena Santoyo

Guests looking through TheWrap Book at TheWrapBook 4 Launch

Sharon Waxman, CEO and Editor in Chief of TheWrap

Artwork presented at TheWrapBook 4 launch party

Michaela Dosamantes, Fashion & Visual Creative Director TheWrapBook, and Dan Victoria Gleason

Guest attends TheWrapBook 4 launch party

Cameron Moir and Emily Vogel, director of programing, TheWrap

Nessia Pope, Stefano Tonchi, editorial director for TheWrapBook, and guest

Artwork at TheWrapBook Presents: Artists by Artists at VFA Gallery

Ketel One Vodka, the official sponsor of TheWrapBook 4 launch party

Drink menu at TheWrapBook 4 launch party

Guests in line at the bar during TheWrapBook 4 launch party

Guests enjoy cocktails sponsored by Ketel One Vodka at TheWrapBook 4 launch party

Guest attends TheWrapBook 4 launch party

Mary Griffin attends TheWrapBook 4 launch party

Stefano Tonchi, editorial director for TheWrapBook and Marco Tomasetta, creative director, Montblanc (center)

Ketel One Vodka, the official sponsor of WrapBook 4 launch party

Various mediums of artwork presented at TheWrapBook 4 launch party

Ketel One Vodka, the official sponsor at TheWrapBook 4 launch party

Jasmine Perillo, Emily Vogel, director of programing, TheWrap, and Jo Cronk, Whalar

Artwork at TheWrapBook Presents: Artists by Artists

Susan Oster and Cristina von Bargen

Zachary Presley, Founder, VFA Gallery

Susan Oster and Cristina von Bargen

Karen Chan, Vice President, Public Relations at Christian Dior (L), guests, and Yesenia Olveira, Gabriela Hearst (R)

Artwork at TheWrapBook Presents: Artists by Artists, at VFA Gallery

Sharon Waxman, CEO and Editor in Chief of TheWrap, Thom Geier, TheWrapBook managing editor, Missy Schwartz, deputy editor, awards at TheWrap, and Joe McGovern, awards writer TheWrap

Artwork at TheWrapBook Presents: Artists by Artists, at VFA Gallery.

General atmosphere at TheWrapBook 4 Launch, TheWrapBook Presents, Artists by Artists at VFA Gallery, NYC

Artwork at TheWrapBook Presents: Artists by Artists at VFA Gallery, NYC

Guests attend TheWrapBook 4 launch party

Emily Vogel, director of programing, TheWrap

General atmosphere at TheWrapBook 4 launch party

Artwork at TheWrapBook Presents: Artists by Artists at VFA Gallery, NYC

Guest at TheWrapBook 4 launch party

The post TheWrapBook Vol. 4 Launches at VFA Gallery in NYC | Photos appeared first on TheWrap.

They may no longer a fixture in homes, but old-fashioned box TVs still inspire artists as symbols of mass media and objects of everyday living. 

Curated by Rochelle Steiner 

Today few of us own traditional television sets, as the console gave way long ago to newer devices. Yet our fascination with that familiar box persists. TV influences our lives in countless ways—from fashion to travel, with the new term “set jetting” used to characterize vacation destinations inspired by what appears on our screens. 

For decades, television—both the set and its content—has also drawn the attention of a wide range of visual artists. Characters, locations, storylines and commercials have all infiltrated paintings and photographs, as well as sculpture and video, with artists quick to consider, mimic and critique what they see on the small screen. Artists have likewise used TVs as props to convey domestic intimacy and nostalgia for another time or place. Even artists who grew up after the transformation to flat screens and handheld gadgets have depicted “magic boxes” within public spaces, such as bars and lounges, and in the privacy of homes.

This portfolio by a diverse group of artists parallels the evolution of televised content. While Edward Kienholz and Nancy Reddin Kienholz were attentive to the social politics of the medium beginning in the early 1960s, Barkley L. Hendricks chronicled the shows broadcast in his local pub between 1988 and 1997. For artists like Oliver Clegg and Paul Winstanley, the TV offers a window to other spaces, both interior and exterior. Meanwhile, the work of Martin Wong and Daniel Tyree Gaitor-Lomack remind us that its power to communicate is entirely one-way.

As traditional TV sets approach extinction, they still provide a sense of connection and familiarity that we don’t often find in the machines now regularly held in the palms of our hands

Daniel Tyree Gaitor-Lomack

The work of Daniel Tyree Gaitor-Lomack takes many forms, including painting, sculpture, and performance. This piece, Tell-A-Lie-Vision, casts a critical eye toward TV, particularly the trauma and violence he associates with this everyday object and its imagery—from the child’s ball that perhaps broke the screen to the belt that might have been used to punish the child. 

Tschabalala Self

Combining paint as well as found materials including paper, fabric and thread, Tschabalala Self creates fictionalized portraits like this one of former NBA star Latrell Sprewell. Here, she depicts an alternative view of the athlete widely known for his athletic skills as well as for an incident in which he physically attacked his then-coach. In this fantasy, the game plays on the TV as Sprewell is locked in an amorous embrace.   

Veronica Fernandez

Inspired by the drama and disorder of domestic life, L.A.-based artist Veronica Fernandez often paints from her memories of childhood as well as family photos. Here, a jumble of figures, animals and furniture, including a television playing a wrestling match, merge in a chaotic living room. Above it all, a ghostly figure appears to leap out of the TV into the room, like a wrestler jumping out of the ring and crossing into the realm of family life.

Paul Winstanley

London-based artist Paul Winstanley frequently depicts public spaces, including lobbies, offices, lounges and other rooms used for gatherings. These 1960s-style interiors, inspired by photographs he typically takes himself and then re-creates in paintings, appear nearly empty—except for rows of chairs and, at times, a television to distract from the bleakness of the surroundings.

Martin Wong

Martin Wong (1946-1999) depicted in painstaking detail the urban conditions of Manhattan’s Lower East Side—including its streets, tenement buildings, subway cars and graffiti. One recurring feature of his work is the bricks that form many of the city’s buildings. In Untitled (Brick TV), he covered the screen of a portable set in a brick pattern, perhaps as commentary on its one-way communication stream.

Christopher Suarez

Ceramicist Christopher Suarez is known for modeling objects on architectural spaces that bring people and communities together. These include restaurants and bodegas in the neighborhood and stadiums in his native Southern California. Recently, he has turned his attention to everyday objects that serve a similar unifying function, including the portable TV.

Joe Biel

In his Stacks series, L.A.-based Joe Biel creates vertical bundles of portable TVs, with outstretched antennas and interconnected cords. On the individual screens, he draws images derived from the history of film, TV and art that mash up visual culture: a mushroom cloud, a detail of a Jan van Eyck painting, Benito and Rachele Mussolini, Sigourney Weaver as Ripley in Alien and a man with one eye closed.

Barkley L. Hendricks

Television was a favorite theme of photographer Barkley L. Hendricks (1945-2017). Between the late ‘80s and ‘90s, he produced a series
of images shot inside the Dutch Tavern in New London, Connecticut, that captured the changing broadcasts on the pub’s ever-present set—from Richard Nixon to Julia Childs, sports figures to Miss America, Pee-Wee Herman to Big Bird.

Brenna Youngblood

Brenna Youngblood’s work is inspired by familiar domestic items, including furniture and appliances, arranged in paintings and collages mixed with images of people, pets, and souvenirs. The California native’s content is derived from private and social experiences. Recurring images of televisions are transformed from everyday icons into abstract, glowing forms.

Oliver Clegg

In his recent work, the British conceptual artist Oliver Clegg has created surreal fantasy spaces filled with familiar objects. His images of studio interiors are filled with whimsical paintings on easels and repeated objects on shelves. Television sets and windows are common features, providing two perspectives on the exterior world. Often the same image appears on both, creating a doubling, looping effect.

Edward Kienholz & Nancy Reddin Kienholz

Throughout their careers working together and separately, Edward Kienholz (1927-1994) and Nancy Reddin Kienholz (1943-2019) were fascinated by TV. They had TVs switched on in every room of their home and studio, all day, every day. “I have long had a love/hate relationship with American TV,” Edward once wrote. “To try to understand my ongoing stupidity and perhaps to express some kind of critical objectivity, I find that I keep making TV sets out of anything that vaguely resembles a TV apparatus (oil containers, blocks of concrete, surplus jerry cans, etc.).”

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By Brian Lowry
Artwork by Barbara Kruger

Gordon Gekko, the amoral investor in Oliver Stone’s Wall Street, got it partly right when he said, “Greed is good.” Greed might not be beneficial to society, as Michael Douglas’ character argued, but in recent times, it has certainly helped produce good TV.

Granted, greed has taken many 21st-century iterations in television that Gekko scarcely could have imagined back in 1987, among them an abundance of unscripted shows, from the Real Housewives franchise to game shows (including one called Greed, which Fox aired in 1999 as its answer to ABC’s Who Wants to Be a Millionaire) to what amounts to real-estate porn. Moreover, programming touching on wealth and class issues now originates around the globe, with a particularly rich vein of South Korean fare punctuated by Squid Game, which has found a highly receptive audience in the U.S. and internationally over three cutthroat seasons on Netflix.

When it comes to scripted drama, Succession, the recent three-time Emmy winner as outstanding drama series has emerged as the poster child for attitudes toward the uber-rich in the C-suite. The HBO show also highlighted the wide range of behavior that might fall under the broad “greed” heading, from those desperate for money (see Squid Game) to those climbing the corporate ladder (Industry) to those either striving for or barely clinging to suburban bliss—a theme that runs through a host of shows, including The White Lotus, Your Friends & Neighbors, and No Good Deed.

Not surprisingly, the most unsettling look at modern capitalism, Severance, weds distrust of the corporate class with technology—specifically, a company so committed to its bottom line that it devises a high-tech surgical means to sever employees’ memories of what happens outside of work so they can pursue their office life unimpeded by thoughts unrelated to their jobs. As the Apple TV+ series suggests, what better way to ensure the wholesale pursuit of the almighty dollar than eradicating pesky distractions, like home and family, in the name of a more perfect work-life balance?

The exploration of wealth and status in television is nothing new—think back to the frothy soaps of the 1970s, ‘80s and ‘90s such as Dallas, Dynasty, and Beverly Hills, 90210—but the genre has grown more complex and nuanced in the streaming age.

Lately, shows have included more pointed considerations about the widening divisions between economic classes. Squid Game—inspired by the lingering effects of the 2010s financial crisis in South Korea—became a surprise worldwide sensation in 2021 that tapped into fears about income and class inequality that have become even more pronounced in recent years. In its second season, the show revisited that desperation though its impact was blunted by a steadfast focus on the have-nots and not the shadowy haves who financed the deadly competition. 

Other series have found distinctive ways to explore the same dynamic. HBO’s The Gilded Age, which returned for its third season in June, looks to historical precedent by zooming in on the tension between old and new money in 1880s New York, when robber barons tried to top each other with their lavish personal spending. The network’s lamentably finished behemoth Succession, meanwhile, focused on a deeply dysfunctional media family—inspired in part by Rupert Murdoch and his progeny—that seemed to be ripped from recent headlines. Over its four seasons, the show dissected the gap between those who grew up with wealth—specifically, heirs to a corporate fortune who were born on third base and convinced that they’d hit a triple—and those who must climb the economic ladder themselves, including distant relatives like gawky cousin Greg and romantic partners who married into the family. 

Consider the Roy family’s treatment of Tom (Matthew Macfadyen), who’s granted relatively high-level jobs in the Roy-controlled conglomerate thanks to his marriage to ambitious first daughter, Shiv, but is just as easily dismissed and ridiculed because he so nakedly covets what they already have. As digital media strategist Elizabeth Spiers observed in The New York Times, “Power and money are fine if you have them already. It’s wanting to acquire them that’s the problem.”

Still, greed, and its various implications, aren’t confined to the uber-rich. In Netflix’s No Good Deed, the sale of a house in L.A.’s Los Feliz neighborhood unleashes the worst impulses in a swath of potential buyers (while also exposing a central mystery about the sellers), reinforcing the lengths to which people will go to secure their claim to the American dream. Many recent shows depict greed as less about getting what you don’t already have than hanging onto what you currently do. Take the rich investor (Jon Hamm) who turns to crime to sustain his lavish lifestyle in Apple TV+’s Your Friends & Neighbors. He counts on the fact that everyone in his personal circle is so rich that they might not even notice if a $250,000 watch goes missing. 

Hamm’s Andrew “Coop” Cooper has much in common with a key figure in last season’s The White Lotus, an heir to Succession that also shares some Squid Game DNA in its rumination about the divide between the high-class patrons of a resort hotel chain and those tasked with serving them. Like Cooper, Jason Isaac’s Timothy Ratliff operates outside the law to preserve what he has, while hiding the threat of losing it from everyone close. Unbeknownst to his wife and kids, he’s on the brink of arrest for financial crimes. As the screws tighten through a series of increasingly urgent calls and messages from back home, he begins to ponder extreme lengths to protect not only his reputation but that of his entire family—convinced that his brood has become so accustomed to their private-suite lifestyle that depriving them of that blanket of comfort seems unimaginable. 

Admittedly, series creator Mike White’s vision isn’t as dystopian as the idea of the cash-strapped betting their lives to pursue financial lifelines, all for the entertainment of one-percenters who view human sacrifices as the ultimate form of entertainment. It’s not a huge leap, however, from the challenges facing Squid Game contestants to those of White Lotus employees charged with pampering their well-heeled clientele.

Historically, much of TV viewing has been aspirational, offering regular viewers glimpses into well-manicured lives behind high gates. Early TV hits like Queen for a Day rewarded women for sharing their hard-luck stories, while the syndicated ‘80s hit Lifestyles of the Rich and Famous documented the fabulousness of mansions and VIP rooms. In the 2000s, The Apprentice burnished Donald Trump’s image as a titan of industry and paragon of ostentatious wealth, with considerable creative license thanks to the producing acumen of Survivor producer Mark Burnett.

While most of these shows focused on the symbols of wealth, their underlying dramatic appeal centered on what a sizable bank account allows people to do—and get away with. In the case of The White Lotus and Succession, that includes murder. 

For those on the other side of the wealth gap, there’s comfort in seeing the rich grappling with the “More money, more problems” part of that equation. Sure, they might have fancy cars and live in mansions, but they can still be as messed up and miserable as the rest of us.

Having money is one thing, but there’s a consistent thread running through these shows, beyond their voyeuristic appeal. True happiness can remain elusive, in a way that reinforces the often yawning gap between economic privilege and character. Or as Parker Posey’s oft-quoted mother in The White Lotus puts it, “Just because people are rich doesn’t mean they’re not trashy.”

The Art of Greed
Barbara Kruger

We know Barbara Krugrer’s art when we see it. Big, bold words that put their finger on the most pressing issues we experience. What we like (shopping, fashion, entertainment) and what we want (power, money, control). She often employs photographs—black and white, grainy, enlarged—overprinted with white text on bands of bright red. 

In 1993, she published Remote Control, a collection of essays addressing who has power to speak and whose voice is heard. A frequent topic was the form and content of television, from personalities like Bob Barker, Johnny Carson and Pee-wee Herman to shows like Dallas, The Simpsons and Saturday Night Live. In one piece, she dissects Lifestyles of the Rich and Famous. “Television’s penchant for evacuating meanings and roughing up the mechanics of transference and identification plays havoc with the viewer’s actual positioning,” she writes, noting that viewers can either watch on-screen excess with “distanced amusement” or “project madly into the melee.” 

The Reagan-era seductions Kruger critiqued in Remote Control are just as prevalent today. Kruger draws us in with her words and images only to highlight the disparities–of the Western world. She captures our insatiable hunger for more, all the time, while reminding us to be vigilant about where that pursuit will lead us. —Rochelle Steiner

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