I can’t lie. I felt famous during New York Fashion Week. With my focus oscillating between Google Maps and the cobblestone streets of Tribeca, I had no time to stop and think about the scene I would be approaching. The thing with runway shows is they never start on time. Who shows up early these days anyway? For me, someone constantly late but willingly accepting every opportunity, NYFW’s schedule worked to my advantage. Still, inklings of doubt mixed with the rush of not knowing how late would be too late – leaving me with little room for mental preparation. In the case of the Brandon Maxwell show, I anticipated an intimate setting. I was told the guests were close friends, family, and a few high-profile fashion moguls who were asked to refrain from using recording devices during the presentation. It was a trusted circle of less than one hundred. I knew there’d be paparazzi outside impatiently awaiting the elite attendees. However, I didn’t foresee the vast amount of turned heads and focused cameras crowding the corner of Walker Street and Cortlandt Alley, all readily directed at me. Suddenly, I was someone to be noticed. Through the white flashes and crisp calls for attention, I approached the threshold of the Andrew Kreps Gallery. I presented myself to be checked off a list of people deemed special enough to see inside. Camera personnel and event staff had no clue who I was or why I was there – the irony. I wasn’t Julia Fox, Anna Wintour, or Blake Lively-level distinguished or expected. But I, Kaleigh Werner, was presumed worthy of being photographed and granted access based on proximity, invitation, and seating. It was thrilling. I felt as though I’d made it. In the literal form, yes, I’d arrived at my destination and found my chair. But metaphorically, I was on the cusp of something sensational that surpassed the rush of being realised through an entirely new lens. As a reporter, someone invited to review these presentations, it’s easier to block out the A-list noise. My attention remains locked on the intricacies of each collection, and figuring out how they mirror the thoughts of a designer. Whether sitting in the front or standing in the back, I’m concentrating on how a designer’s societal impression can be contextualised in fashion, while still adhering to the temperature regulations of the season. I’m in a gallery or a museum to perceive art, not at a red carpet event. I’m not being dressed by the brand. I’m not worried about how I look. The runway demands my attention. So, my gaze is directed there. This year I attended three shows: ADEAM, Atelier Ndigo, and of course, Brandon Maxwell. For ADEAM’s spring/summer 2024 show, hosted inside a warehouse on the west side of Manhattan, creative director and CEO Hanako Maeda effectively fused her longtime love for the ballet with her desire to “juxtapose the performance art as a sport”. “I think the collection combines the romanticism and couture-like craftsmanship that you see in ballet costumes with a more modern, sporty mood. I also added a touch of rock ‘n’ roll edge with the accessories,” Maeda told The Independent. Through tulle skirts, corsetry, ribbon, sheer Ponte, mixed media knits, and tailoring, Maeda - who designed the costumes for New York City Ballet’s Fall Fashion Gala in 2015 - reconfigured ballerinas to be models replicating a facile silhouette on the street. By using the specific material and intentional shape often associated with ballet, she harnessed the “athletic prowess” a performance artist displays and weaved it into everyday wear. Atelier Ndigo played with personal inspiration by utilising vibrant colours, textured fabrics, and structured pieces. From a bumpy white two-piece to balloon short sleeves, brand founder Waina Chancy once again proved to be an architect in dainty yet outspoken fashion. The white-washed walls of Spring Studios, complete with a backdrop of block brand lettering, only made every shade of red, purple, pink, and orange louder. Back at Andrew Kreps Gallery, Brandon Maxwell strayed from the eccentricity of his past spring collections to construct an ethereal response to the power of love. To him, that response is seen through sheer and natural beauty, along with coding that only added a breath of elegance. On the catwalk, gusts of chiffon, leather, knits, and denim blew past the few guests who sat in the studio. With flourescent lights and white ambiance, it felt as thought Maxwell had called upon angels to introduce a new wave of purity and innonence. Yet, the see-through materials mixed with belted pieces reminded us of the allure of form. The Brandon Maxwell spring/summer 2024 runway presentation wasn’t just the launch of a new line, but a visceral discussion on freedom and restraint - being simutaneously aware of both independence and determinism. From the distant eye, minimalism was triumphant. But upon closer look, the details were unveiled. Spliced sleeves turned biker-esque jackets and blazers into capes; sheer layers over and under long, fitted jackets transformed signature workwear into chic formalwear; and ripped, patchwork denim paired with slouched sweaters or unbuttoned button-ups brought an air of luxury to street style. As I exited down the steps to return to the reality of a typical work day, I stuck around to see who I could spot leaving the venue. NYFW has assumed a certain social stigma and media blitz. As much as it’s known for the inspired collections crafted by the minds of upcoming and distinguished talents, the seven-day affair has been hit with criticism, as more participants and curious observers are blinded by its social scene. After an animal rights advocate and PETA supporter stormed Coach’s spring/summer 2024 runway to protest the brand’s use of leather, discussion errupted around influencers increased presence at NYFW. Famed creators like Taylor Hawkins have been quick to point out how “dead” some events can get, due to the amount of brands that prioritise seating and dressing social media stars based on their online presence. Kelly Cutrone, best-selling author and CEO of People’s Revolution, echoed these sentiments in conversation with Dear Media during NYFW in February. “It’s just like, because you’re good at marketing yourself on the internet doesn’t make you a fashion expert,” she said about influencer being invited to shows. “Don’t pretend that just ‘cause you come here for a week that you’re in the fashion business.” For industry representatives - who are devoted to furthering the conversations that are evoked in fashion collections - their experiences are entirely separate from those who are invited to sit and make content about what they saw. These professionals are behind-the-scenes, speaking with the creative directors and producing copy to candidly honour their own work. “You know what I really don’t get, and what I don’t have much time for anymore. The fact that so much of the fashion content around the show that I see, especially on Instagram with these influencers, it’s really all about them,” fashion journalist Mosha Lundstrom Halbert said on her podcast, NEWSFASH. “It’s all about the fact that they got to go to fashion week - okay, cool. The fact that they’re being dressed by the designer - great, I’m happy for you,” she went on. “No editors get dressed by the designers, that’s really just influencers. And the fact that they’re going to show you where they sat and who they’re friends with...” But, there’s an advantage to having paparazzi feed off the unpredictable swarm of A-listers and influencers, and an obvious benefit to designers who decide to fill their front row with them. At ADEAM, Lana Condor, Elsa Husk, Poppy Delevigne, Harry Shum Jr, and Anna Cathcart were among the photographed VIPs. Meanwhile, Brandon Maxwell hosted Henrik Morten Lischk, Lisa Aiken, Eva Chen, Camila Alves McConaughey, Kat Collings, and Alex Badia. From a brand perspective, visibility is everything. In order for clothes to sell, the pieces need to be represented and observed by the right people – the “Emily Ratajkowskis” who generate buzz, or the social media influencers who inspire fads. It’s worth noting that, even though the production, styling, and individual garments speak volumes to the attractiveness of a collection, desire is often born from those who are adored and admired. Designers will develop their seasonal lines in tandem with a muse or inspired concept, like ADEAM’s spring/summer 2024 being motivated by the ballet or Brandon Maxwell’s being an answer to the impasse of freedom and restraint. Then there was Dolce and Gabbana’s famed spring/summer 2023 show curated by Kim Kardashian, after both Domenico and Stefano were galvanised by the reality star’s “it girl” essence. High fashion runway can be viewed as a melting pot of celebrity image and designer conception. While the relationship between famed figures and name brands is pertinent to Fashion Week criticisms, the focus shouldn’t be on celebrity sightings or social climbings. Although I observed a clear presence of exclusivity hovering over runway presentations and after-parties, I found the purpose is not to be seen but to step inside the minds of imaginative designers and celebrate the execution of their visions. Read More London Fashion Week 2023: All the highlights from day two British Vogue appoints Chioma Nnadi as Edward Enninful’s successor London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show

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Julia Louis-Dreyfus has revealed that she took inspiration from Princess Diana’s iconic wedding dress for her own nuptials more than three decades ago. The Seinfeld alum appeared on Live with Kelly and Mark on 22 May, where she opened up about her nearly 36-year marriage to actor Brad Hall. “You and your husband have been married for 35 years,” Ripa said, as she showed a photo from their 1987 wedding ceremony. The photo showed the newlywed couple smiling and walking down the aisle together. For the occasion, Louis-Dreyfus wore a white wedding dress with a flowing ball gown skirt and quintessential ’80s puff sleeves adorned with ruffles. She tied her hair back in a low bun and completed the look with a flower crown and a long white veil. “Yes. Look at that wedding dress,” the comedian replied, laughing. “You’ll see I fashioned my dress after Princess Diana. It’s the times, I guess.” Julia Louis-Dreyfus’s wedding gown wasn’t a far cry from the one worn by the late Princess of Wales on her wedding day to the then-Prince of Wales in July 1981. Since then, the voluminous bridal gown has become one of the most recognisable dresses of all time. On 29 July 1981, an estimated 750 million people worldwide watched as Lady Diana Spencer became Princess Diana during a royal wedding ceremony at St Paul’s Cathedral in London. Her wedding dress was designed by former husband-and-wife duo David and Elizabeth Emanuel. The silk-taffeta gown featured a fitted bodice overlaid with panels of antique Carrickmacross lace that originally belonged to Queen Mary. It also included a sequin-encrusted train measuring 25 feet that remains the longest in royal wedding history. Much like Kate Middleton’s wedding dress in 2011, there was so much secrecy surrounding Princess Diana’s gown that the Emmanuels were required to create an alternate gown in case the dress was revealed preemptively to the public. In 2021, Princess Diana’s wedding dress was displayed at Kensington Palace as part of a temporary exhibition exploring royal style. The gown – which is now privately owned by her sons, Prince William and Prince Harry – marked the first time it had gone on display in 25 years. Julia Louis-Dreyfus and Brad Hall will celebrate 36 years of marriage this June. Last year, the 62-year-old actor celebrated her wedding anniversary by sharing a sweet tribute to her husband on social media. “Even though we’re surrounded by a lot of bad news, I’m celebrating some good news today – Been tied to this superb guy for 35 years!” she captioned the Instagram post, which featured their smiling wedding photo. “What in the living hell? How did that happen so quick?” The couple – who share sons Henry, 28, and Charlie, 23 – first met as students at Northwestern University, when Louis-Dreyfus auditioned for Hall’s theater production in the early 1980s. They were married on 25 June 1987 in Santa Barbara, California. Read More 5 things you didn’t know about Princess Diana’s wedding dress Princess Diana’s wedding dress is now on display at Kensington Palace Julia Louis-Dreyfus opens up about ‘devastating’ miscarriage she suffered at 28

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Viewers of Sunday evening’s Oscars ceremony were astonished to watch Will Smith strike comedian Chris Rock after he made a joke at the expense of his wife, Jada Pinkett Smith. Rock was presenting the award for Best Documentary when he made a joke about Pinkett Smith’s appearance. “Jada, I love you. GI Jane 2, can’t wait to see you,” he quipped in an apparent reference to the actor’s shaved head. The Red Table Talk host, who has spoken candidly about her hair loss from alopecia in the past, was seen rolling her eyes at the comment. Will then walked onstage and struck the comedian, yelling “keep my wife’s name out your f***ing mouth”. The 50-year-old actor first revealed that she had alopecia in 2018, describing the sudden hair loss she experienced as “terrifying”. Speaking to her mother Adrienne and daughter Willow on an episode of Red Table Talk, the actress recalled losing “handfuls of hair” in the shower one day. She then explained how her condition prompted her to cut all her hair off. “I’ve been getting lots of questions about why I’ve been wearing this turban,” she said. “Well, I’ve been having issues with hair loss. “And I’ll tell you it was terrifying when it first started. I was in the shower one day and then just handfuls of hair, just in my hands, and I was like ‘oh my God am I going bald?’ “It was one of those times in my life when I was literally shaking with fear.” The Girls Trip star added that maintaining a sense of perspective has helped her cope. “People are out here with cancer, with sick children… I watch the higher power take things every day and if the higher power wants to take my hair? That’s it? God, you want my hair? “When I looked at it from that perspective it did settle me.” She went on to credit turbans for helping her feel empowered as a result of her hair loss. “When my hair is wrapped, I feel like a queen,” she said. In July 2021, fans praised Pinkett Smith after she debuted a new buzz cut, saying it was “time to let go” after her struggle with hair loss. The actor posted about the new style on her own Instagram, where she uploaded a short video of herself posing against a backdrop of flowers and revealed that her daughter had been the one to encourage her to cut off her hair. “Willow made me do it because it was time to let go BUT … my 50s are bout to be Divinely lit with this shed,” the 49-year-old captioned the video. And in December, the Matrix Resurrections actor shared a video to Instagram during which she pointed out a line on her scalp that had developed as a consequence of the condition. “Now at this point, I can only laugh,” she said at the start of the video. “Y’all know I’ve been struggling with alopecia and just all of a sudden one day, look at this line right here. Look at that,” she said. “So it just showed up like that and this is going to be a little bit more difficult for me to hide.” “So I thought I’d just share it so y’all are not asking any questions,” Pinkett Smith added. She joked: “But you know mama’s going to put some rhinestones in there. I’m going to make me a little crown,” she said. “That’s what mama’s going to do.” Pinkett Smith previously revealed that the cause of her own alopecia had not been identified by doctors, but that she believed it may be stress-related. According to the NHS, hair loss, known medically as alopecia, is fairly common. It's estimated that around 40 per cent of women aged 70 years or over experience female-pattern baldness – the most common type of hair loss, which is thought to be inherited. Hair loss can be genetic, or as a result of extreme stress, a medical condition or treatment. It's also common for women to lose more hair than usual up to three months after they've given birth. Read More ‘It was terrifying’: All the things Jada Smith Pinkett has said about her alopecia Will Smith issues ‘official statement’ on Jada Pinkett Smith marriage Will Smith releases bizarre ‘official statement’ video after marriage revelation Will Smith speaks to crowd about relationship with Jada Pinkett Smith Jada Pinkett Smith built ‘love nest’ for her and Will Smith to spend alone time Jada Pinkett Smith reveals why she and Will Smith never signed a prenup

Utah-based content creator Serena Neel bought her first-ever designer handbag in May. To mark the occasion, she chose a Louis Vuitton Neverfull, the signature tote that’s been a part of the house’s heritage offerings since it was first introduced in 2007. “It’s always been my absolute favorite bag,” says Neel.

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