Julia Fox, Post Ye Breakup, Walks LaQuan Smith's Runway

LaQuan Smith walks the runway after showing his Fall/Winter 2022 collection at 60 Pine Street during New York Fashion Week on Monday, Feb. 14, 2022, in New York. (AP)
LaQuan Smith walks the runway after showing his Fall/Winter 2022 collection at 60 Pine Street during New York Fashion Week on Monday, Feb. 14, 2022, in New York. (AP)
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Julia Fox, Post Ye Breakup, Walks LaQuan Smith's Runway

LaQuan Smith walks the runway after showing his Fall/Winter 2022 collection at 60 Pine Street during New York Fashion Week on Monday, Feb. 14, 2022, in New York. (AP)
LaQuan Smith walks the runway after showing his Fall/Winter 2022 collection at 60 Pine Street during New York Fashion Week on Monday, Feb. 14, 2022, in New York. (AP)

Julia Fox, fresh from her breakup with the artist formerly known as Kanye West, opened LaQuan Smith's New York Fashion Week show in black as the designer honored his beloved late mentor, Andre Leon Talley, with a moment of silence Monday night inside a century-old private club.

His guests scattered around rooms at the Down Town Association, among the city's oldest private clubs, Smith put out a refined yet still signature sexy collection full of sparkle in gold, blue and red, and tiny minis with carved out cutouts in all the right places.

After the show, Fox told The Associated Press of her split with Ye: “I love Kanye. We're still very good friends and I wish him nothing but the best.”

The breakup with Fox after six weeks of dating came as Ye has ranted on social media about his estranged wife, Kim Kardashian West, and new beau Pete Davidson. On Sunday night, Valentine's Day, he posted a truckload of red roses he had delivered to the Hidden Hills, California, mansion where Kim lives with their four children. It's a home they once shared.

To open Smith's show, Fox wore a high-neck, long-sleeve black evening dress with cutouts at the midriff, chest and back that hugged her body at the 163-year-old club in the Financial District. Like other clubs of the times, the Down Town Association — filled with marble and deep-stained wood — was once male only but began admitting women in 1985. Its walls remain adorned with painted portraits of white men.

Smith, a rare Black designer to establish himself at New York Fashion Week, remains a go-to for the young and party happy. He told the AP in a backstage interview that he chose the club because he was looking for a change in mood after taking over the observation deck of the Empire State Building last September for his fashion week show.

“I'm excited about this space,” he said. “I wanted to do something that felt sort of romantic in a way. This show and this season is really about the revival of New York City, celebrating New York designers, celebrating American designers.”

The women who buy his clothes, Smith said, are “all about being the center of attention.” They won't be disappointed with his bold use of color and sequins, or his sparkly leotards worn with low-slung pants, back thong out. But this season, it wasn't just about baring skin.

Smith put out some classics in camel coats and day dresses trimmed in fur worthy of the ladies who lunch rather than the party 'til dawn set. One coat came in luscious moss green leather with a soft cozy lapel and lining. He put the Smith twist on the ensemble by showing it over a tiny leo, his model in dark shades with a statement necklace as a finish.

His latest collection remained mostly about the va-va-voom upon which Smith has built his reputation.

“Women are shopping and that is even more of an incentive,” he said. “It's about giving people a sense of hope. People want to celebrate. People want to get dressed up.”

Of Talley, who died on Jan. 18, Smith said he took some time to mourn. The legendary Vogue editor took Smith under his wing when the designer was just 21. He was more than a mentor, Smith said. He nourished him when he needed it the most.

“He changed my life. Andre gave me money to go to Paris. I had never been to Paris before. Andre said you take this check and you go to Paris and you just sit down at a cafe. You go to the Champs-Élysées. He really believed in me at the age of 21."

The 33-year-old Smith, a Queens native, established his namesake brand in 2013. He has dressed Beyoncé, Rihanna, Lady Gaga, Jennifer Lopez, Kardashian West and Hailey Bieber. But he's never notched a win at the Academy Awards, which this year will be held on March 27. Smith is mostly cocktail and evening focused, rather than statement ball gowns, but he's hoping to remain in building mode.

“I haven't had that opportunity as of yet,” Smith said of the Oscars. “I really look forward to the future. I'm very optimistic."



Italy Cannot Use Golden Powers to Intervene in Sale of Armani Stake, Minister Says 

A Giorgio Armani store in Milan, Italy, September 24, 2025. (Reuters)
A Giorgio Armani store in Milan, Italy, September 24, 2025. (Reuters)
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Italy Cannot Use Golden Powers to Intervene in Sale of Armani Stake, Minister Says 

A Giorgio Armani store in Milan, Italy, September 24, 2025. (Reuters)
A Giorgio Armani store in Milan, Italy, September 24, 2025. (Reuters)

The Italian government cannot intervene in a future sale of a stake in fashion group Armani, using its "golden powers", even if a deal involved a foreign company, Italy's industry minister has told Reuters.

"(Armani) doesn't fall in the perimeter of national security," Adolfo Urso said on the sidelines of an event late on Tuesday, when asked whether Rome could use such measures.

The so-called golden powers allow Italy's government to block or set conditions on foreign and domestic corporate acquisitions in strategic sectors such as energy, telecoms and banking.

Urso added that the late Giorgio Armani's plans for the company he led for 50 years were pretty clear and were contained in his will, indicating that current regulations did not allow government action.

In his will, Armani left instructions to sell an initial 15% stake in the fashion house within 18 months of his death and later to transfer an additional 30% to 55% stake to the same buyer, or seek a market listing.

The will said priority should be given to luxury conglomerate LVMH, beauty group L'Oreal, and eyewear maker EssilorLuxottica, with which the fashion house has a commercial partnership.

Giorgio Armani died last month at the age of 91.


Showmanship Returns at Chanel as Designer Blazy Debuts Under a Sky of Planets

Model Awar Odhiang presents a creation by designer Matthieu Blazy as part of his Spring/Summer 2026 Women's ready-to-wear collection show for the fashion house Chanel during Paris Fashion Week in Paris, France, October 6, 2025. REUTERS/Benoit Tessier
Model Awar Odhiang presents a creation by designer Matthieu Blazy as part of his Spring/Summer 2026 Women's ready-to-wear collection show for the fashion house Chanel during Paris Fashion Week in Paris, France, October 6, 2025. REUTERS/Benoit Tessier
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Showmanship Returns at Chanel as Designer Blazy Debuts Under a Sky of Planets

Model Awar Odhiang presents a creation by designer Matthieu Blazy as part of his Spring/Summer 2026 Women's ready-to-wear collection show for the fashion house Chanel during Paris Fashion Week in Paris, France, October 6, 2025. REUTERS/Benoit Tessier
Model Awar Odhiang presents a creation by designer Matthieu Blazy as part of his Spring/Summer 2026 Women's ready-to-wear collection show for the fashion house Chanel during Paris Fashion Week in Paris, France, October 6, 2025. REUTERS/Benoit Tessier

Showmanship returned to Chanel on Monday.

At Paris Fashion Week, its new designer Matthieu Blazy opened the season’s most anticipated debut beneath colossal celestial bodies — Saturn with its rings, a full solar system suspended above a jet-black and a mirror-bright runway — staking a claim for theater from the first second.

Reflections mirrored the cosmos beneath the runway, while a front row constellation — Nicole Kidman, Marion Cotillard, Tilda Swinton, joined by Lauren Sanchez and Jeff Bezos — gazed upward.

By night’s end, the room rose in a standing ovation. As Vogue's doyenne Anna Wintour has said, “fashion needs its showmen.”

Chanel had one again.

Heritage house Founded in 1910, Chanel reshaped women’s wardrobes by replacing corseted silhouettes with ease — jersey, trousers — and later codified a global idea of Parisian chic through the little black dress, pearls and the tweed suit. Under Karl Lagerfeld in the 1980s, it became the model for how a heritage house can be both historic and relentlessly modern, its runway spectacles influencing the industry far beyond Paris. That legacy made Blazy’s debut more than a change of designer, but a test of how a century-old, multi-billion dollar institution continues to speak to the world.

The show capped a season dense with debuts: Pierpaolo Piccioli at Balenciaga, Louise Trotter at Bottega Veneta, Jack McCollough and Lazaro Hernandez at Loewe and Dario Vitale at Versace.

Yet Chanel’s moment felt singular for stakes and scale. By dialing down glitter, dialing up line, restoring theater and keeping the codes legible, Blazy positioned Chanel not as a museum of symbols but as a platform for them.

Opening statement of androgyny The opener functioned as a manifesto: an androgynous, slouchy pantsuit featuring low-slung trousers and an asymmetric jacket with structured shoulders. The looks split from the playbook of subdued designer Virginie Viard who parted ways with Chanel last year. They also shifted from late-period Karl Lagerfeld — one step closer to Gabrielle “Coco” Chanel.

The styles were not a reinvention of tweed, but rather menswear rethought through the founder’s origin story, when Coco wore the clothes of her lover the “Boy” Capel.

A hand anchored in a pocket made the point explicit: the freedom Chanel once placed in women’s hands — giving them trousers and pockets on them — restated. The spring 2026 collection, months in the making, read as an imagined conversation between Blazy and Chanel herself: thoughtfulness braided with showmanship.

Codes, humor and the Lagerfeld lens Ribbons — rumored to be a sticking point between designer and atelier — were largely gone. Sparkle was sparse, a calculated risk in markets that prize high shine.

In their place came silhouette-first solutions and masses of feathers, with the camellia held as steady leitmotif. However far the line moved, the codes stayed legible — each look unmistakably Chanel. Tweed arrived interconnected rather than narrowly Parisienne — multicultural in palette and weave, intercontinental if not interplanetary.

Then came the fun wigs — what one critic termed the “funny little hats” — feathered, sly and intentionally light. They channeled Lagerfeld’s provocation about how he revitalized the once-dusty heritage house when he joined the helm in 1983.

“Chanel is an institution, and you have to treat an institution like a (prostitute) — and then you get something out of her," he said.

While Viard’s Chanel was often faulted for sobriety and restraint; Blazy, like Lagerfeld, deals in irony. At Bottega Veneta he staged frogs on heels, bunny-lapel coats and trompe-l’œil leather jeans. Here, plumage, proportion and wigs delivered the wink without tipping into theatrical costume.

Accessories set a new tempo: big hats, metallic bags, tiers of pearls, chunky gold chains and statement earrings — bold on paper, disciplined on the body. Handbags — the other reason Blazy was chosen — spanned crisp chain-strap updates and playful clutches, including a notable ovoid shaped like an egg.

The finale carried the argument in motion: a silky short-sleeve shirt paired with a multicolored feathered skirt with a long train. Color moved across the plumage and the black floor threw back its reflection.

“It was such a surprise. ... It’s exciting to be here for a new era," filmmaker Sofia Coppola told The Associated Press. “There are things you recognize from the house codes, and a fresh new look at it.”


Miu Miu Stays Steady at Paris Fashion Week as France Grapples with Political Turmoil

 A model wears a creation from the Miu Miu Spring/Summer 2026 collection presented in Paris, Monday, Oct. 6, 2025. (AP)
A model wears a creation from the Miu Miu Spring/Summer 2026 collection presented in Paris, Monday, Oct. 6, 2025. (AP)
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Miu Miu Stays Steady at Paris Fashion Week as France Grapples with Political Turmoil

 A model wears a creation from the Miu Miu Spring/Summer 2026 collection presented in Paris, Monday, Oct. 6, 2025. (AP)
A model wears a creation from the Miu Miu Spring/Summer 2026 collection presented in Paris, Monday, Oct. 6, 2025. (AP)

As France’s government unraveled in another episode of political instability Monday, the cogs of the luxury industry kept turning. At the Iéna Palace in Paris’ 16th arrondissement, Miuccia Prada's Miu Miu offered its own brand of reassurance: business as usual, chic as ever at Paris Fashion Week.

The opener was sober — a deep blue warehouse apron dress, all covered up and precise. It set the tone for a collection that was gamine yet grounded, playful but edged with pragmatism. Prada, a pioneering CEO as well as designer, made it clear: Miu Miu wasn’t just flirtatious this season, it meant business.

Founded in 1993 as Prada’s irreverent little sister, Miu Miu is the Italian designer’s freer, instinctive outlet. Where Prada is cerebral, Miu Miu is gamine and skewed—lingerie-as-daywear, bourgeois classics nudged off-kilter, humor threaded through rigor.

Prada, who studied political science before taking over the family firm, has long used the label to probe femininity’s codes — how clothes can be both play and armor.

The apron motif returned again and again, recast in pared silhouettes that exposed flashes of skin or gleamed under shiny buttons. Actor Richard E. Grant, in a long tradition of Miu Miu’s celebrity cameos, strode out in a black sheeny leather apron that read like a chef’s uniform. Milla Jovovich followed in a riff on the same theme, softened with black frills.

Prada framed the choice bluntly. "I want to talk about women’s work, using my work... the apron as a symbol of work that can express multiple messages," she said of her show. "The apron is my favorite piece of clothing... it is about protection and care... a symbol of the effort and hardship of women."

From there, the show swerved gamine. Floral minidresses with faintly sporty underpinnings carried the collection toward its finale. Banded frills bisected the bust; geometric torso prints nodded to Balkan or folk references — an echo of the eclectic "mishmash" styling that has long defined the label.

Across seasons, Miu Miu’s strength is its push-pull: underthings recast as outerwear, schoolroom polish meeting club logic, intellect wrapped around wearability. Beyond the show’s palatial halls, those cogs keep turning, not just out of habit but horsepower.

Paris Fashion Week is a luxury engine fueling a vast supply chain — hotels, drivers, ateliers and retail —that accounts for more than 3% of France’s gross domestic product. That robust machinery is why, apron or opera coat, the show goes on.