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    Kate Moss, Christy Turlington and the New Calvin Klein

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    There hasn’t been a Calvin Klein runway show in almost seven years. Calvin Klein himself has not attended a runway show for his brand in nearly two decades. But on Friday, the brand, now designed by Veronica Leoni, and Mr. Klein returned.It was Day 2 of New York Fashion Week and the official unveiling of the Calvin Klein Collection, the high-end, high-fashion expression of the Klein look. The one that would prove it’s not just about jeans and underwear anymore.It was a homecoming in more ways than one.The show was held on the ground-floor gallery space at 205 West 39th Street, the garment district headquarters where Mr. Klein moved in the 1990s and where the company remains. The space was white, as per the original Calvin minimalist aesthetic, with white benches and a white carpet displaying a new logo in the black typeface of the old Obsession perfume ads. Mr. Klein, 82, who sold his company to PVH in 2002 and has mostly been off the fashion grid since then, made his entrance in a natty, black three-piece suit and tie like a good-will ambassador from another time.From left, Christy Turlington, Kelly Klein, Calvin Klein and Kate Moss at the fashion show on Friday.Jamie McCarthy/Getty ImagesSeated next to him was his former wife, Kelly Klein, and across the runway were his former muses, Kate Moss and Christy Turlington, in tailored black Calvin coats; Ms. Moss wore a slip dress beneath her coat. Nearby, Mario Sorrenti, who had photographed her naked Obsession ads back when they were a couple, was chatting to friends.“It’s very emotional,” Mr. Klein said of being back in his old office building and seeing his label back on the runway. It was a reminder of the heady days when Calvin Klein defined a certain kind of breathy, urbane American sportswear and drew the attention of the crowd to New York. The air was replete with nostalgia.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Chanel Takes Its Métiers d’Art Show to China, for 1,100 Guests.

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      The house goes all out for its V.I.C.s.What do you do if you are a fashion house possessed of the most coveted open designer job in the business, the subject of manic rumors and speculation, with the world watching every move you make for a hint of announcements to come?If you are Chanel, you hold the first mega-show of a European luxury brand in Hangzhou, China, invite about 1,100 guests, including Tilda Swinton, Lupita Nyong’o, Liu Wen and about 600 local V.I.C.s — very important clients — and get on with business as usual.Meaning, in this case, you offer a bit of glamorous outreach to a customer segment that, after years of explosive growth, has been very publicly slowing down, sending the fortunes of many global fashion brands dropping. Chanel, the second largest luxury brand in the world, with 2023 revenues of almost $20 billion, has not been immune.And if the V.I.C.s — which is to say, clients who spend at least $20,000, and possibly up to $500,000, a year with the company — won’t go to the brand, the brand will go to them.“To come to China after Covid was one of our top priorities,” said Bruno Pavlovsky, Chanel’s president for fashion. “We started seriously to plan it nine months ago. It’s the right time to focus on our Chinese customers.”After all, he acknowledged: “At the moment, we have less customers in our boutiques. We have less what they call one-timers. But we are still very powerful and very successful with our V.I.C.s. And what we are doing here is trying to create a unique experience and a bond.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rihanna Steals the Fashion Awards

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      And a dozen other looks that made news at Britain’s Met Gala of style.She wasn’t even nominated, and Rihanna still stole the show Monday night at the Fashion Awards in London.Arriving last, as has become her wont at events like the Met Gala and the Alaïa show, and there as a plus-one to support her partner, ASAP Rocky, who received the Cultural Innovator award, the artist and Fenty mogul made her entrance in a turquoise wrap coat and faux fur hat from Christian Lacroix’s fall 2002 couture collection. With that she wore a black corset, black leather opera gloves and sheer black tights. The effect was kind of haute Flintstone meets the Folies Bergère.As for ASAP Rocky, he wore Bottega Veneta — a navy chore coat, matching pants and a red leather tie — and called the honor “surreal.” That was also an accurate description of the Royal Albert Hall, where the awards were held and where a crimson disco ball cast a new light on a familiar scene. But it was Rihanna’s enormous hat, jauntily tilted and visible from every vantage point, that summed up the point of the night: The business of fashion may be serious, but wearing it should be fun.Her look was as laudable as the actual winners, who included Alex Consani as model of the year, the first trans woman to receive the recognition; Grace Wales Bonner as British men’s wear designer of the year; Simone Rocha as British women’s wear designer; and Jonathan Anderson of Loewe and JW Anderson as designer of the year for the second year in a row.That choice wasn’t a big surprise, especially given Mr. Anderson’s moonlighting this year as the costume designer on the Luca Guadagnino films “Queer” and “Challengers” and the multiple wild rumors surrounding his future job prospects, but some of the other outfits were. Here’s what else caught our eye.More Method DressingNicola Coughlan of “Bridgerton” wore a Gaurav Gupta gown.Gareth Cattermole/Getty ImagesAnd Simone Ashley wore Prada.Scott A Garfitt/Invision, via Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kamala Harris Wears a Dark Suit and Weary Smile in Concession Speech

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      In her concession speech, Kamala Harris offered an image for a long fight.Kamala Harris speaking at Howard University was to be an image for history: a record of the first female president, not to mention the first Black female president and the first president of South Asian descent, giving her victory speech. Instead, what turned out to be her concession speech became the coda to an unprecedented election; the end of one story, rather than the beginning of another.That did not mean that Ms. Harris was any less a pioneer, or a role model, in the moment. Even if what she was modeling was how to make over the public face of defeat.Standing before the red bricks and the white columns that provide the backdrop for Howard commencements, Ms. Harris wore a businesslike pantsuit in a muddy burgundy that read, through the screen, as almost purple (interpret that as you will). The jacket was buttoned, an American flag pin bright against one lapel, and the pants were cut with a bit of a flare at the calf. With it, she wore her usual pumps, pearl earrings and a satin blouse in the same eggplant shade, complete with a cravat, or ascot-like tie. If there was a telling detail, that was it.The cravat is a cousin of the floppy bow Ms. Harris has often worn at major public occasions — the one that seemed to symbolize both tradition and subversion, men’s wear and a woman’s place, and to acknowledge that despite the fact that she had never put gender at the center of her candidacy, it was there all the same.Ms. Harris paired her suit with a cravat, an accessory that hearkened back to history.Ruth Fremson/The New York TimesIn the context of her concession speech, the cravat hearkened back to history — her own and that of the women and the politicians who came before her — and in that context, it represented, as she said in that speech, the idea that some fights were long. That this one had been going on for decades (even centuries) and would continue afterward. It was, in that way, a symbol of both a promise and a lament.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Milan Fashion Week Full of Surprising Stranger Things

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      Standout shows from Bally and Bottega Veneta bring Milan Fashion Week to a close. Gucci, Versace and Moschino do some recycling.And thus began the season of the weird. After decades in which clothes that telegraphed sex or stealth wealth dominated the Milanese runways, it’s the stranger things that seem the most on target now.“There’s a feeling that anything could happen, no matter how fantastical,” Matthieu Blazy wrote in his Bottega Veneta show notes, before seating his audience on low-slung leather bean bags in animal shapes — Jacob Elordi plopped down onto a bunny, Michelle Yeoh onto a lady bug. It turned a cavernous warehouse into a fun house and forced every guest to adopt an alternate perspective.“Well, it’s kind of an irrational time,” Simone Bellotti said in something of an understatement backstage after his brilliant Bally show, inspired by the German Dadaist Hugo Ball.Indeed, the most eye-catching appearance of the week was not, as it turned out, Mr. Elordi, or Jin of BTS taking a post-military service front row seat at Gucci, but Cheryl Hines, the actress-wife of Robert F. Kennedy Jr. She showed up at Bally just after the news broke about her husband’s sexting relationship with a political reporter. (Apparently Ms. Hines is friends with the brand’s new owner, Michael Reinstein of the global private equity firm Regent.) And the best casting was not Cavalli’s supermodel reunion but Sunnei’s embrace of 70- and 80-something models in its 10th anniversary meditation on time. As opposed to that old fashion shibboleth, timelessness.Sunnei, spring 2025SunneiYou can either retreat into the safety of the elegant chocolate suit (for that, go to MaxMara), the always-appropriate leather trench (at Tod’s, Matteo Tamburini did it best) or you can take the confounding, bizarro nature of this global moment and turn it into a look. The best shows in Milan did.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tory Burch, Rachel Scott, and the Female Fashion Figures Making Waves

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      One year ago, when it was announced that Sarah Burton was leaving Alexander McQueen after 26 years (13 as creative director), that she would be replaced by a young guy named Seán McGirr, and that that meant that all of the designers at Kering, the second largest fashion group in the world, would be men, the news caused a rare moment of breast-beating and introspection in the fashion world. Why were all the big jobs going to men? Why did there seem to be so few women designers?Well, on Monday it turned out that Ms. Burton, and her special kind of poetic power-through-tailoring, would be staging a return, when LVMH named her creative director of Givenchy. That happened to be the same day Tory Burch held a show in New York that solidified her position as one of the tent-pole labels of the week. It was the same day Rachel Scott unveiled a Diotima show that confirmed her as one of the most exciting young designers in the city.All three events functioned as a reminder that not only are there women designers — there are great ones. Perhaps it’s time to focus on them. You see interesting things when you do. Ms. Burch being a prime example.For the last few years she has been pushing herself out of the comfort zone of Lee Radziwill-on-vacation caftans and ballet flats on which she made her name, surprising a fashion world that had largely pigeonholed her as a designer of suburban chic. Instead she has made an increasingly convincing case that she is the Claire McCardell of her generation, a legitimate heir to the woman who helped invent American sportswear.This season was no different, the combination of her main lines and Tory Sport, which used to be designed as two separate collections, leading her to … well, a combination of sport and style that seemed particularly apropos in a post-Olympics, post-WFH world.Tory Burch, spring 2025Swipe for More →Tory BurchYuki Iwamura/Agence France-Presse — Getty ImagesSlaven Vlasic/Getty Images For Tory BurchSlaven Vlasic/Getty Images For Tory BurchSlaven Vlasic/Getty Images For Tory BurchSlaven Vlasic/Getty Images For Tory BurchWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Spotted at the RNC: Melania Trump, and Many Faux Ear Bandages

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      As the Republican National Convention drew to a close, it painted a red, white and blue picture.On the final night of the Republican convention, just in time for her husband’s official nomination as his party’s presidential candidate, Melania Trump finally took her place by his side — sort of.She was the last Trump family member to make her entrance at Fiserv Forum in Milwaukee, stoking the will-she-or-won’t-she anticipation to the end, arriving well after Ivanka Trump and her husband, Jared Kushner, who have also been largely absent during the campaign; Don Jr. and his fiancée, Kimberly Guilfoyle; Eric Trump and his wife, Lara; and Tiffany Trump and her husband, Michael Boulos. (Barron Trump, Donald Trump’s son with Melania, did not appear, but assorted grandchildren did.)She walked in alone, in a red suit and towering red heels, hair down, bestowing queenly waves on an adoring crowd.Melania Trump enters on the red carpet at the final night of the Republican convention.Doug Mills/The New York TimesIf the suit struck a chord, that may be because it had been seen before. Mrs. Trump had worn the ensemble — from Dior, with a New Look silhouette — in 2017, when, as first lady, she visited Paris with her husband for the Bastille Day celebrations. For anyone who remembers that suit, seeing it again was like sliding down a wormhole to the recent past when the Trumps occupied the White House — a further reminder, like the virtual White House projected behind Mr. Trump as he made his speech, of the point of the whole shebang.Mrs. Trump was offering something of a preview of how she may again play her part. (Not to mention the fact that, despite Mr. Trump’s statements about manufacturing in America and buying American, she has never seemed all that interested in that idea.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cries of Sexism Greet a Nike Olympic Reveal

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      The sporting giant offered a sneak peek at its track and field outfits for Team U.S.A., and an unexpected backlash ensued.Ever since the Norwegian women’s beach handball team made it known that they were required to wear teeny-tiny bikini bottoms for competition into a cause célèbre, a quiet revolution has been brewing throughout women’s sports. It’s one that questions received conventions about what female athletes do — or don’t — have to wear to perform at their very best.It has touched women’s soccer (why white shorts?), gymnastics (why not a unitard rather than a leotard?), field hockey (why a low-cut tank top?) and many more, including running.So it probably should not have come as a shock to Nike that when it offered a sneak peek of the Team U.S.A. track and field unies during a Nike Air event in Paris celebrating its Air technology on Thursday (which also included looks for other Olympic athletes, like Kenya’s track and field team, France’s basketball team and Korea’s break dancing delegation), they were met with some less-than-enthusiastic reactions.See, the two uniforms Nike chose to single out on the mannequins included a men’s compression tank top and mid-thigh-length compression shorts and a woman’s bodysuit, cut notably high on the hip. It looked sort of like a sporty version of a 1980s workout leotard. As it was displayed, the bodysuit seemed as if it would demand some complicated intimate grooming.Citius Mag, which focuses on running news, posted a photo of the uniforms on Instagram, and many of its followers were not amused.“What man designed the woman’s cut?” wrote one.“I hope U.S.A.T.F. is paying for the bikini waxes,” wrote another. So went most of the more than 1,900 comments.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Virgil Abloh’s Legacy Reaches a New Stage

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      Shannon Abloh and the Fashion Scholarship Fund unveil a new plan.Many companies, including fashion companies, may be going silent about their diversity, equity and inclusion initiatives in the face of political change. The last round of major designer appointments may not have included a single creative director of color. But at least one group is doubling down on its commitment to broadening the style-talent pipeline.At its annual gala on April 8, Peter Arnold, the executive director of the Fashion Scholarship Fund, the nonprofit that is dedicated to expanding access to the industry for underprivileged students, and Shannon Abloh, the widow of Virgil Abloh, will unveil a new strategic plan for the Virgil Abloh “Post-Modern” Scholarship Fund. The new initiative will double the number of recipients and expand the way the fund defines support.As such, it marks the next step in Ms. Abloh’s efforts to consolidate her husband’s legacy.Mr. Abloh, the pioneering Black designer who founded the brand Off-White, collaborated with Nike and became the first Black creative director of Louis Vuitton men’s wear, died in late 2021 of a rare form of cancer.“When he became successful, Virgil was the first Black face that many kids saw in a room they didn’t know they could enter,” Ms. Abloh said via Zoom from Chicago just be fore getting on a plane to fly to New York for the Fashion Scholarship Fund event. “He and I talked about, How can we turn this into something that really means something over time?” The Virgil Abloh “Post-Modern” Scholarship Fund was part of the answer.Shannon Abloh with the designer Aurora James at the CFDA awards ceremony in November 2022.Nina Westervelt for The New York TimesNow, she said of the D.E.I. reversals, “it’s really nerve-racking, seeing the changes that are happening. But for me, all it means is that the work needs to continue to be louder. It just makes me double down and say, ‘OK, then we need to fight harder.’”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More