What Happened to Gucci?

I wanted to love it. I genuinely did. Gucci has been in freefall quarter after quarter after quarter, and nobody roots harder for a good comeback story than me. When Demna was tapped by Kering to revamp Gucci, I understood the logic. He resurrected Balenciaga out of its most damaging moments, and he can create cultural relevance out of thin air. I will even go as far as to say that he may be the most talked-about designer of the last decade. I was open to it, genuinely, and I watched the Fall/Winter 2026 show debut with every intention of being convinced. 

I was not convinced.

Demna is so talented and formulaic in the way he views his collections. Every detail from the darkened venue with the single dramatic spotlight, the celebrity-stacked front row engineered for maximum press saturation, the provocateur casting of industry legends with new faces and the AI generated campaign teasers are so undoubtedly Demna. It was a spectacle in the very sense of the word, but so were every one of his collections and shows at Balenciaga. In fact, it's almost uncanny how similar the pieces are. The models wore Cagole pumps, but this time with the Gucci horse hardware slapped onto the front. So as undoubtedly Demna as the collection was, I really wanted to see something new. 

There were also things in the collection, like the fluid tailored suits and Kate Moss’s backless dress, that were beautifully constructed. But a collection is not a greatest hits compilation, and when I try to imagine the full Gucci Fall 2026 range together in store, I get so lost. Tracksuits were next to pleated floral dresses, which followed mock fur blousons and draped evening gowns. Demna described this collection as different characters all working together to form a cohesive framework for the modern Gucci. There was just far too much explanation needed for this specific collection to form a coherent narrative for the future of Gucci.

Gucci Lookbook Collection

Gucci was also historically, undeniably sexy under Tom Form. It has not, sadly, been sexy since. The commercial instinct to return to that, with the ultra low trousers, hip-skimming leather suits, and GG logo things, is not without logic. The brand truthfully needs to move product. To do so, they must feel desirable again, and Demna made a calculated decision that the fastest road back to desirability runs through Ford’s greatest hits – which I do think was a mistake.

What the show delivered was not Tom Ford’s Gucci. It was a Black Mirror episode about Tom Ford’s Gucci. I felt like I was watching a parallel reality where all the references I had once known were visually familiar but slightly off. Ford’s era was transgressive because no one saw it coming. It rewrote what luxury sexuality could look like at a specific cultural moment that cannot really be recreated. Demna’s version is not transgressive in 2026. It's almost nostalgic, and nothing is less sexy than nostalgia. 

What does this all tell us? Outside the Palazzo de Scintille, fans gathered against barricades to see this show. Honestly, such a fair reaction. Because the spectacle surrounding the collection was doing an enormous amount of work, it placed so much pressure on the clothes themselves to carry their weight. I think Demna was aware of this. The noise was intentional precisely because the collection was not loud enough on its own terms. Luckily, Demna knows how to fake a show. He knew we wanted the sexy Gucci back, so he said, “Ok, I can show you sexy.”

That approach is a defensible strategy for a brand rebuilding from a low point, but Gucci is not rebuilding from nothing. It is a house with a century of real and specific identity accumulation, and there is something genuinely uncomfortable about watching it resort to an engineered virality to prove it still matters. The work is not to manufacture it but to understand its role in the history of fashion and move it forward. The goal for Gucci should not have been to return to its most photographed moment and hope for the audience's anamnesis.

The collection will sell. Demna will definitely get his headlines, Kering will report optimism, and the industry will call the debut a success because the cameras showed up and we responded. But a successful debut and saved house are two separate things. Sexy is not a front row or a legacy callback in a thong. Sexy is so self assured and has nothing to prove. The show needed all of the noise it could get, and that, more than any individual look, is the detail worth sitting with.

Xoxo,

Annie

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5 Things I Want This Week: Spring Break

This week’s edition of my shopping addiction files feels especially justified because the city decided to start feeling like California this weekend, which can only mean one thing: spring break is dangerously close. 

This absolutely scorching forty degree weather has naturally derailed my ability to think about anything practical. Instead, I’ve been sourcing bikinis and convincing myself that it is time to photosynthesize. 

So while it may technically still be winter, my brain has already relocated somewhere much sunnier. Here is a list of pieces that are fueling my dreams of long beach days, frying to a crisp, heading back to shower and changing into a perfect outfit, and then biking to dinner… and doing it all over again the next day.

Songmont Small Gather Bag

Songmont has been building a very well deserved reputation in the mid-range bag category. The silhouette of this bag is simultaneously effortless and architectural, and the gathered detail gives it this softness and dimension that most bags at this price point simply don't bother with. The navy color is such a transitional neutral, and it feels polished yet versatile enough to carry throughout the day.

Holli Studio Ana Leather Halter in Deep Bordeaux

The Ana halter introduces an unexpected material into warm-weather dressing. The deep Bordeaux leather gives the piece this richness and structure, while the minimal cut ensures it remains wearable within a relaxed seasonal wardrobe. Rather than functioning exclusively as outerwear or statement layering, the material becomes an effective way to add weight to lighter seasonal fabrics. 

Havaianas Square-Toe Flip-Flop

Yes, they’re Havaianas. Yes, I have owned and lost approximately a million pairs. And yes, I will still be buying more, because every summer someone tries to reinvent the sandal, and every summer we end up right back here. The Slim Square version is the sharper, sexier option on the classic, with a square toe, barely-there straps, and that long line profile that elongates your legs.

Triangl Vinca Black Bikini

I have done a lot of bikini testing over the years. As a self-proclaimed swimwear expert, I will always gravitate toward a little black bikini. This Triangl one is the hottest Alexis Ren, 2016 summer bikini on the market. It’s universally flattering and effortlessly versatile across skin tones. It’s the bikini you reach for when you just want to feel good.

Asta Resort Ana Top and Carolina Skirt

This is the exact kind of effortless set that I envision throwing on for a vacation dinner after tanning. The ivory sequins peeking through introduce texture and catch light without overwhelming the design, while the halter silhouette and long skirt keep the shape clean and modern. It’s a little sheer, a little resort, a little Capri. Paired with sandals or a heel, it easily transitions from dinner to drinks.

The best part of a good vacation wardrobe is not having to think about it once you arrive. You step off the plane and feel the warm air, knowing you are going to look and feel good.

In just a few weeks, I will update you from a beach somewhere in my little black Triangl bikini.

Xoxo,

Annie 

Walk With Us: Dylan Kelly on NYFW

Is New York Fashion Week dead? Designers decamping to Paris. Editors whispering of early departures before the last look even clears the runway. The NYFW eulogy has become an industry reflex, putting real pressure on its designers for years.

How can this be true? It’s New York Fashion Week. Let’s talk about it.

Amid the noise, Dylan Kelly offered OhSoAnnie something far more useful than another obituary. Thanks to the “Walk With Me” genius himself, we get a walk-through of the week as it actually felt on the ground. By now, he’s everywhere that matters. Backstage before the first look, front row before the lights dim. Phone up, story posted, while everyone else is still looking for their seat assignments. In a fashion week saturated with commentary, Dylan has become one of the most important voices actually worth listening to.

So when he said this season felt different, I paid attention.

“What felt different about the energy of New York Fashion Week this season?”

“There’s a heightened pressure for New York to be good,” Dylan told me. The narrative that NYFW is losing its momentum hasn’t exactly disappeared, and he was refreshingly honest about it. “NYFW is not dead,” he said, but undoing that stigma is another matter entirely.

Still, this season felt like a real effort to push forward. He pointed to Rachel Scott’s debut at Proenza Schouler as a symbolic start of a new era, looking to the future rather than relying solely on nostalgia. “It was a juxtaposition,” he explained. An “experimental designer stepping into a legacy house and giving it new meaning.” 

At Bronx and Banco, models stepped out of taxi cabs in a perfectly theatrical tribute to the city. As Dylan put it, “It felt like the city itself had wandered onto the runway.” The style has always been here, he noted, but to keep the city itself at the forefront, “you have to find the New York moments." 

“Which emerging designers are you rooting for right now?”

Dylan has always had an instinct for spotting talent early, and two names surfaced repeatedly.

First, Kieth Herron of Advisry. “New York is home, and you can feel it,” he said. The collection featured motifs and utilitarian jackets with functional pockets – pieces that reflect how people actually move through the city  

Pipenco Lorena, meanwhile, stood out for the opposite reason. Kelly described her show as tapping into “full fantasy,” complete with larger-than-life hats and dramatic silhouettes. What makes her work compelling is the balance. Beneath the performance are real, enticing pieces. “Editorial and commercial are hard to balance,” he noted.

As someone who shares her Romanian roots, I have been rooting for Lorena as well. There is something especially thrilling about watching a designer from our corner of the world step onto the New York City stage with this much imagination.  

“Which show best captured the spirit of New York right now?”

“Coach always gets New York,” Dylan said, without hesitation.

At the classic Cipriani Downtown venue, guests arrived through a line of taxis, carrying apple-shaped bags and Statue of Liberty charms dangling from their belts. It was playful, almost literal, and completely authentic to the city. 

For Dylan, Coach’s Stuart Vevers understands the crucial need to design something for the new generation of New Yorkers without losing the brand’s heritage. The room was filled with real, New York people that made it feel like home.

“What’s happening backstage that would surprise people?”

“Everything moves really fast,” Dylan said.

Backstage, he was struck by the sheer “breadth of talent” packed into those crowded rooms. One of his favorite moments was watching Pat McGrath work on Queen Alex Consani’s face. No livestream or TikTok recap can quite capture the mastery at work. So much of the magic of fashion week is happening backstage. Thanks to Dylan, we got a little sneak peak!

Adding to the week’s list of surreal encounters was Dylan’s interview with Martha Stuart for Carolina Herrera’s Good Girl fragrance campaign. He described the exchange as “unintentionally hilarious,” as Steward — arguably the most put-together woman alive — earnestly explained on camera why she qualifies as a “good girl”.

Through all the bustle and glamour, he said, the environment is "surprisingly warm.” Busy, yes. But people are happy to talk, share stories, and be part of it all. 

“If someone could only attend one show this season, where would you send them?”

“Easily, Veronica Leoni at Calvin Klein.” 

He described it as a true fashion show. No distractions, no gimmicks, no oversized set pieces. Clean, sophisticated, sharp tailoring, with perfect lighting and clothes that held their own in real life.

The room itself was part of Leoni’s statement. The front row was dressed almost entirely in Calvin, turning themselves into a genius advertisement of the collection. The lighting was ultra-crisp and ideal for examining every cut and proportion before them. As the master content creator Dylan Kelly puts it, the lighting was "conducive for the both the line and my content.”

Most importantly, “the clothes were simply better.” The cuts were sharper, the silhouettes more confident, the whole collection operating on a level that felt "noticeably above much of the week’s competition”. Calvin Klein stood out for focusing on the clothes themselves. Sometimes, that is the boldest move of all. 

New York Fashion Week, as Dylan made clear, isn’t pretending everything is perfect. However, it is trying so visibly to move forward. Maybe that is the real spirit of the city. The city has never relied on perfection, but always survives on momentum.

So thank you Dylan Kelly for letting OhSoAnnie walk a few blocks of the week alongside you. Your influence is truly changing the industry. I, for one, am already waiting for the next “Walk With Me”.

Xoxo,

Annie

5 Things I Want This Week

This New York winter has turned me into a sweatpant loving, ten-layers-of-sweaters plus a fleece, coat, and hat girl. As much as I loved January – birthday celebrations, the start of a new semester, and returning back to the city to see my friends – it refused to end. 

So yes, my perfect excuse to stay out of the cold has obviously been shopping. A lot of it. Honestly, with the layer combinations I have been pulling out this winter, my excuse for shopping is proving to myself that my sense of style still exists. Of course, I love to share, so here is a list of 5 things that I keep coming back to this week. 

Paloma Wool – Plomy Leather Jacket. 

The silhouette of this jacket is genuinely perfect. It’s narrow and structured without feeling stiff, and the crossover neckline gives it such a distinct redesigned-classic look. The buckle detail adds just the amount of hardware to maintain its sleekness. It’s recognizably a leather jacket, but it’s sharp and a little cold, making everything else under it look clean and intentional.

Massimo Dutti – Contrast Nappa Leather + Knit Gloves

Confession time: I’m born and raised in California, and have survived New York with no gloves for all of my college experience. That is simply not happening this year. 

What I like about these is that they don’t feel overly “winter accessory”. The leather on these gloves is sleek, and the knit cuff keeps it from feeling too costume-y. They’re practical, but also polished in a way that makes them the perfect finishing touch to any winter outfit. Added these to my cart IMMEDIATELY.

Reformation – Coreen Knit Top

My friends and I went shopping yesterday and accidentally ended up in my favorite store. I beelined to this top – only to find out that it has been their most popular item, which makes perfect sense. The fit is clean and minimal, but not dull. The cap sleeve and sheer knit make it feel interesting and somehow sexy. It is the perfect non-basic basic and you need it. 

Merlette – Zadie Dress in Midnight

I recently saw this dress on one of my style icons, Hannah Lovey, and instantly saved it to share here. The halter incline is so flattering and gives it shape and elegance, and the skirt has that airy volume that moves so well. It’s romantic, beautifully made, and I can picture it working for everything from daytime to dinner with the right shoe. 

Adanola – Oversized Pocket Zip-Through Fleece in Coffee Bean

If you see me walking through campus, I’m almost 100% in a fleece with a massive coat on top. That’s the reality. 

But fleeces can cross over from soccer practice to Miu Miu really quickly depending on the cut and color. Adanola gets it. The oversized cut and coffee-brown color of this one is so rich, warm, and polished. It is something you can throw on constantly but still look put-together. There's nothing better than an off-duty, not sloppy piece, and this one does it for me.

I want to keep doing these posts often, partly because it's fun, and partly because it makes my shopping addiction feel a little more productive. Consider this an on-going wishlist where I bring you guys into whatever I’m obsessing over and adding to cart. And as winter persists here in the city, we can all indulge together. More soon!

Xoxo,

Annie

Ralph Lauren’s Fourth-Quarter Comeback

Ralph Lauren has historically occupied a paradoxical position in the fashion industry: omnipresent yet oddly peripheral. The brand never really disappeared, but it drifted into forgotten Pinterest boards and end-of-season clearance racks. It was always legible, even beloved, but increasingly spoken of as safe, generational, and “vanilla” rather than fresh and new. Everywhere but nowhere all at once. What has unfolded over the past several seasons is a complete recalibration of authority, as Ralph Lauren has made a perfectly executed comeback of the century, now taking over the internet as the designer for the 2026 Winter Olympics. 

To buy into Ralph Lauren is to buy into a better way of life. The world of Ralph Lauren is an aspirational world defined by taste and tradition. It is a world of remodeled estates, worn leather armchairs, crisp white shirts, and candlelit dinner parties. The garments themselves do not promise a total American Dream transformation or immediate status, but they invite you into a world of ease and unashamed confidence. That it is not to say that Ralph Lauren is about becoming someone else, but about momentarily stepping into a world of tradition and taste. 

Luxury thrives from a distance. With the pressure of more subbrands, department stores, and collaborations, Ralph Lauren was everywhere except where the luxury consumers wanted to see it. The shift from the craftsmanship valued by Ralph Lauren to the streamlined production tactics of Stefan Larsson did not help. Miniscule, seemingly harmless shortcuts slowly killed the luxury of the brand. 

Then came Partice Louvet with surgical incisions. Instead of adding more, he removed. Distribution was tightened to the novel items, excess product was cut away, and the brand was pulled out of most department stores. He curated the store fronts themselves, creating a unique shopping experience of private suits and hospitality-driven customer service. Louvet restored the distance, and with it, desire. By making Ralph Lauren harder to reach, he made it worth reaching for again. 

In 2025, the revenue skyrocketed back to $7.1 billion. Ralph Lauren pulled off a luxury reset that the future generations want to follow. The brand is something rather new to Gen Z, but somehow feels so familiar. While this was partially due to the rise of the “Old Money” aesthetic on social media, I believe that our generation needed something traditional, timeless, and stable in a trend-driven and ever-changing world. This is exactly what their marketing budget went to. From the Oak Bluffs collection to MLB style capsules, the brand found ways to become relevant by reminding us why they were cherished in the first place. We found our way back to Ralph Lauren.

Photos: Courtesy of Ralph Lauren and Vogue.com

With the return of the 2026 Winter Olympics, the world is looking directly at Ralph Lauren. The Olympics are, at their core, an exercise in continuity. Every four years, the world reenacts the same ceremonies, the same symbols, the same fans, the same commitment to greatness. Ralph Lauren as the designer for the U.S. Olympic kit works for this same reason. The collection is staying true to the heritage silhouettes, sculpted yet slouchy knits, tailored outerwear, and a chic palette. These are the types of garments that are frozen in archival photographs, preserved in black-and-white from another era, and untouched by trend or time.

Courtesy of Vogue.com and Ralph Lauren

Opening (left) and Closing (right) Kit

The Olympic collection is a genius marketing tactic to reaffirm the idea that Ralph Lauren has returned with authority, not by dropping something entirely new, but by being recognized as something that you already know and love. A sweater you reach for without thinking. A blazer that holds together like a relic. The kind of clothes your parents saved and you once rejected, only to come back years later, begging for more. Some things are easier to inherit than to reinvent. In a culture absolutely addicted to immediacy, Ralph Lauren offers patience. It is for this reason that this Olympic collection will age better than the moment it debuts.

Xoxo,

Annie 

The Philosophy of Fashion: Machiavelli

Machiavelli would never have dismissed fashion as frivolous. He would have seen it for what it is: a mechanism of strategy. In his world of The Prince, appearances are directives. He writes that, “everyone sees what you appear to be,” but “few experience what you really are” (Machiavelli, XVIII). Power, after all, depends on what seems true rather than what is actually true. Perception precedes truth; seeming good often matters more than being good. This same logic holds today, perhaps at least for some, when it comes to the performance of fashion.

Chapters 15 and 18 lay bare a world where moral virtue gives way to political theater. Machiavelli claims, “a man who wishes to make a profession of goodness in everything must inevitably come to grief among so many who are not good” (Machiavelli, XV). The prudent ruler – or, in our case, the prudent dresser – learns to seem merciful, seem generous, seem noble. Appearance, then, is a form of strategic armor. Clothing ceases to be mere indulgence in fabrics and silhouettes. It can be the first signal of one’s hierarchical place. It can be a disguise, camouflaging the wearer in society’s endless sea of conformity. It can be a spectacle, skillfully drawing attention to what is desired. Would Machiavelli consider neutral tones prudent? A sudden splash of color a signal of audacity, confidence, or risk? A finely tailored suit as a projection of legitimacy? To Machiavelli, such choices are never innocent, and every aesthetic decision is intentional.

It is quite radical to apply this perspective, as it would imply that fashion ceases to be about authenticity. The modern mantra “express yourself” would strike Machiavelli as dangerous naïveté. The true question to him is not “Who am I?” but “What must I seem to be at this moment?” When understood this way, fashion becomes a dialect of power: a semiotic system where something as simple as a hemline can tip the balance between dominance and dismissal. From the miniskirt slicing through propriety to Westwood making anarchy couture, fashion has never been innocent. To choose deliberately is to master fortune in miniature, turning fabric into leverage in a way that “wins princes their states” (Machiavelli, VI).

And, yet, beneath the cynicism lies something almost honest. Machiavelli would urge us to think like statesmen when we open our wardrobes: Who is the audience? What is the impression? Where is the balance between fear and love, audacity and restraint? His wardrobe would not express personality so much as construct it. When we dress, we too are acting upon an audience, calibrating our image to inspire trust, admiration, or envy. 

What is truly radical is that Machiavelli forces us to admit that we are already performing. It may be frightening to know that “men in general judge more by their eyes than by their hands” (Machiavelli, XVIII). Machiavelli’s perspective, then, is politics in the smallest sense. 

Do I agree with Machiavelli’s nihilism? Not necessarily. But, there is prudence in recognizing that fashion always speaks. Our clothes, like our words, are already silently making arguments about us. Machiavelli strips away the illusion of innocence to see the calculation that lies behind our clothing choices. He leaves us with the most unsettling truth of all: even beauty is a strategy. Fashion is political. We have the power to wield it to our will.

Xoxo,

Annie

Machiavelli, Niccolò. The Prince. Translated and introduced by Tim Parks, Penguin Classics, 2014.

Cucculelli Shaheen Sets NYFW Ablaze

Cucculelli Shaheen isn’t a brand you wear because you want attention, but a brand you wear because you already have it. Founded in 2016, the New York based couture house charmed the city with its intricate hand embroidery, celestial symbolism, and modern romanticism.

Anna Rose Shaheen, the brand’s co-founder, retains the firm belief that “couture should empower the wearer, not overpower them.” The intentionality of their collections is evident in her commitment to highlighting the feminine physique through the strength of the design, not limiting the body to rigid silhouettes. She sculpts the silhouette intentionally to honor the body.

Co-founder, Anthony Cucculelli only strengthens the cut, the technique, and the architectural integrity that holds the dream of Cucculelli Shaheen together. The sophisticated motifs that ooze out of his creative mastermind have given collection after collection the most decadent and rich design language on which the philosophy of the brand prospers.

Photos via @cucculellishaheen on Instagram.

Unlike surface embellishment meant to dazzle from afar, Cucculelli Shaheen’s embroidery invites intimacy; it rewards the observer who comes closer, who looks carefully.

They also draw heavily on the idea of the cosmos and all the stars, constellations, and geometry that makes up the galaxy. Wearing their garments, then, becomes a way to appreciate the infinite expanse of the universe, and one’s unique and personal position within it. Cucculelli Shaheen’s designs transcend fleeting fashion, and embody the eternal glory that is a well constructed, almost mythic quality of good fashion.

At the heart of the brand lie elements of modern romanticism that honor beauty, longing, and emotion. Strength is balanced with delicacy, and structure with this sense of softness – as if looking upon a Bernini piece that feels soft enough to mold. With silhouettes that match the body’s natural form, Cucculelli Shaheen’s runway is a canvas for the most romantic of pieces. Like a myth, a memory, or a woman you only saw once, the house of Cucculelli Shaheen is creating that feeling that you have been trying so hard to describe, but never could.

Photos via @cucculellishaheen on Instagram.

This NYFW, Cucculelli Shaheen ignited the runway with Flaming Hearts, their twenty-first collection. True to form, the house elevated the runway into a full experience at Pier 40 – a location that satiated their appetite for the unexpected. We saw live bands, raw energy, and a punk rock spirit that added to the grit of New York City and the grandeur of their couture.

Photos via @cucculellishaheen on Instagram.

The Flaming Hearts collection is fiery, it’s sharp, and it has so much attitude. There is this sense of reckless elegance where beauty so seamlessly blends with edge. What made this collection special was the rough Jacquard fabrics, embroidery, and layers of micro-tube beads, pearls, and metallic florets over scalloped netting and tule. Just absolutely incredible work. I cannot wait to see you all at the storefront in SoHo for an even better look.

Xoxo,

Annie

A Reflection of My Time as a Summer Fellow at the Hudson Institute of Political Studies

There are places that make you think—and then there are places that refuse to let you think the same way ever again. The Hudson Institute of Political Studies belongs firmly to the latter. What I expected to be a prestigious seminar series turned out to be something closer to a controlled intellectual detonation.

We began in the texts—old ones, foundational ones. Plato, Machiavelli, Lincoln, Publius. These authors became sparring partners. Their questions about justice, power, freedom, virtue became our questions, both in a “let’s discuss over coffee” kind of way, and in the sense of genuine existential interrogation. Why do laws bind? What is liberty worth? Can a soul be ruled wisely?

No answer was accepted at face value. Not once. Mrs. Rachel Mackey and her cohort of teaching assitants had the rare ability to dismantle your argument without dismantling your spirit. They taught relentlessly, precisely, and with the utmost care. In that atmosphere, my writing changed. My way of speaking changed. My thinking became leaner, more disciplined, more dangerous – in the best sense of the word.

But Hudson is a place where ideas are not confined to the page but enacted through simulations, strategic wargames, staff rides across the hallowed battlefields of Gettysburg, and conversations that stretched long past midnight. Theoretical debates about statesmanship didn’t stay theoretical for long – especially not when you’re standing in Gettysburg, listening to your classmates recite the words of those who died there, or when you're asked to defend a national security strategy in front of a mock NSC.

In one simulation, I found myself navigating diplomacy as the Press Secretary of South Korea, parsing trade policy and strategic alliances under pressure. In another, I was rewriting legal precedent in a mock Supreme Court case. There was no room for abstraction detached from reality. The entire experience demanded synthesis between history and policy, ethics and action.

What truly stunned me, though, was the community. Imagine walking into a room full of people who not only have opinions on the nature of the good life, but are eager to stay up until 2 a.m. arguing about it. People who can transition from Clausewitz to Shakespeare to criminal justice reform without once sounding forced. People who make you better just by how earnestly they’re trying to get at the truth. That was the real treasure of the summer – not just the knowledge gained, but the friendships formed in its pursuit.

And the mentors and alumni – wow, I could just rave about these lovely people forever. These were people who took us seriously, who gave generously of their time, their intellect, and their encouragement. My own mentor modeled the kind of integrity and public purpose I hope to carry with me forever. If you ever want to see what real civic education looks like, look no further than the Hudson Institute.

When the program ended, we didn’t graduate so much as scatter like seeds. Each of us left with a mission. And while we returned to different campuses, different cities, and different callings, we share the same conviction: that politics is a pursuit. That leadership begins with character. And those ideas can still shape the world.

The lessons learned and friendships forged will extend far beyond the bounds of this summer, guiding my intellectual pursuits and personal convictions for decades to come. Indeed, my graduation as a Fellow does not signify an ending but rather the beginning of a lifelong journey dedicated to exploring and defending the profound ideals at the heart of political life. Thank you to Mrs. Rachel Mackey and the entire Hudson Institute Team. Their work has, and will forever change lives.

Xoxo,

Annie

Brand Spotlight: The Citizens of Humanity Group

As an owner of way too much denim, I can truly attest to the fact that not all denim is created equal. Wearing well-crafted denim is like slipping into armor for your confidence or a second skin. It is hard to come by, but when you do find it, it brings out your best self. 

In the saturated world of fast fashion and greenwashing, AGOLDE and Citizens of Humanity are prime examples of companies that look out for you and the planet. 

Both brands are part of the Citizens of Humanity Group, a family-run collective based in downtown Los Angeles that has been leading the charge of ethical production. Think vertically integrated manufacturing (yep, they own their factories), radically transparent sourcing, and some of the most forward-thinking environmental innovations in the industry.

AGOLDE, founded in 1993 and relaunched in 2014, is your go-to for reimagined classics, such as vintage-inspired cuts and modern edge. If you’ve ever slipped into a pair of crisscross jeans or a 90s pinch-waist straight leg and felt all eyes on you, that’s AGOLDE magic.

Citizens of Humanity is the older, effortlessly sophisticated sibling. Since 2003, COH has been defining timeless silhouettes, artisan washes, and a commitment to craftsmanship that feels like art.

And trust me, after reading their sustainability report — yes, I read it so you don’t have to — I’m even more on board.

The Process 

AGOLDE and COH are digging into something called regenerative farming. Translation? They’re planting cotton in a way that is improving soil health, increasing biodiversity, and even pulling carbon from the air. Since 2021, they've sourced over 1.4 million kilograms of this cotton. 

Most denim dyeing is quite honestly…toxic. But these brands are using Eco-Indigo, a revolutionary dye made by French biotech. It’s made from sugar and ethanol (super sweet), slicing CO₂ emissions in half.

Recycled cotton? Check. Reclaimed leather? Double check. They’re even using RenTec tech to make leather that saves 90% of the water. 

And denim washing? You know, the part where thousands of gallons of water are used for one pair of jeans? Not here. AGOLDE and COH use ozone machines, lasers, and E-Flow tech. I imagine Ozone machines as the air-purifying, stain-lifting angels of denim washing.

Ozone (the same gas that protects us from UV rays) is used instead of harsh chemicals to bleach or fade jeans. It’s non-toxic, super efficient, and makes your denim look vintage without wrecking the planet. Lasers then etch that worn-in, distressed look right onto the fabric. Instead of using sandblasting or chemicals, the laser literally burns patterns into the denim surface. Finally, E-Flow uses air and tiny microbubbles to apply treatments (like softeners, dyes, or finishes) with barely any water. 

Commitment to the Future

Beyond current initiatives, the Citizens of Humanity Group is dedicated to ongoing sustainability advancements. Plans include implementing water recycling systems in their Turkish facilities and eliminating single-use plastics throughout their production processes. By continuously seeking innovative solutions, AGOLDE and COH aim to inspire industry-wide change and promote a more sustainable future for fashion.

To sum it up:

1. You are wearing the best fitting jeans for every body type

2. The cotton came from a farm that’s basically the Gwyneth Paltrow of agriculture

3. The whole operation uses minimal water and sugar!

AGOLDE and Citizens of Humanity are not making sustainable promises, and then shipping you a package of anxiety-inducing jeans that barely fit wrapped in six pounds of plastic. Instead, they are walking the walk in perfectly constructed jeans.

Here is the Sustainability Report for further reading!

Xoxo,

Annie

Met Gala 2025

Another Met Gala is in the books and we have so much to discuss. This year’s exhibit, “Superfine: Tailoring Black Style”, was a fascinating take on fashion as a form of self-expression and resistance. The dress code, “Tailored For You”, was inspired by Black dandyism, which I discussed in an article directly after the announcement. The event gathered a crowd of A-list celebrities to celebrate Black style and creativity, and raise $31 million for the Metropolitan Museum of Art.

Honestly, I believe that the theme this year was slightly too predictable, leaving little room for the shock factor that some themes have allowed. However, I cannot say that I am upset, and I will tell you why. Let’s dive in, shall we? Best dressed, worst dressed, and the gloriously controversial middle ground.

Best Dressed  

Laura Harrier’s ensemble, by Zac Posen in collaboration with Gap, was truly tailor-made with a subversive and rebellious tone. Posen prepared for this moment for his entire career, pushing the boundaries of self-expression through his collections. Harrier wore a white look with a gorgeous oversized trouser and vest top, perfectly juxtaposing materials, dimensions, and sizes to create the illusion of grandeur on the body. You can tell that the look took modern dandyism into account, drawing on Posen’s individual style.

Lewis Hamilton, one of the Gala’s hosts, was styled in a custom Wales Bonner suit, creating an image of the ideal modern dandy. This look had everything from coattails and a tuxedo stripe, to an ivory sash and beret. In a Vogue article, designer Grace Wales Bonner mentioned that she had drawn inspiration for the look from one of Hamilton’s biggest inspirations, Cab Calloway. During the Harlem Renaissance, he dressed confidently, often styling a suit with mother of pearl adornments, and setting himself up loudly as a style icon (Vogue). Hamilton turned heads in this look, with a smile that brought it all together.  

As a co-chair, Colman Domingo wore a dual Valentino ensemble featuring a deep blue cape reminiscent of André Leon Talley’s iconic 2011 Met Gala look – which I will discuss more later. Beneath the cape, he revealed a gray, black, and white suit with contrasting textures and an oversized flower on the lapel. 

Zoe Saldaña delivered one of the most talked about looks at the event this year. Saldaña wore a custom black-and-white gown by Thom Browne that took over 10,000 hours to create. The ensemble featured a sculptural, backless black corset bodice paired with a floor-length white skirt adorned with 2.7 million white bugle beads. Browne delivered a classic silhouette and displayed what craftsmanship means in fashion. Her micro bob cut was also inspired by 1920s dandy fashion and perfectly aligned with the evening's theme. 

One of the best to ever do it. We know her. We love her. Zendaya. Styled by Law Roach, Zendaya donned a custom Louis Vuitton ivory zoot suit, paying homage to Diana Ross’s 1975 film Mahogany. The look was a sophisticated nod to the theme.  I need not say much.

Jodie Turner-Smith delivered one of the most powerful looks of the 2025 Met Gala in a burgundy leather Burberry ensemble inspired by 19th-century equestrian Selika Lazevski, complete with a bustle coat, embossed floral detailing, and a matching top hat.

Khaby Lame made a memorable debut at the 2025 Met Gala with a custom gray pinstripe three-piece suit by BOSS, styled by Ugo Mozie. The standout feature of his ensemble was a waistcoat adorned with over 20 vintage pocket watches as a tribute to the origins of his career, and of course, the drama of dandyism. 

It turns out money can buy style; at least for the Murdochs. Wendi Murdoch and her daughter Grace made a striking appearance in coordinating looks by Thom Browne. Their sophisticated looks were celebrated as some of the best-dressed of the evening, aligning seamlessly with the gala's theme

Lauryn Hill did not come to play! I mean…. the sculptural shoulders, the dramatic high collar, and the sweeping cape, complemented by a burgundy tie, amber pendant, and a cerulean blue Hermès Kelly bag. Perhaps the most coveted bag in all of fashion history! Hill's accessories included gold jewelry by Ghanaian designer Emefa Cole, paying homage to Ghanaian royalty, and a gold-encrusted fan that added a regal touch to her look. She is back and better than ever.

Gigi Hadid’s tribute look to Jospehine Baker is one of my favorite Miu Miu looks of all time. While it was not a typical approach, I believe that it embraces the daring craftsmanship and grandeur that we needed.

Ok I am almost done and perfectly on time for my final pick of the night, Rhianna. She made the most memorable appearance in a custom Marc Jacobs look that not only epitomized the theme but also served as the platform to announce her third pregnancy. 

Honorable mentions go to Joey King and Jennie Kim. Joey’s look was an eclectic custom Miu Miu suit, which I loved. I have seen Jennie Kim on every single “best dressed” list for this Chanel reimagined tuxedo tribute. It is straight out of Breakfast at Tiffany’s,and the long train is impeccable. How could I not put this on my list too?

Worst Dressed

I will keep this short and sweet. Mostly short. 

Did Sydney Sweeney look drop dead gorgeous? Yes. Was she on theme? No. Next.

Lisa Manoban, also from BLACKPINK, wore a Louis Vuitton bodysuit that sparked controversy due to embroidered faces that some mistook for Rosa Parks. The brand clarified the images were of artist Henry Taylor's acquaintances, but the confusion took far too much time.

Chappel Roan’s look was too glittery, 80’s disco-glam for my liking.

I hate to say it, but Hailey Bieber bored me. The blazer dress is EVERYTHING for me, but it just was not enough for such an incredible event. 

André Leon Talley

The spirit of André Leon Talley, shadowed over the event in stature, vision, and influence. As a pioneering Black fashion editor and longtime creative force at Vogue, Talley is still remembered for elegance, theatricality, and the importance of Black presence in high fashion. His bold style, unique eye, and thunderous presence reshaped the fashion landscape. Though the gala’s theme aligned with his lifelong mission, I still feel a deeper homage was overdue. I cannot help but think that Vogue itself did not make the ALT influence loud enough, commodifying a man who was once ostracized. Still, his legacy lives on in every dramatic train and sculpted silhouette. Thank you ALT. 

Xoxo,

Annie

Summer 2025 Shoe Edit

I loved putting together a Spring Break Wishlist and Style Guide, and I thoroughly enjoyed all of the feedback and engagement with that post specifically. So as the weather starts to warm up, I thought it would be the perfect time for a summer series!

Growing up in a coastal town, I despised wearing shoes over the summer. Something about the warm sand and the need to run from beach to beach made anything with a sole feel like a betrayal of the season. But as I’ve grown up, I’ve been on the hunt for something that keeps that carefree, barefoot energy without sacrificing style or comfort.

Footwear can set the tone for any look, in form and in function. This summer, the emphasis is on thoughtfully designed shoes that combine comfort with chic structure. 

Below, I’ve curated an edit of this season’s most compelling shoes, grouped by category. Each pair brings something distinct to your summer wardrobe, and reflects a balance of minimalism, material sophistication, and wearability. 

This list is highly focused on sustainably conscious brands, committed to ethical sourcing, transparency, and circular design. However, I want to include a brief disclaimer: it also features a few brands that, while not yet industry leaders in sustainability, are taking steps toward more responsible practices. After conducting research on the 2025 sustainability goals and public commitments of the following brands, I made a conscious decision to include them:

• On Running, for instance, has launched initiatives like the Cyclon program, offering fully recyclable shoes on a subscription basis, and continues to expand its use of bio-based materials. While not all lines are fully sustainable, the brand’s innovation pipeline is moving in a promising direction.

• Miista has shifted its production to Spain, prioritizing craftsmanship and localized supply chains. While its sustainability reporting could be more robust, its use of high-quality, long-lasting materials and slow fashion ethos aligns with the values of mindful consumption.

• Havaianas has made notable strides in sustainability. As of 2025, 97% of their sandals are produced with approximately 40% reused rubber. They have also implemented the reCYCLE program, encouraging customers to return used flip-flops for recycling. 

• Jeffrey Campbell has explored sustainable options through collaborations. Notably, their partnership with Berkeley-based boutique Convert resulted in a vegan-friendly shoe collection made from biodegradable fibers and jute, free of animal products.

Including these labels reflects the complexities of shopping sustainably. Progress, not perfection, is often the more realistic standard. The goal is not only to provide a guide to seasonal dressing, but also to support a more informed and intentional wardrobe evolution.

Sandals:

• Alohas Tory Sandals (Burgundy)
  Structured and intentional, the Tory sandal is made for someone who values symmetry and contrast. The deeper burgundy tone elevates it from typical neutrals, while the angular lines pair seamlessly with a more feminine look for the perfect contrast. Ideal for transitional summer evenings with a pair of denim shorts.

• Dolce Vita Judy Ankle Wrap Sandal (Black Leather)
  With its slim profile and wrap-around ankle detail, this sandal is grounded yet light. It offers subtle drama without dominating the outfit. Use it to anchor flowy silhouettes or add tension to minimalist separates.

• Havaianas Una Acai Sandal (Rust Metallic)
  A functional option with sculptural appeal. The copper-toned finish lends it a twist, suitable for styling with monochrome neutrals or relaxed summer suiting. Ideal for travel or urban exploring, where style and utility must co-exist.

• Jeffrey Campbell Origins Gladiators (Khaki Suede)
  The soft suede construction offsets the bold silhouette. I would love to wear these on a tropical vacation styled with earth tones and an architectural set. It is a bold option that I personally will be wearing all summer long.

Ballet Flats and Loafers

• Miista Yeida Ballerinas (Dark Red)
  A strong silhouette softened by high-quality leather, this is not a nostalgic ballet flat, but a refined, statement flat for structured wardrobes. The deep color makes it seasonless, easily styled with tapered denim, silk trousers, or minimal slip dresses.

• Alohas Sway Ballet Flats (Vanilla Leather)
  A cleandesign that prioritizes material and proportion. The neutral leather and square toe bring a sculptural element to everyday styling. This is a day-to-night flat when paired with sharp tailoring. I think this is my favorite pair yet.

• Bibi Lou Zagreb Slip-On Loafers
  For those who prefer a grounded base, this is for you. The woven detailing and soft structure make it feel practical, yet refined. I have them in burgundy and the quality is fabulous. 

• Seychelles Monet Mules (Tan Leather)
  These mules offer an elegant shape that is easy to slip on, easy to style. They are breathable and have the classic lace-up detail that we commonly see in ballet flats, but with a unique twist. I also just love Seychelles, because they only produce their products in small batches by artisans worldwide. 

Boat Shoes:

• Reformation Kyla Boat Shoe
  Subtle in its reference to the traditional nautical style, this shoe strips down the boat shoe to its essentials: stitching, soft leather, and profile. I know this is a controversial shoe this year, but if done correctly, they can be so chic.

Sneakers:

• Reformation Terra Sneaker
  I believe that the Terra sneaker is such a chic sneaker because of the color. The tonal palette blends smoothly with capsule wardrobes, and the sleek silhouette is perfect with dresses and pants.

• On Cloudswift 4 Sneaker (White)
  These shoes really nail comfort without aesthetic compromise. I am not the biggest On Cloud supporter, specifically as a longer distance runner. However, I think that this shoe does a great job at being both walkable and wearable. I know that it just compliments a workout set so well for those summer night walks. They are an easy option for the white sneaker of the summer. 

At the heart of this edit is the quest to find shoes that channel the barefoot freedom of summer, while still offering the structure and sophistication that an evolving wardrobe demands. I was looking for pairs that don’t just look good, but feel good. The selections here reflect that perfect balance. They are thoughtfully designed and made to be worn on repeat. Whether it's the texture of a huarache-inspired sandal, the quiet confidence of a square-toed flat, or the practicality of a refined sneaker, each piece reflects the effortlessness of an ideal summer shoe.  

Xoxo,

Annie

Philosophy of Fashion: John Rawls “Veil of Ignorance”

What would clothing look like if chosen without knowledge of one’s identity? No awareness of profession, nationality, gender, race, income, or physical form, only the task of selecting a wardrobe in the absence of personal information.

This question draws from philosopher John Rawls’ 1971 A Theory of Justice, in which he introduces the “veil of ignorance” as a method for determining the principles of a just society. By imagining ourselves stripped of all identifying traits, Rawls argues, we are more likely to choose institutions that are fair and impartial. But what might it look like to apply this framework to fashion?

Fashion, much like political structure, is shaped by implicit contracts, such as cultural and economic norms concerning beauty, gender, status, and production. While fashion is often associated with creativity and self-expression, it is also embedded in broader systems of labor, commerce, and symbolic capital. Certain groups benefit from these systems more than others, whether through access to luxury goods, favorable beauty standards, or the invisibility of their labor.

For example, investigations have uncovered instances in Nepal where children have been trafficked and forced to work in textile workshops under harsh conditions, producing garments destined for international markets. Survivor of this modern slavery, Nasreen Sheikh, has even founded the Empowerment Collective organization which utilizes leadership models to solve both the modern slavery issue and the climate crisis by 2030.

Within a Rawlsian framework, these asymmetries would not go unexamined. If one were to select clothing without knowing their place in the social order, certain priorities might shift. Production conditions, for instance, could become more central. If one might end up as a garment worker rather than a consumer, questions of fair labor and working environments would likely gain prominence. Likewise, durability and function could be weighted more heavily than trend or brand status.

This does not imply a rejection of aesthetics or personal style, but rather a reconsideration of the values underlying our fashion choices. Elegance, under this model, need not be eliminated, but its criteria might evolve. The emphasis could move from exclusivity and status toward accessibility, quality, and ethical considerations – though what exactly constitutes ethical fashion remains a subject of debate.

The exercise is not to prescribe a universal dress code, but to invite reflection. Rawls himself did not engage with fashion, but his theory offers a useful conceptual tool. It shifts focus away from personal taste or moral critique and toward structural imagination. 

Xoxo,

Annie

Commodifying Control

There’s something hauntingly meticulous about a regime that tries to control both the economy and the hemline. In authoritarian states, fashion is not left to artistry, rather it is nationalized. Structured. Watched. Reduced to utility. Yet within these constraints, style doesn’t disappear. It adapts. It resists. 

In post-World War II Eastern Europe, fashion became an instrument of ideological performance. Communist regimes, especially in countries like Romania, the USSR, East Germany, and Yugoslavia, emphasized the erasure of class distinction. In practice, fashion was used to cultivate a new class entirely: the ideal socialist citizen.

The look was often utilitarian and unadorned. State-owned textile factories churned out a variety of monochromatic pieces, designed more for ideological correctness than individual expression. Luxury was equated with decadence, Westernness, and bourgeois excess. Style was stripped of ornament, just as political speech was stripped of dissent, unless your family was a part of the upper echelons of the communist party, or had access to private tailors. 

By the 1970s and '80s, fashion publications like Burda, printed primarily in Czechoslovakia, became coveted contraband. Underground economies emerged around tailoring and textile swaps. Women repurposed curtains, dyed fabrics in bathtubs, and reverse-engineered patterns from smuggled catalogs. 

Still, fashion wasn’t only a space of quiet rebellion, but one of performative allegiance. In North Korea, for example, state-sanctioned haircuts and lapel pins bearing the Supreme Leader’s face remain mandatory. In Ceaușescu’s Romania, clothing production was centralized under the Ministry of Light Industry. Scarcity was built into the system with rations on fabric, limitations on colors, and surveillance of excessive dress all served to remind citizens that beauty belonged to the state.

An image capturing a fashion show in the People's Republic

Post-1989, the collapse of these regimes left a cultural and aesthetic vacuum. The flood of Western fashion into post-Soviet spaces created both exhilaration and disorientation. Brands like Adidas and Levi’s gained iconic status, less for what they looked like, and more for symbolizing access, autonomy, and capitalism..

Decades later, designers have begun referencing post-Soviet aesthetics on runways. For example Demna, of Balenciaga and Vetements, and the so-called “Eastern Bloc minimalism” that circulates in fashion editorials. But here, too, lies a tension. What does it mean when authoritarian symbolism is repackaged as a trend? When the aesthetics of suppression are commodified, detached from their original context?

State-owned style is a reminder that clothing is never apolitical. The silhouette of control and the shape of resistance can look eerily similar. Even under regimes that tried to regulate color, fabric, femininity, and form, style still found a way to breathe.

Xoxo,

Annie

P1 Fashion In The 2025 Formula 1 Season

With the start of the 2025 Formula 1 season at the Australian Grand Prix, we have already seen some fascinating race results, brand new teamwear collections, and apparel partnerships. Adidas has partnered with Mercedes-AMG and Castore with Red Bull, and the team kits have exploded in popularity considering Formula 1’s influence in modern culture. Formula 1 is, of course, the beautiful combination of speed, strategy, and sheer human daring played out on the world’s fastest stage. However, the teams and drivers themselves, let alone the grand prix events, have signaled a greater shift of luxury and style beyond the paddocks and into the heart of global fashion culture. 

Lewis Hamilton said, “there was [once] a sense that high fashion and high performance couldn’t exist alongside each other.” What is evident in 2025 is that from the grid to the runway, fashion’s motorsport moment has been given the green light. In fact, according to Karla Otto agency, “Formula 1 is the second fastest-growing sport contributing towards the Earned Media Value (EMV) of fashion brands, surging 35 percent in 2023.” A sport that combines luxury, speed, heartthrobs, and has social media presence is sure to be a marketing phenomenon, especially with the rise of the Netflix docu-series Drive to Survive. It is a sport for the rich, with leading brands like Rolex, Moët & Chandon, and an outrageous entry price, but that is where so much of its beauty comes from. 

Perhaps the most notable marker of the season is Louis Vuitton’s signing of a decade contract as a sponsor of F1. Like F1, Louis Vuitton is synonymous with luxury and heritage, but they also know how to create a spectacle. With the new branding of the Australian Grand Prix as the Louis Vuitton Australian Grand Prix, I am very certain that we will be seeing the focus of Vuitton as a whole shift to the pillars of F1 and its primary audience. Already, they’re redefining the visual language of a sport known for speed and precision by injecting it with even more opulence, theatricality, and old-world glam. 

With Pharrell Williams at the lead of the entire menswear industry, LV has already been toying with futurism, play, and spectacle. Formula 1 gives them the perfect runway to turn fashion into a full-sensory experience on and off the track.

In other words, expect to see Louis Vuitton designing not just for the runway, but for the raceway, tailoring its luxury to the world of pit stops, champagne showers, and globe-trotting fandom.

This is fashion’s high-speed future, and Vuitton just floored the gas.

The team that historically catches the most eyes is none other than Scuderia Ferrari. Ferrari’s signature “Rosso Corsa” red is instantly recognizable on and off the track. This season, the Scuderia Ferrari team is not only performing on the track but setting trends off it – especially with a fresh new driver lineup and an even bolder presence in luxury streetwear.

This year, they are partnering with Puma again to create a shoe that highlights the optimal performance and sleek racing style that an F1 driver possesses, while maintaining the influence of heritage and luxury that Scuderia Ferrari is known for. The clothing comes in the Rosso Corsa color with the yellow emblem that is so easily recognizable. Charles Leclerc is also featured as the face of the campaign, charming millions as the European heartthrob of the season. 

Ferrari is also continuing their race collaborations with Puma, Richard Mille, Ray Bans, and Brunello Cucinelli. 

On the Red Bull Racing Team, we will see primarily AlphaTauri, and a whole lot of it considering the speed of its newly announced global fashion ambassador, Max Verstappen. The global fashion brand has chosen Verstappen as a clear ambassador, as he dominated the 2024 season and did so with an attractive confidence that will continue to display their clothing at the twenty four locations on the 2025 Formula 1 calendar. He brings his personal commitment to remaining true to himself and his own style with this new collaboration. 

Red Bull has also given Verstappen a helmet for the 2025 season, inspired by the helmet he wore when he first started racing at the age of four. The helmet is designed as a tribute to his father, Jos Verstappen, whose own helmet left a lasting impression on Max. 

This season is just beginning and I have already seen the rise of fashion’s influence on and off the track. The stakes are only getting hotter. From pit lane to podium, and even onto the Met Gala red carpet, fashion is leading the charge. Buckle up, because we’re only on lap two! 

Xoxo,

Annie

Designer Spotlight: Amy Lawrence

We are just over the halfway point of the Melbourne Fashion Festival where, so far, the festival has showcased a stunning array of collections, from emerging Australian talent to internationally renowned labels. I ran to my computer this morning to report that Australian designer Amy Lawrence has just been awarded the National Design Award for her excellence in sustainable design and craftsmanship within the first five years of her establishment. Her sophisticated, hand-sewn creations have garnered attention for their innovative attempt at reshaping the future of fashion. I have had the privilege of presenting many sustainable fashion designers on this blog, but few have excited me as much as Lawrence.

Amy Lawrence founded her label in 2023, after the initial COVID lockdown, bringing a conscious approach to the industry. Known for her delicate, hand-sewn dresses crafted from undyed silks, Lawrence’s designs offer a unique juxtaposition of modern style and artisanal craftsmanship. She has chosen to work exclusively with natural fibers and avoid synthetic dyes. Each piece celebrates beauty and quality craftsmanship, while remaining ethically accountable. She has always admired slow fashion, producing made-to-order, limited collections out of her Melbourne studio that emphasize quality and longevity over quantity. 

What truly sets Amy Lawrence apart from her contemporaries is her commitment to craftsmanship. The choice to use undyed silks allows the natural beauty of the fabric to shine. The silks are sown using her distinctive fagoting stitch technique to create decorative seams with small gaps between fabric pieces. Lawrence manages to make the silks feel almost shell-like, maintaining their structural integrity while possessing an almost iridescent glow. The stitching allows sunlight to filter through the spaces like light between seashells scattered along a shore. Her silhouettes are youthful, allowing the models to float over the runway.

This award solidifies her status as a leader in the industry. This recognition speaks to her dedication in combining luxury with environmental responsibility. As her brand continues to grow, Lawrence’s influence extends beyond Australia, placing her at the heart of the global conversation on sustainable fashion.

For anyone looking to invest in high-quality, sustainable fashion that stands apart from the crowd, Amy Lawrence is the designer to watch. 

Xoxo,

Annie

Dandyism and the Met Gala 2025 Theme

Few fashion movements have embodied the intersection of art, identity, and social critique quite like dandyism. A phenomenon that has transcended centuries, dandyism is a statement, a philosophy, and an enduring testament to the power of fashion as a means of self-definition. From the extravagance of 19th-century European dandies to the cultural significance of Black dandyism in contemporary fashion, this movement remains a profound reflection of the era in which it exists. 

I first studied dandyism in a Western Art course at my University, where the professor emphasized the role of using clothing to practice defiance, self-mastery, and carefully curate a persona that speaks louder than words. From the aristocratic salons of 19th-century Europe to the streets of Harlem and the runways of Paris, the dandy has remained a symbol of reinvention.

And now, with the 2025 Met Gala theme, "Superfine: Tailoring Black Style," dandyism is taking center stage once again. When a Met theme first gets released, there is always a bit of confusion and uncertainty about what it really means and what it will attract to the carpet. I have put together a brief history and analysis of dandyism and what I believe the theme may look like.

Historical Background

Dandyism originated in late 18th-century England and France, reaching its height in the early 19th century. The quintessential dandy was the aristocratic or bourgeois man who curated an image of effortless elegance and supreme refinement. It was a performance of selfhood, a deliberate and calculated rejection of both excess and mediocrity. It is in more than what you wear, but where you are seen and how you behave.

A life of leisure has historically promoted dandyism, considering that a man who is but an observer of society, and one with the means to observe from a position of privilege, has the ability to drown himself in elegance. Dandies craft themselves into a fantasy of time and money, yet with complete detachment from these earthly pleasures. To dandies, life is a performance. 

To understand dandyism, we have to start with its original blueprint: Beau Brummell. Back in the early 1800s, when European men were still draped in elaborate embroidery and powdered wigs, Brummell threw it all out the window. Instead, he adopted  perfectly fitted tailoring and crisp white shirts. He believed fashion was about precision. He was both a fashion icon and a disruptor. Brummell turned getting dressed into art, and made sure people knew that true power was in the details. A perfectly tied cravat was his armor, and his way of commanding a room without saying a word.

Dandyism in Art and Literature

During the 19th century, dandyism evolved beyond personal style and became deeply embedded in the aesthetic movement. Writers and artists found inspiration in the dandy’s rejection of societal conventions and his pursuit of beauty for its own sake.

Oscar Wilde is a prime example of the literary dandy. His novel The Picture of Dorian Gray (1890) immortalized the dandy as a character whose devotion to beauty and refinement transcended morality. Wilde himself dressed in extravagant velvet suits, incorporated peacock feathers and silk, and used fashion as a means of artistic expression.

Manet’s famous painting Portrait of Émile Zola (1868) presents the writer as a modern intellectual dandy, dressed in simple yet refined clothing, surrounded by art, literature, and objects of taste. Unlike traditional aristocratic portraiture, Manet’s work emphasizes individuality over status, aligning with the dandy’s personal aesthetic philosophy.

In his masterpiece A Bar at the Folies-Bergère (1882), the men in the background, dressed in tailored suits and top hats, embody Parisian dandyism, effortlessly blending into the social scene while maintaining this sense of detachment.

Dandyism and Social Rebellion

By the 20th century, dandyism had moved beyond its aristocratic origins, finding new meaning in different cultural and racial contexts.

One of the most powerful reinterpretations of dandyism came through Black dandyism, which transformed the movement from a statement of aristocratic nonchalance to an act of cultural resistance.

From the Harlem Renaissance to contemporary fashion, Black dandyism has been an assertion of individuality in the face of racial stereotypes. Style became a way to reclaim dignity and challenge racial stereotypes, when societal respect was denied. It was a way of saying: I define myself—no one else does.

The Met Gala 2025 Theme

As the 2025 Met Gala highlights "Superfine: Tailoring Black Style," dandyism is poised to take center stage once again. It will be a moment for designers, celebrities, and cultural critics to reflect on the enduring power of style as a tool of identity and transformation.

This year’s theme focuses on the role of tailored fashion in shaping Black identity across generations. Inspired by Monica L. Miller’s book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, the accompanying exhibition will explore how fashion has served as both a form of self-expression and resistance.

I am expecting a combination of the velvet suits and statement hats of classic dandyism, with structured shoulders, gender-fluid silhouettes, and tech-inspired afrofuturism. 

The evening will be hosted by Pharrell Williams, Lewis Hamilton, Colman Domingo, A$AP Rocky, Anna Wintour, with LeBron James as the honorary chair. Other members of the committee include Simone Biles, Johnathan Owens, and Sha’Carri Richardson. This list really caught my attention because each individual will bring their unique perspective of style and influence from beyond the fashion industry. 

While we have seen style excellence from each host in their respective industries, from the runway to the racetrack, it is important to recognize just how influential these individuals have been in shaping the larger cultural conversation. 

I am especially intrigued by the addition of Lewis Hamilton. He has recently transformed the perspective of male athletes in high fashion. Not only is he distinguished in his sport of speed and precision, but he has been bringing those same concepts to the runways, becoming an influencer of meticulous design and quality tailoring. The fact that Hamilton is co-chairing the Met Gala 2025 is a testament to how far fashion has come in recognizing the influence of athletes beyond the court, track, or field. His presence on this year’s red carpet will likely reinforce the idea that tailoring is about the ability to command attention with both presence and precision.

Formula 1 is arguably a sport of dandyism as well. The sport has always embodied elegance, luxury, and precision. It is the perfect ecosystem for dandies to thrive.

Today, dandyism has experienced a resurgence, particularly in high fashion and streetwear. Designers such as Thom Browne, Gucci’s Alessandro Michele, and Rick Owens have played with dandy aesthetics, merging historical tailoring with modern silhouettes.

I believe that we will see Thom Browne and Rick Owens’ avant-garde interpretations of classic suiting, and Pharrell’s signature fusion of luxury tailoring with playful twists. And of course, I’m crossing my fingers for plenty of Zendaya moments!

"Superfine: Tailoring Black Style” is a study in how style and fit contribute to self-definition, ingenuity, and quiet rebellion in Black fashion. While details on the event are still scarce, the theme alone has already sparked my curiosity, pushing me to study the fascinating world of the dandy and the transformative power of clothing as a form of conversation.

I will do a more in-depth report when more information is released, but until then, I hope this was the perfect little teaser on this years theme! 

Xoxo,

Annie

Spring Break 2025 Must-Haves

Spring break on a tropical island surrounded by piña coladas and UV 10 is just what I think we all need right now. Every year around this time, I curate my own personal shopping bag that I can never actually press order on, but a girl can dream! This year I thought it would be exciting to share a peek inside of my ultimate wishlist of chic, over-the-top, and completely aspirational spring break essentials, so that maybe some of you can get in on the fun and wear these pieces on your trips.

Starting with a travel outfit, I am absolutely in love with the Reformation Olina Linen Cropped Pant. A crisp linen pant is so chic, especially when paired with this Chloé Graphic Tee from Net-A-Porter, and the Sézane Tilda Sandals. This is the perfect transition outfit from plane to resort — clean, comfortable, and so polished.

If you know me, you know that a bikini is practically my second skin. I was born and raised in a beach town where a swimsuit is the unofficial dress code. This year I cannot get enough of the barely-there bikini, like the Emily Bikini from Gimaguas, which has the perfect mix of a sleek cut and eye-catching appliqués that elevate the whole look.

Nothing beats a simple, high-quality swimsuit that gives you that effortless, just spent a week roasting tan. At the very top of my wishlist? The September Top and Playa Botton from Indah Swim. This set is minimalist, flattering, and exactly what I’d wear if I were living my best life somewhere in the Mediterranean.

For accessories I am going for these Miu Miu sunglasses that I can confirm are some of the most timeless and universally flattering pair of sunnies I have ever seen. Paired with this insane coverup from iLE AiYE Bespoke Knitwear. This women-owned brand is all about slow fashion, drawing inspiration from the holistic beauty of Ibiza. Plus, the cotton and alpaca wool used in these dreamy pieces are ethically sourced and sustainable, so you can look incredible and feel good about it.

For a daytime look or more causal dinner out, I pulled a few independent items that can be styled so many ways. First up: the City Mini Dress from Gimaguas once again. The v-neck and cinched waist combo create the perfect effortless silhouette, making it one of those pieces that just falls perfectly without even trying. It’s the kind of dress that works for anything, dressed up or down.

A sculptural top, like the Radha Top from Cult Gaia, is the best statement piece paired with a mini skirt, tailored trouser and flat. It’s bold, architectural, and guaranteed to turn heads. For the perfect balance of structure and softness, I’d pair it with the Double Love Knit Mini Skirt from Tank Air. The details on the skirt are so subtle, but the color and style complement the intensity of the top quite nicely. To tie everything together, I would add this Sézane Basket Tote that will be in their next Spring drop.

Last, but certainly not least, is perhaps the most controversial shoe of the season: the boat shoe. Personally, I am here for the Miu Miu Boat Shoe. This pair takes the preppy staple and gives it a fresh, fashion-forward twist, proving that with the right design, even the most divisive trends can feel undeniably chic.

Warm nights, ocean breezes, and candlelit dinners call for something a little extra. I adore a dress that feels just as dreamy as the destination itself. Think flowing silhouettes, lightweight fabrics, and just the right amount of shimmer to catch the golden-hour glow.

The first dress is the Hoda Maxi Dress by AFRM. The lightweight fabric makes it perfect for balmy tropical nights, while the sheer detailing adds just the right amount of allure for a vacation dinner under the stars. It’s the kind of dress that looks equally stunning with strappy sandals or barefoot in the sand.

The Aditi Gown, from Cult Gaia is the moment. With cascading ribbons that move with the breeze, this piece was practically made for golden-hour photos that will leave everyone asking, Where did you get that? Flowing, sculptural, and effortlessly dramatic, this is the gown to wear when you want to turn heads without even trying.

I saw the third dress on one of my favorite people ever, Maggie MacDonald, in her recent spring break trip video and I gasped. The Antheia Dress from Rat and Boa combines a feminine and masculine style that creates the hottest understated effect. The back is so unique, with a single strap that frames your figure so nicely.

Finally, the shoe of choice is quite simple for me. The Leena Flat from Cult Gaia is a recent addition to my wishlist, but it might just be one of my favorite pieces yet. Elegant, minimal, and effortlessly chic, this pair is designed to elongate the legs while complementing any dress without overpowering the look. Less is truly more here.

And there you have it — my ultimate, slightly delusional, but undeniably fabulous spring break wishlist. Whether you’re jetting off to a tropical paradise or just manifesting warmer days ahead, these pieces are all about effortless elegance, vacation-worthy glamour, and sophistication.

From crisp linen travel sets to barely-there bikinis, statement-making evening gowns, and even the most controversial shoe of the season, these are the looks that would define my dream getaway.

If you do happen to snag any of these, just know I’ll be living vicariously through you. Until then, I’ll be here, patiently waiting for the next flight to the Maldives!

Xoxo,

Annie

Deconstructing Fashion, Crafting Illusions, and Redefining Reality: An Analysis of Maison Margiela’s Avant-Garde Designs

The language of fashion is constantly written and edited by the creative minds behind the art. Designers such as Martin Margiela combine their knowledge in the modern and formal concepts of art history and the clothing production process, to produce pieces of art that embody the power of the designer to challenge the conditions of the laws and language of fashion. Drawing inspiration from Cubist elements of collage and geometry, Margiela utilizes multi-perspectival elements to strategically trick the eye into seeing the larger narrative of his ability to craft illusions, challenge norms, and redefine the very essence of fashion. He deconstructs his clothing to further challenge the notion that the eye can perceive all, as if seams are coming undone, revealing inner layers or unexpected details.

This article will analyze three of Maison Margiela’s collections that harness the cubist construct of theatricality and unconventional storytelling, using trompe l’oeil in order to deconstruct clothing in a way that unveils the craft of design, and challenge traditional constructions of how framing emphasizes and rewrites traditional clothing narratives upon the boyd. In conversation with thinkers and artists such as Clement Greenberg and Robert Rauschenberg, I will undo the stitches that hide the meaning of Margiela’s artwork to reveal the power behind what initially meets the eye in avant-garde fashion. 

Under the creative direction of Martin Margiela, Mason Margiela managed to deconstruct his pieces in a way that inverted the world of fashion by resetting traditional clothing norms. His initial attempt at the style of illusion debuted at the Maison Martin Margiela Spring 1996 show. This collection exemplifies Margiela's fascination with deconstruction. Garments appeared to be taken apart and then reconstructed in unconventional ways. Seams were exposed, linings were inverted, and clothing was left unfinished, challenging the traditional notion of a polished and refined appearance. The eyes of the Parisian audience were taught a new lesson of the power of trompe l’oeil in deception. In fashion, the term “more than meets the eye” gives power to the designer and poses a challenge to the viewer. It forces the audience to inquire about the reality before them, and allow a visual escape into the power of layering and collage. By using this craft, Margiela played with the idea of “[abandoning] sculptural function” in a way that does not deceive, but puzzles the eye (Greenberg). Clement Greenberg, a key figure in abstractionism discourse, explains collage as a way to break away from the traditional two-dimensional limitations of painting. If the tactile and sensory features of a work of art utilize the qualities of collage, the viewer will more likely engage with this artwork. 

Vogue Runway, Maison Martin Margiela Spring 1996 Ready-To-Wear, 1996

In the 1996 collection, Margiela strategically reversed the construction of pieces, juxtaposing reality and fiction, and thereby fragmenting the viewer's expectations as the models walked down the runway. The designer incorporated chiaroscuro negatives of photographs of clothes on fluid materials. Fixed loosely onto the supporting material, these photographs were difficult to distinguish from their true-form counterparts. When combined with conventional framing, the collection creates a play between illusion and reality. Models adorned loosely draped layers, blurring the boundaries between stitched, painted, and real elements. Margiela's intent went beyond focusing on individual models or complete looks; instead, he directed attention to his mastery of contrasting light and dark as "cadences of design” (Greenberg). This deliberate focus on the interplay of elements like deconstruction and layering, aimed to provoke questions about the three-dimensional qualities that Greenberg claims create a dynamic visual rhythm that enhance the viewers perception of the depth, form, and texture of the collection. 

It is also important to note the rhetoric that Margiela created through these elements. The show must be broken down into two elements: the pieces themselves and the models as representative figures. As previously described, the distorted proportions, flirtation of light and dark, deconstructed stitching, and strategic layering established a tone of mastery in the art of avant garde collage and modern illusion. However, the models adorning the clothing further aid in the understanding of fiction and reality. By veiling the faces of the models, Margiela committed to allowing the body to be the blank canvas for interpretation and reversal of fashion’s cult of personality. It evokes Neo-Dada elements of deconstruction for the purpose of making the frame visible. Artists such as Robert Rauschenberg harness like acts of erasure to create something new by destroying what was once there. It manipulates expectations to surprise reality. Margiela, used the body as another fabric, and used absence as effective a design choice to properly distort  how the rhetoric of the image on the models –composition, framing, and content – can be seen as persuasive strategies, aiming to influence the viewer's interpretation. The eye is tricked just enough to properly challenge the traditional expectations of art, and emphasize Margiela’s creative mastery in the layering of the elemental choices – an ode to collage itself. 

Another collection for discussion followed shortly as Margiela quickly grew in popularity as a creative mastermind. Martin Margiela revealed an even clearer understanding for collage and craft in his Autumn/Winter 1997 collection. Rarely does one see an artist or designer desire to harness the element of two-dimensionality over volume and depth. However, Maison Margiela strategically paired two dimensional materials and proportions on a three dimensional frame in an attempt to produce an element of illusion. The collection once again deconstructed and reworked materials onto a crafted background in an unfinished manner. What made this collection special was the use of “new versions of the previous season’s dressmaker-form tops” (Borrelli-Persson). The dressmaker-form tops used the frame of a typical linen mannequin, and transferred it onto the human body to humbly connect the craft with the finished product. Similar to the dressmaker mannequins, the words “Semi-Couture” are printed onto the textile to note the transparency in the crafting process. In Roland Barthes’s, Rhetoric of the Image, he identifies four key image messages conveyed through rhetoric. In this collection Margiela utilizes the linguistic message of the piece through the printing of this message, which “[constitutes] a kind of vice which holds the connoted meaning from proliferating, whether towards excessively individual regions or towards dysphoric values”(Barthes et al.). Margiela’s use of the printed layer on the pieces acts as a controlling device that prevents the interpretation of the collection from becoming too individualized or negative. Again, this returns viewers back to the idea that through the power of linguistic rhetoric as a layer of collage on Mariegla’s designs, the element of relay combines the images on the runway in order to convey a more complex message than words on a bustier. Here, fashion is presented as a form of performance art, akin to the avant-garde spirit of Cubism. 

Vogue Runway, Martin Margiela Fall 1997 Ready-To-Wear, 1997

The materials used in this collection as two dimensional elements are important to note for their roles in the idea of deconstruction. From “pattern paper”, “visible basting stitches”, “plastic bags” and “pliable metal”, Margiela managed to take apart the idea of what clothing is and play with the memoirs of the design process (Borrelli-Persson). Specifically, he displayed a piece which layered the blueprint patterns of the original dressmaker-form top onto the finished product itself. As previously noted, the base layer of the design holds power in its ability to speak on the craft process and origins of the collection itself. By adding the unexpected layer of the pattern, Margiela again denotes the crafting process, but also employs trompe l’oeil through collage. The audience is challenged to watch the patterns, raw and asymmetrically pinned together, move down the runway and lay flat on a three dimensional body, and “thrust into real life” (Greenberg). The model becomes the frame for a moving symbol of Margiela’s design process of deconstruction – painted, pinned, and constructed on. Even the illusion of the embroidered pins for the act of fastening challenges the idea of the act of construction, and the eye is decided into seeing a seemingly three dimensional figure that is actually flat. Without each layer and element, including the model, working cohesively, the piece would in fact lay flat. Further, Margiela chose to only overlay these two dimensional fabrics onto certain sides of the ensemble. By disrupting the harmony of the finished product, the layers provide asymmetry that challenges the geometry of a stereotypically finished garment. It is interesting to picture that a designer would purposely choose to leave the pieces layers, tattering, and unfinished and call them couture; but it is the genius of Margiela. It frames the collection in such a way that invites the viewer to question what in the world of fashion is truly real, or just an illusion of the mind.

Maison Margiela further deconstructed and pioneered the cult-classic Tabi shoe from his perspective, illustrating the idea that taking apart old ideas to establish an improved form is how fashion remains ever changing. The Tabi shoe can be traced back to fifteenth century Japan as a way to promote holistic healing through the mechanical separation of the first two toes. Margiela’s 1998 collection of Tabies were created to compare the qualities of the human body to those of clothing. The Tabi is designed with an uncanny resemblance to the shape of a human foot. Yet upon closer inspection, one element calls for inspection and interpretation: the toes. Resembling a hoove, the shoe has an animalistic quality that raises questions of ambiguity and bridges the gap between strange and beautiful – the incarnation of the word bizarre. What is important to note is that this unusual design is plastered upon a seemingly blank canvas of the foot. It almost erases the idea of a human foot and blurs the lines between the body and the utilitarian functions of a shoe. In terms of collage, it pieces together human and animalistic qualities in a geometrical way – the unconventional, angular, split toe design – to parallel the breaking down and reassembling of traditional collage elements. Once again, Margiela utilizes trompe l'oeil to “deceive the eye” into a double-take of the multi-perspectival elements which comprise this shoe. Is it a foot? Is it a shoe? Is it human or animal? The viewer's gaze through each layer of the shoe is then followed by understanding, which Roland Barthes’s claims is the purpose of the analogical message: the shoe is associated with both a foot and a hoove through resemblance. This returns back to the idea of the theatrical  nature of avant-garde fashion that can be identified through every artistic disciple – from cubism to surrealism. Why stick to traditional methods of representation when the mind is capable of producing a deeper understanding of the world around it once it is challenged? 

Tatsuya Kitimaya, Lasts for the tabi boots, 1991

Epitomized in Maison Margiela’s Spring Runway 1996, Autumn/Winter Runway 1997, and Tabi Shoe collections, the paradigm shift from the expectation of ready-made and couture clothing as conventional, to the idea that clothing is a canvas for artistic expression and deliberate conversation is made evident as the product of artistic inspiration. What made Martin Margiela so influential during his time as Creative Director was his ability to reinterpret classic garments, and breathe life into a dying language of fashion. The designer’s commitment to the unexpected qualities of trompe l’oeil, deconstruction, and the manipulation of visual elements for the purpose of reframing the narrative of fashion originated in Martin Margiela’s desire to deconstruct the stagnant of the language of fashion, and allow room for further discussion on societal, cultural, and temporal topics. Ideas such as the meaning of layers of linguistic and analogical rhetoric, the erasing of the original image inside of the frame, and the informal use of the human body using formal elements are only a few of the pieces that Martin Margiela has left as part of his lexicon of fashion. To become arguably the most influential wearable artist means to have the power to take inspiration, dissect it, and produce something even more influential in its place.

Xoxo,

Annie

NYFW 2025 Live (ish) Updates

As the industry’s biggest names set the tone for the seasons ahead, New York Fashion Week 2025 is more than just a showcase of clothing. This year is a theater of reinvention. Beneath the glamour, here’s what’s really happening:

The Anti-Trend Movement

While fast fashion continues to chase micro-trends, many designers are doing the opposite. We have seen a large increase of designers leaning into timeless collections that reject seasonality. Brands like The Row and Khaite have stripped back embellishments, focusing on impeccable tailoring, heirloom craftsmanship, and fabrics that age like fine wine. 

Runway Moments:

• Khaite’s opening show was a love letter to 1980s New York minimalism, with barely-there makeup and silhouettes so fluid they felt sculptural.

• Thom Browne’s shock moment? A completely monochrome, print-free collection—unexpected for a designer known for whimsical detail.

The After-Party Scene

Saks Fifth Avenue NYFW Kickoff Party:

• Saks hosted its annual pre-NYFW event at the newly opened Crane Club Restaurant in Chelsea. The evening featured a surprise performance by Caroline Polachek. Notable attendees included Laura Harrier, Thomas Doherty, and Alex Consani. 

Jimmy Choo Spring 2025 Campaign Celebration:

• Jimmy Choo, in collaboration with Chloë Sevigny, celebrated its Spring 2025 campaign at Jean's in New York City. The intimate dinner featured a special performance by Patti Smith and attracted guests such as Jack Harlow, Jemima Kirke, Cole Sprouse, Lisa Rinna, and Amanda Lepore. The evening concluded with a DJ set by The Dare. 

The It Bag Nobody Expected

After years of oversized, pillow-like totes, designers are shrinking the silhouette again. The hottest bag from NYFW? A vintage-style, ultra-mini clutch, spotted on the runways of Altuzarra, Carolina Herrera, and Brandon Maxwell.

Notable Collection: Ulla Johnson

Ulla Johnson’s Fall 2025 Ready-to-Wear collection was a study in quiet confidence. Heritage craftsmanship met a modern edge. Against an 8-foot sculpted poppy installation (a collaboration with French sculptor Julie Haminsky), Johnson wove a narrative of ephemerality and strength.

Rich ochres, midnight blues, and marigold florals gave the collection a lived-in warmth, while layered silks, structured jacquard coats, and handcrafted knits balanced delicacy with architecture. Gold-plated poppy belts and sculptural floral jewelry added an almost mystical touch. It was Ulla at her best.

Final Thoughts

This season so far is about a cultural reset. Designers are seeking inspiration in pre-digital craftsmanship, nature, and emotion-driven storytelling. The most unforgettable moments weren’t the loudest – they were the ones that felt intimate, handmade, and deeply human.

Xoxo,

Annie

Community Outreach: Pickle’s LA Fire Support Initiative

In the wake of devastating fires that have displaced countless families in Los Angeles, Pickle, a peer-to-peer fashion rental app,  has stepped up in an extraordinary way, demonstrating the power of community and compassion. This week, I had the privilege of volunteering at their clothing care package curation event, and it was an experience that left a significant mark on my heart.

Pickle’s mission to provide personalized care packages to those in need is nothing short of inspiring. Each bag is carefully curated based on the recipient’s specific requests, including their clothing sizes, preferences, and even unique needs like skincare and beauty items. As a volunteer, I was assigned to pack bags for individuals whose names and stories were provided. It was deeply moving to see their name and personal details—it made the entire process so much more intimate and meaningful. The event was not just about packing bags, but also about small gestures to help in restoring dignity and hope to people who have lost so much.

The Pickle team truly exemplifies excellence and kindness. Their event was impeccably organized, with every item clearly labeled by size and category. From coats and workout sets to beauty products, they thought of everything. The team was also incredibly supportive, always ready to guide volunteers and ensure every care package met the highest standard of thoughtfulness. Their passion and dedication were contagious, creating an environment where everyone felt connected to a common goal.

Meeting the Co-founder of Pickle was another highlight of the day. Julia O’Mara has a heart of gold and is a natural born leader. The vision for using fashion and community as tools for positive change was palpable, and they took the time to share the impact of the care packages with us. It’s rare to encounter leadership that is so hands-on and committed, and it reaffirmed my belief in the importance of companies actively engaging with the communities they serve.

One of the key takeaways from the event was the current need for specific donations. While Pickle has received an outpouring of support, there is an urgent need for men’s clothing and children’s clothing to ensure they can meet the diverse requests coming in from the community. If you have items to donate or can spread the word, now is the time to get involved and make a tangible difference.

This event was a powerful reminder of what can be achieved when people come together with a shared purpose. Pickle’s care package initiative is a testament to the strength of humanity and the role we all play in uplifting those around us. If you’re in the LA area, consider donating or volunteering with Pickle. Every contribution, big or small, has the potential to change someone’s life. Sending love and prayers.

Xoxo,

Annie