5 Things I Want This Week
Recently, I have been reflecting on the thought of my younger self. She would be so excited to know that she is still playing dress-up. During a classic post-week stress debrief with my roommate, she reminded me of how therapeutic playing around with different pieces and having a fashion show can really be for the creative mind. The next day, my other roommate and I went shopping at French Sole in the Upper East Side. There, we found ourselves transported back in time to backyard tea parties and absurdly poofy Easter dresses. She bought these insane leopard ballet flats that I would have DIED over as a little girl – and am still dying over now. So this week’s post is dedicated to my younger self and all of her wildest dreams coming true working my first fashion job. Enjoy a collection of beaded minis, silk dresses, girly ruffles, and funky accessories.
I see myself eating breakfast on a terrace in Italy.
My American Girl Dolls would have definitely LOVED the beading on this dress
Little me always had a hair brush in her bag. This tasseled comb is the sophisticated version.
I saw these on Hannah Lovey and fell in love with the Polly Pocket color and shape.
Big glasses are in and these are so funky and fun.
The fashion shows and tea parties only got cooler.
Xoxo,
Annie
What I Am Wearing This June
It's June 2nd and I can already predict what the girls will be wearing for the rest of the month. New York City is absolutely buzzing with funky necklaces, satin pants, and boatneck tanks. Left and right I see strappy sandals, toe-cleavage ballet flats, and open-toe heels paired with capris and adidas zip ups. A new strain of the typical European resortwear style is making its way to the city and infecting the streets. I really do enjoy the hints of St. Tropez I am seeing at Bar Valentina and the new Le Dive location.
Below is a quick list of your June must-haves.
No hem needed!
Currently wearing these over a bikini.
So flattering.
This is a neutral to me.
Perfect layering piece.
Wearing this around the city as if I am going to the beach.
I pair these chokers with EVERYTHING.
I saw this on a Substack once and now I am seeing it everywhere.
These do something to me.
Wearing these for Euro summer.
ISO!!!! These are sold out and I need them more than food or water.
I am feeling so inspired by all of these picks. Whether you are getting a post-work apperitivo anywhere or flying across the world, these are such fun looks to mix into your summer wardrobe.
That’s all for now! See you next week.
Xoxo,
Annie
What Two Items Does a Man Truly Need In His Wardrobe?
This week's post is all about getting the basics right. The outfit most men wear every single day is also the one most men get completely wrong. Seb knows this better than anyone, so we toured the NYC stores, tried everything in person, and put together a definitive list of the best picks for 2026. I'll let him take it from here.
At some point, every man is told he needs two things in his wardrobe: a good suit and a good pair of shoes.
And yes, they matter. But for most men, that advice feels more like a social rule than a reflection of how they actually dress. Because when you are alone, when no one is watching, when you are not going to a wedding, a job interview, or some painfully formal dinner, you are probably not reaching for a suit.
You are reaching for jeans and a T-shirt.
And that is exactly where things often go wrong.
For something so simple, jeans and a T-shirt might be the most poorly executed outfit in the average man’s wardrobe. The jeans are badly sized, cheap, overwashed, and hanging on for dear life. The T-shirt is either shaped like a cardboard box, stretched beyond recognition, or covered in some strange graphic from an event you went to ten years ago and still cannot really explain.
And please, for the love of God, if you are reading this and thinking, “But it’s comfortable,” just know that comfort is not an excuse for looking like you got dressed during a fire drill.
Because when done well, jeans and a plain T-shirt are not lazy. They are not boring. They are one of the best outfits a man can wear. They make you look relaxed without looking careless, masculine without trying too hard, and stylish without screaming for attention.
If I may interject, I have some quick opinions on what makes the t-shirt and jeans combination attractive. A well-made t-shirt and quality jeans will flatter you in a way that no amount of effort can fake. It really is about the fit. A t-shirt that skims the shoulders and sits cleanly around the chest really does something unfair to a man’s silhouette. Paired with dark or mid-wash jeans, minimal detailing, and zero distressing, and you’re gold.
The truth is that if it fits well, you do not need anything else. Extravagance is easy, but wearing something simple and wearing it well actually takes understanding.
Think of it this way. Every woman understands the power of a little black dress. It is not covered in hardware or logos. A good black dress is a perfect, simple concept that, when it fits the way it is supposed to fit, turns heads.
The t-shirt and jeans are that for men. If done well, it transcends season, trend, or occasion.
Ok back to the professional.
Xoxo,
Annie
After years of making every possible mistake, outfits that were too elaborate, badly fitted, too trend-led, or just downright ugly, I have come back to the simplest answer. A plain T-shirt and a good pair of jeans is the outfit I trust more than almost anything else.
Brunch, lunch, dinner with friends, a walk in the park, a date, lounging at home, travelling, grabbing coffee, this outfit can do all of it. It is casual enough to feel natural, but if the fit, fabric, and proportions are right, it can still look incredibly considered.
That is what makes these two items so interesting. Neither began as fashion. Jeans started as workwear, built for miners, cowboys, railway workers, and labourers who needed something durable. Over time, they moved from utility into culture, becoming associated with rebellion, youth, film stars, rock music, and eventually everyday style.
The T-shirt has a similar story. It began as an undergarment, worn beneath uniforms and work clothes because it was practical, light, and easy to wash. Then, through figures like Marlon Brando and James Dean, it became something else entirely: a symbol of ease, confidence, and understated masculinity.
So this is not really an article about dressing up. It is about dressing well. It is about taking the outfit most men wear the most and making it look as good as it possibly can.
After walking around New York, trying things on, judging fits, debating washes, fabrics, collars, sleeves, and all the tiny details that make a simple outfit either brilliant or terrible, Annie and I have put together our favourite jeans and T-shirts for 2026.
These are the two items we believe every man truly needs in his wardrobe.
Jeans:
Samurai S510HXII Straight Leg- $377
Samurai is one of those denim brands that, once you get into jeans properly, you start hearing about everywhere. It is a Japanese brand known for making serious denim: heavy fabrics, old-school construction, beautiful fading potential, and jeans that feel like they were built to outlive you.
These are hands down the best jeans I have ever owned.
I personally own the Samurai S510HXII 15.8oz Samurai Cotton GL3 Denim Jean, which does not exactly roll off the tongue, but it might be the perfect straight-leg jean. The first thing you notice is the quality. They are stiff, structured, and substantial. Not in an uncomfortable way, but in a way that makes you realise how bad most jeans are.
I hate cheap denim. You can spot it instantly. The leg flaps around the ankle, the shape collapses, and after a few washes it looks like the jeans have completely given up on life. These are the opposite. They hold their shape beautifully. They feel strong. They make a simple outfit look better because the fabric itself has presence.
The fit is what makes them so good. They sit well at the waist, have enough room through the leg, and avoid that skinny, strangled look that I think men should have left behind years ago. The straight leg feels classic without looking old-fashioned.
The denim itself is a rinsed 15.8oz selvedge denim woven on vintage GL3 shuttle looms. That basically means it has texture, weight, and character from the start. It blends Texas cotton in the warp with Samurai’s own cotton in the weft, giving it a deep indigo colour and a rugged hand feel that will only get better with wear.
I chose this colour because it works all year. It is dark enough for winter but not so dark that it feels too formal in summer. Wear it with a white T-shirt, a shirt, loafers, trainers, boots, whatever. It just works.
If you could buy one pair of jeans and wear them forever, this would be my pick.
3sixteen NY RS-100xk Relaxed Straight Leg- $290
3sixteen is a New York-based brand that sits in that perfect space between denim nerd and genuinely wearable. Some raw denim brands feel like they are made exclusively for people who want to discuss fabric weight in a dark corner of the internet. 3sixteen manages to make serious denim that still feels modern and easy to wear.
The RS-100xk is their relaxed straight fit, and I love it because it gets the proportions right. It has a higher rise, more room in the thigh, and a wider leg opening, which makes it feel relaxed without looking sloppy.
What really draws me to this pair is the rinsed indigo. It looks different without trying too hard. You are not flashing a giant logo or screaming, “Look at my $300 jeans.” But people can tell they look better. That, to me, is the whole point of good menswear. The best simple items should look quietly expensive, not obviously expensive.
The denim is custom woven for 3sixteen by Kuroki Mills in Japan. It starts as loomstate raw indigo selvedge denim and is then rinsed to reduce shrinkage and bring out the texture of the fabric. The result is a jean that has character from day one but still has plenty of room to age and fade over time.
This is the pair I would recommend to someone who wants to get into better denim but does not want anything too intimidating. They are still proper jeans, but the relaxed fit makes them comfortable, wearable, and easy to style.
They look best slightly broken in, with a clean cuff or a little break over the shoe. Simple white T-shirt, good trainers, maybe a jacket over the top. Done.
Brut Archives The Best Denim- $225
Brut Archives is such a cool brand. It is Paris-born, New York-inspired, and built around the idea of taking vintage and archival clothing seriously without turning it into costume.
The brand came from Paul Ben Chemhoun’s obsession with French workwear. Before Brut became a clothing brand, it was a private archive of old uniforms, workers’ jackets, military clothing, outdoor garments, and denim. Over time, that archive became a reference point for major fashion houses and brands looking for historical accuracy and authenticity.
That background matters because these jeans feel considered. They are not just another pair of dark denim jeans. They have that sense of history and design behind them.
These are my “smart casual” jeans. The dark colour and clean fabric make them perfect for when you need to throw together an outfit that looks sharper without becoming formal. I like the relaxed feel, but they still look polished. They are the kind of jeans you could wear to dinner, drinks, or anywhere you want to look like you made an effort without looking like you tried too hard.
Unlike the Samurai or 3sixteen pairs, these are softer from the start. That makes them easier if you do not want to deal with the whole raw denim wearing-in period. No painful first few weeks. No walking around like your legs are trapped in cardboard. They are ready to go immediately.
The fit is high-waisted with a tapered leg, which gives a clean silhouette without being tight. They also have a button fly, five-pocket design, and an upcycled synthetic back tab. It is simple, but with enough detail to make them feel different.
This is the pair I would buy if you want a darker jean that can do casual and smart casual equally well.
Honourable Mention:
Buck Mason- Buckleback Big Jean
Buck Mason is one of those brands I keep coming back to. If you have spoken to me about clothes before, you probably already know I love it.
To me, Buck Mason does western-inspired clothing with a slightly preppy twist incredibly well. It has that rugged Americana feeling without becoming fancy dress. I also think it often gives you the feeling of brands like RRL, but at a price that feels a bit more reasonable.
The Buckleback Big Jean is just awesome. I picked these up recently while Annie and I were exploring the best jeans, and I knew immediately they were going to be a summer staple.
The straight leg is perfect because I cannot think of anything worse than a tight pair of white jeans on a man. That is not a look. That is a cry for help.
What I really like is that they are not a bright, pearly white. They are more natural, more off-white, and much easier to wear. This is also helpful because, let’s be honest, you are eventually going to spill something on them.
The buckle-back is the detail that makes them special. It takes a very simple pair of jeans and gives them just enough character. That is exactly what I look for in good basics: not loud, not overdesigned, just a little bit better.
T-shirt’s:
Buck Mason Field-Spec Cotton Heavy Tee- $62
To me, this is the definitive best T-shirt in the world.
Never has a piece of clothing I own been complimented more, which I do not know whether to find encouraging or deeply depressing considering how much money I have spent on more elaborate pieces.
I have been wearing these T-shirts for over a year now, and as many men know, white T-shirts usually do not last very long. After constant washing, pit stains, red sauce, sweat, and general life, most white T-shirts are finished after three months.
These are still going strong.
They wash incredibly well and, do not tell my mum, but they barely need ironing. The fabric has enough weight to sit properly on the body, but it does not feel like you are wearing a sweatshirt. It fits the body without being tight. It shows just the right amount of bicep. It sits well around the shoulders. The neck is loose enough that you do not feel strangled, but not so loose that you look like you are trying to show the world your chest.
The length is also perfect. It is not so short that gaining two kilos suddenly turns it into a crop top, but it is not so long that someone might mistake it for a dress. It sits exactly where a T-shirt should sit.
This is the T-shirt I would tell almost anyone to buy first. It is simple, durable, flattering, and genuinely worth the money.
As long as Buck Mason keeps making it, I will keep buying it.
RRL Garment-Dyed Pocket T-Shirt 2-Pack- $175
If you have ever spoken to me about fashion, you will know that RRL is probably my favourite brand.
I love everything about it. If I could make my house look like the RRL Soho flagship store, I would do it tomorrow. The brand was born from Ralph and Ricky Lauren’s love of the American West after they bought their ranch in Colorado, and it draws heavily on western wear, workwear, military clothing, and the Ralph Lauren archives.
But the brand also has a more personal meaning to me. RRL was the first brand my mum designed for when she began her career at Ralph Lauren, so I have always had a bit of a soft spot for it.
This T-shirt is exactly what RRL does so well. It is rugged, slightly worn-in, and not a perfect bright white. That gives it a different feeling from a standard white T-shirt. It looks like something you have owned for years, but in the best possible way.
The pocket gives it a slightly preppy feel, which makes it incredibly versatile. You can wear it with jeans, chinos, shorts, a denim jacket, or under an open shirt. It feels casual but still considered.
The fit is also excellent. It compliments your body rather than clinging to it like a needy ex. The sleeves hit at the right point on the arm, showing just enough bicep to suggest you may have done curls before the date. The body sits nicely at the belt, which helps make your legs look longer.
Yes, it is expensive for a T-shirt. But it comes as a two-pack, it lasts, and it is one of those items you will reach for constantly. To me, that makes it a good fashion investment.
Because realistically, you can have all the statement pieces in the world, but if your T-shirts are bad, your outfits will never fully work.
Merz b. Schwanen THREAD HEAVYWEIGHT T-SHIRT - COTTON PIQUE WHITE- $135
I am not going to lie to you. This is expensive for a T-shirt.
Merz b. Schwanen is a German brand famous for making old-school loopwheeled basics. Loopwheeling is a slower, traditional method of knitting fabric that creates a softer, more durable garment with a natural shape. It is the kind of thing that sounds ridiculous until you actually try on a T-shirt that has been made properly and realise there is a reason people care.
The brand became especially famous after Jeremy Allen White wore the Merz b. Schwanen 215 T-shirt as Carmy in The Bear. Suddenly, everyone wanted the perfect white T-shirt. And honestly, fair enough. It looked incredible.
The version I am interested in here is the heavyweight cotton pique T-shirt. What makes it interesting is the texture. It is still a white T-shirt, but the pique fabric gives it more depth and structure. It is not flat or flimsy. It feels more substantial, but because of the texture, it should still work in warmer weather.
This is the kind of T-shirt that makes sense if you already own the basics and want something a bit more special. It is not the first white T-shirt I would tell someone to buy. But if you care about fabric, construction, and fit, this is exactly the sort of piece that quietly elevates everything else you are wearing.
I cannot wait to add one to my closet.
Uniqlo Supima Cotton T-Shirt- $25
While it is not exactly niche, I do think the Uniqlo Supima Cotton T-shirt deserves a place here.
Not everyone wants to spend serious money on a white T-shirt, and honestly, that is very understandable. A white T-shirt is one of the most vulnerable items in your wardrobe. It gets washed constantly. It gets stained. It gets worn hard. So if you want something reliable without making a big investment, this is a great option.
For the price, it is surprisingly good. Mine have survived my washing machine for the last six months, which is more than I can say for plenty of more expensive T-shirts. The cotton feels nice, the arms fit well, and it does the job.
That said, it is not perfect. I do not think the shape around the body is as good as the Buck Mason or RRL options, and the length is slightly too long. That matters because a T-shirt that is too long can make your legs look shorter and throw off the proportions of the whole outfit.
But for $25, it is hard to complain. If you are looking for a clean white T-shirt and do not want to spend $60, $100, or $135, this is the one I would buy.
It is simple, affordable, and a very good place to start.
Final Thoughts
The point of all this is not that every man needs to spend hundreds of dollars on jeans and T-shirts. That would be ridiculous.
The point is that the clothes you wear the most deserve the most attention.
A suit is useful, but most men do not wear one every day. Expensive shoes are nice, but they are not saving a bad outfit. Jeans and a T-shirt, though, are different. They are the foundation. They are what you wear when you are actually living your life.
And because they are so simple, they leave you with nowhere to hide.
Bad jeans look bad. A badly fitting T-shirt looks bad. But get both right, and suddenly the easiest outfit in the world becomes one of the best.
You do not need a wardrobe full of complicated pieces. You do not need to chase every trend. You do not need to dress like someone completely different from who you are.
You just need a great pair of jeans and a great T-shirt.
As I always say to friends who struggle to look “cool” or feel like they know how to dress, bring it back to basics and everything will fall into place. Forget the overcomplicated outfits, the forced trends, and the pieces that do too much. Start with jeans that fit properly and a T-shirt that actually suits your body. Once you get those right, style stops feeling like something you have to chase and starts becoming something that feels natural.
Start there, and everything else gets easier.
Happy shopping,
Seb
Five Men’s Sunglasses Worth Actually Buying
If you have been in my DMs asking for menswear content – this one’s for you. I have been getting more requests for it than I can keep up with, and the honest answer is that it is just not yet in my ballpark. I know what looks good on a man, but I do not always know where to find it. So I decided to recruit someone who does.
Sebastian Auld is a London-born student at Boston University, with an extensive background in fashion. He has some incredible opinions about menswear, and he wears all of them extremely well. He is going to be writing a series of menswear pieces for the blog, so consider him your new source for all the goods. This piece is a result of his own personal style, experience, and boots-on-the-ground NYC journalism (we spent all day shopping “for content”).
Thank you Seb for the recommendations. You guys are in for a treat!
Xoxo,
Annie
Do I own too many sunglasses? I don’t know if that is possible when you have such a variety of frames, sizes, shapes, and brands. After years of experience, I have discovered the sweet spot of sunglasses.
You can be wearing the simplest combination in the world: a white T-shirt, good jeans, clean shoes. Then the right sunglasses go on, and suddenly it all comes together. They give the outfit shape and your face a frame. A good pair is going to do more work than most people give it credit for.
Some people can wear tiny silver aviators, oversized wraparounds, or strange architectural frames and somehow look incredible. I am not one of those people, and frankly, I envy anyone who is. For most men, the safest and best sunglasses are not the ones that scream for attention. They are the ones that elevate you without the extra noise.
A great pair of sunglasses should enhance the person wearing them, not become the whole outfit. They should feel classic enough to wear for years, but distinctive enough to make you feel like you have taste. After a lot of trial and error, these are the five pairs I think every man should know about for summer 2026.
The Moscot Lemtosh is my personal go-to. I own four pairs in different colours, which probably says enough. What makes it genuinely good is that it works on almost everyone, which is so rare. Part of that comes from its balance. It is round, but not too soft. Chunky, but not costume-like. The brand has a Lower East Side history that goes back to 1899, and the Moscot family still runs the brand. It has survived because it is truly a good brand.
That heritage gives the Lemtosh real credibility. It does not feel like a trend piece invented by a marketing department. It feels like something that has survived because it works.
It comes in multiple sizes, which matters more than people realise. Most sunglasses that look bad do look that way because of the fit, not necessarily the design. It is also beautifully solid. My first pair is three years old and has been properly used, thrown in bags, worn constantly, and generally abused, yet the frame and lenses still look almost new. They feel sturdy in a way that makes them easy to trust.
This is the pair I would recommend first to almost anyone. They are classic, stylish, wearable, and they do not feel like they are trying too hard. Start here.
The Ray-Ban Wayfarer is one of those rare objects that has moved beyond fashion and into cultural memory. Even if you do not know the model name, you know the shape.
Originally introduced in 1952, the Wayfarer helped define the look of post-war American cool. It was sharper and more modern than older metal sunglasses, with a bold plastic frame that felt rebellious without being ridiculous. Over the decades, it became associated with film stars, musicians, and that slightly careless kind of confidence that never really goes out of style.
The square frame gives structure to the face, especially if you have softer features or want something a bit more masculine and defined. It looks good with a T-shirt, a suit, a linen shirt, or swim shorts. It is one of the few sunglasses that can feel both casual and iconic at the same time.
Yes, a lot of us probably have terrible childhood photos wearing cheap Wayfarer-style sunglasses. That does not matter. The original shape has come back because it never really left. It just needed people to remember how good it can look when worn properly.
My one note: modern Ray-Ban quality does not quite match what the design deserves. They are not badly made, but they are not in the same world as Moscot, Jacques Marie Mage, or Oliver Peoples. If you wear them constantly, they may start to look tired sooner than you would like.
Still, for pure style-per-pound, the Original Wayfarer remains one of the best sunglasses a man can own. It is direct, confident, and instantly recognisable.
Jacques Marie Mage is the brand I aspire to own. There is eyewear, and then there is Jacques Marie Mage.
The Molino 55 is one of the best examples of why the brand has become so desirable. It is rectangular, 1960s-inspired, and built with a level of detail that makes it feel more like a museum object than an accessory. The brand describes the Molino as featuring subtle beveling and signature precious metal embellishments, and that is exactly what separates it from more ordinary frames.
Jacques Marie Mage makes frames in Japan in limited runs, with heavy acetate and the kind of detailing that makes you understand why the price is what it is. The Molino is rectangular, 1960s in its reference, and restrained by the brand’s standards – making them wearable in a way that some of their more directional frames are not. It is presence without demanding that you dress around it.
The Molino has a kind of rebellious sophistication. It feels like something a film director, artist, or incredibly well-dressed architect would wear. It is not loud in the obvious sense, but people who know sunglasses will notice.
These are expensive, obviously. But if you want one pair that feels special, considered, and genuinely luxurious, this is the pair. The Molino is the holy grail piece.
The boldest pair on the list.
Tom Ford eyewear has been produced in partnership with Marcolin since the brand’s beginning in 2005, and the Icon Navigator reflects the wider Tom Ford language: glossy acetate, sharp lines, Italian construction, and the signature metal “T” detail at the temples. The current Icon Navigator is listed with Zeiss lenses, 100 percent UV protection, and Italian production.
If the Lemtosh is your everyday intellectual frame and the Wayfarer is your classic cool frame, the Tom Ford Navigator is your slightly more dressed-up, evening-in-the-city frame.
It works particularly well if your style leans clean and minimal. A black T-shirt, tailored trousers, loafers, and these sunglasses is an easy summer look. They add polish without needing much else.
The key is confidence. These are not for someone who wants their sunglasses to disappear. They are for someone who wants a stronger frame that gives the face structure and makes the outfit feel intentional.
If you want one pair that feels modern, masculine, and a little bit cinematic, the Tom Ford Icon Navigator is a very good option.
The Oliver Peoples Gregory Peck Sun is the quietest pair on this list, but possibly the one with the longest shelf life.
Made with the Pack Estate, based on the frames Gregory Peck wore in To Kill a Mockingbird, Oliver Peoples has built their reputation for frames that rely on proportion, acetate quality, and getting the small details right. The Gregory Peck is round and refined – perfect for subtle dressing. Oliver Peoples has always been good at subtle luxury. These are truly the perfect pair for people who want sunglasses that look expensive without looking flashy.
The Gregory Peck Sun works especially well with more relaxed summer dressing: linen shirts, knit polos, neutral trousers, suede loafers, or even a plain white tee. It gives everything a softer, more thoughtful feel.
This is the pair for someone who finds the Lemtosh a little too much, and the Wayfarer a little too well-known. It is the perfect pair the most interesting man in the room.
Honourable Mention: Moscot Bjorn Sun- $370
I could not write this list without including another Moscot. I can't help myself.
The Bjorn Sun deserves an honourable mention because it gives you a slightly sleeker alternative to the bigger navigator-style frames. It has that same classic, masculine feel, but it is a little more discreet than the Tom Ford. Less Hollywood. More downtown.
Moscot, for me, is one of the best brands when it comes to the combination of quality, price, and style. Their frames feel substantial, the designs are wearable, and they have enough history behind them to feel authentic rather than manufactured.
The Bjorn is a great option if you want something stronger than a round frame but do not want to go full oversized navigator. It is clean, stylish, and easy to wear for years. Same quality, same prince, different proportion.
Buy Sunglasses That Make You Look Like Yourself, Just Better
The biggest mistake men make with sunglasses is thinking they need the loudest pair in the shop.
They do not.
The best sunglasses are the ones that make you look more like yourself, just sharper. They should suit your face, work with your wardrobe, and feel good enough that you actually want to wear them. A great pair should not feel like a costume. It should feel like the final piece of the outfit.
For most men, that means sticking to classic shapes: round, square, navigator, or soft rectangular frames. It means buying the right size. It means choosing quality over novelty. And it means remembering that sunglasses are not just practical. They are one of the few accessories that can completely change how an outfit feels.
If I had to choose one pair from this list, I would still start with the Moscot Lemtosh. It is the most versatile, the easiest to wear, and the one I think most people will look good in.
But each pair here does something slightly different.
The Moscot Lemontosh is the safest recommendation on the list. Works on almost everyone.
The Ray-Ban Wayfarer is a classic pick for a good reason.
The Jaques Marie Mage Molinos give you luxury.
The Tom Ford Navigators are bold, specific, and strong
The Oliver Peoples Gregory Peck is the most underrated, elegant option.
Summer style does not need to be complicated. Good T-shirt. Good jeans. Good shoes. Great sunglasses.
That is an outfit you can always rely on. And these are glasses you can rely on.
Happy shopping,
Sebastian
Read more of Sebastian’s work on his substack: @sebastianauld
Fashion, Art, and Amazon: Met Gala 2026 Review
In my preview piece, I made the claim that “Fashion is Art” the most loaded dress code the Met had ever issued. These three words, I assumed, looked like an invitation but were actually a dare. I said the theme would demand a genuine point of view. That it would create the most legible dividing line in years between people who actually engaged with the intellectual weight of it and the people who just reached for something involving the architectural body. I did not anticipatejust how the dividing line would appear.
Yes, there was noise around the event this year with the Bezos co-chair situation, protests, and notable absences. Of course, I will get to all of it, but I want to start where the theme itself starts: with the body. That was always the real question on the table Monday night, and it almost got lost in the surrounding conversation.
The accompanying exhibition, Costume Art, is structured around the body itself – from the “Naked Body" to “The Mortal Body,” nearly 200 garments placed in conversion with 200 artworks spanning 5,000 years. Curator Andrew Bolton described fashion as the “common thread throughout the whole museum,” or the connective tissue between every curatorial department that the Met has. His goal was to disband the old hierarchy between fashion and fine art, and establish what he called “equivalency of artworks and equivalency of bodies.”
This is a beautifully radical idea, but also a terrifying belief to hand to a celebrity red carpet.
“Fashion Is Art" asks its audience to have a position on the body, and on what the clothing does, says, reveals or conceals about being human. Most dress codes let you interpret your way into a pretty dress. This one asked for an argument.
Best Dressed
The first look I saw was Emma Chamberlain who opened up the steps with my favorite look of the night. I absolutely adore when a Mugler looks like a Mugler. Castro Freitas and Anna Deller-Yee’s hand-painted design is reminiscent of a dripping watercolor effect as if a wake of paint was to follow her up the steps. The idea of embodying the visible brushstrokes of the Impressionists managed to turn her body into a walking canvas.
Anok Yai in Balenciaga by Pierpaolo Piccioli was another look of the night that genuinely had me glued to the screen. She arrived as the Black Madonna, having built the concept herself as a hopeful response to the tense climate of the world. The prosthetic hair and gold tears running down her face were sculpted to create the impression of an etched statue of devotion. This looks really means something as a form of protest art, worn on a body with its own story.
Yu-Chi Lyra Kuo arrived in Jean Paul Gaultier as the Winged Victory of Samonthrace. This headless, wingless Greek goddess of Nike was brought back to life and given a head again, The white sculptural gown with its sharp fan-like neckline and layered pleated skirt gave the statue incredible movement. What the original lacks – a head, arms, and a future – Kuo restored. This is the kind of reference that enters into dialogue with art history. This was the cleanest silhouette and most intellectually satisfying look of the night.
For his Met Gala debut, Sombr arrived in a custom Valentino by Alessandro Michele. A crystal-dotted cape over gothic black lace panels and large shoulder pads looked like a medieval altarpiece adapted for a modern pop star. This look made the sacred feel wearable.
One of my most wild picks of the night was Gwendoline Christie in a custom Giles Deacon gown. This voluminous red look, inspired by John Singer Sargent and Madame Yevonde and topped with a mask of her own face, made performance visible. You cannot look at it without thinking about the nature of image, of celebrity, and of what it means to present yourself at an event of this significance.
I adore Thom Browne. When I saw Skepta arrive in a Browne custom white wool tailored jumpsuit, embroidered by hand in response to his own tattoos, it inspired so much of this article. The placement of the satin stitching matches his actual body, exposing what is usually under the clothes. The body’s permanent markings, its autobiography in ink, was translated into fabric, Skepta walked on the steps as a man who had already been written on, and then wore that writing for everyone to read.
Beyoncé arrived among the co-chairs wearing a sheer Olivier Rousteing gown with diamonds tracing the human skeleton across her body, and an incredibly dramatic feathered coat trailing behind her. She even brought Blue Ivy for her Met Gala debut. In one image of a mother and daughter on those steps, with the skeleton gown catching light, you had the entire exhibition thesis made flesh. The body as canvas, across time, generations, adorned and celebrated.
Other honorable mentions were Jeremy Pope in Vivienne Westwood, Chase Infinite in Thome Browne, Sabine Getty in Ashi Studio, Hunter Schafer in Prada, and Colman Domingo in Valentino.
The Surrealist Wing
Bad Bunny aged himself 53 years into the future via prosthetics and costuming. Heidi Klum came as a breathing statue. Katy Perry arrived fully naked in chrome, identity concealed beneath a Stella McCartney gown.
These are the carnival acts, and I mean that affectionately. Every carpet needs them. The surrealism wing of the Met Gala is a direct line to pieces like Schiaparelli’s Lobster Dress and the legacy of fashion refusing to be merely decorative. While they were not my favorite looks by any means, the body was transformed beyond recognition, and that’s exactly what the theme was asking us to think about.
The Dividing Line I Promised
I said this theme would create the most legible dividing line in years. It did. But I do not think that it was fully between the people who got it and the people who didn’t.
The line was actually between the people who used the body as their argument, and those who used it as a mannequin.
The naked dress contingent mostly fell into the second category. Sheer for sheer’s sake is not the same as sheer with specific intention. There’s a version of “the body as art” that flattens into “skin as spectacle.” The theme asks you to think about the body rather than just revealing it. Those are completely different acts made extremely transparent by this theme.
On the Noise Around the Event
The Bezos co-chair situation, with protests and notable absences of faces such as Meryl Streep and Mayor Zohran Mamdani skipped entirely, is hugely important for the contextualization of this evening.
Jeff Bezos did not walk the carpet, but his wife Lauren Sánchez Bezos did in Schiaparelli. This look was ironically inspired by Sargent’s Madame X, which is either an inspired choice or an unfortunate one depending on your art history recall (Madame X was a huge social climbing scandal). Her husband, the man whose $10 million made this whole record-breaking $42 million evening possible, stayed home.
Bezos has actually done this before in 2012, where he sponsored the gala and was honorary chair after being priced at $18.4 billion. Nobody made subway protest posters that year. He went home and spectators moved on. The difference is that the context between 2012 and 2026 is that his excess and repeated political controversies have pushed Americans over their tipping points for good.
The protest infrastructure that assembled around the gala appeared as guerilla subway ads with “The Bezos Met Gala: Brought to You by the Company that Powers ICE,” plastered all over. By the weekend before the gala, around 300 bottles of fake urine had been placed throughout the Metropolitan Museum of Art, as a reference to the allegations about Amazon’s poor working conditions.
Here’s what I keep coming back to: the protesters outside at the Ball Without Billionaires were actually staging their own fashion show. With emerging designers and a runway, they were making the argument that fashion belongs to everyone, and that it is a meaningful human act. This is really the same theme as that established by Bolton. The inside and outside of the Met on Monday night were, in a strange way, having the exact same conversation from different sides of the steps. Even these protesters admitted that museums let ordinary people see priceless things, face to face.
To be in awe of art is to suspend belief and fix the mind on the intent of the artist’s genius. Despite all of the protests and noise surrounding the event, there was no lack of awe in response to this year’s carpet. This world would no longer allow for a purely innocent event to exist, and neither should it. However, the common denominator between fans and enemies of the Met Gala is the admiration for the fine arts; so much so that fashion and art were used as forms of effective protest.
The Met Gala has always been fashion’s best argument for itself. This year, it really had to prove its case. The theme accomplished what it had set out to do: a profound conversation about fashion’s place in art. Just like a painting, each fashion decision made the spectator analyze, assess, and interpret what the designer, or artist, was thinking and attempting to convey. This year, with a new permanent home, a record-breaking budget, protesters staging their own runway outside, and a carpet that — at its best — genuinely proved the case, fashion earned its place as art.
Xoxo,
Annie
Met Gala 2026
Every year, the Met Gala gives its guests a theme. Sometimes it's specific — Camp or Gilded Glamour — clearly separating those who got it from those who definitely did not. Every year, I spend a ridiculous amount of time in the weeks leading up to that first Monday in May analyzing what the theme actually means, and what we may expect to see on the steps.
This year is complicated.
The dress code “Fashion Is Art” is three words. A sentence so simple it could be a bumper sticker, yet so broad that it could mean everything – or in the wrong hands, nothing at all. I just cannot stop thinking about it because underneath the apparent simplicity, this is actually the most loaded dress code we have ever been given.
Right at the center of that contradiction is this: “Fashion is not art. The aims of fashion and art are different and there is no need to compare them.” That is Rei Kawakubo, founder of Comme des Garçons, whose work is currently a centerpiece of the exhibition. The Met heard her opinion and displayed her clothes anyway.
Let me explain what I mean.
The Theme vs. The Dress Code (Yes, They’re Different.)
The exhibition theme – what’s actually going into the Costume Institute galleries – is called Costume Art. It opens May 10th, right after the gala, and it has a greater undertaking than ever before. Nearly 200 garments will be placed in conversation with 200 artworks spanning over 5,000 years of history from the Met’s own collection. Think Greek vessels next to gowns and Dürer next to Vivienne Westwood. The dress code that we will be seeing on the carpet is “Fashion Is Art.” It’s a theme inspired by the exhibition, but with a simpler directive.
The Question Fashion Has Always Had to Answer
Fashion and art have always been in a complicated situationship.
Fashion has always wanted to be taken seriously as art made with craft and vision. The art world has historically responded with this polite condescension reserved for a child who presents you with a drawing and asks you if it belongs in a museum. Lovely! But is it Art?
There have been breakthroughs, of course. The Costume Institute itself was born of this argument. Bolton’s own tenure has been a sustained political campaign on fashion’s behalf. Each exhibition from China: Through the Looking Glass to Heavenly Bodies, has argued a meticulously constructed case for fashion as a legitimate object of cultural and artistic inquiry. Or take designers like Elsa Schiaparelli who spent her career attempting to blur the line between fashion as art with her avant garde designs, like the Lobster and Skeleton Dresses, and partnerships with artists like Salvador Dali. Yet, even as those shows broke attendance records and sent fashion conversation mainstream, there has always been a voice in the media that will never separate fashion from decoration or commercial. For many, fashion is applied art, at best.
What does “applied” mean in that context? It means that it has a function. You can wear it, it’s useful, but it is not real art. Real art exists for its own sake.
To which I say: the only thing separating art and fashion is really the body. I will argue that fashion is more interesting because of the body. Across 5,000 years of collected human civilization, the one constant is dressing themselves and giving them meaning or a language. Fashion lives on a body and moves through the world. It can change depending on who’s wearing it, how they’re walking in it, what they’re feeling. It is completed by the person inside it.
This is why I find this theme so provocative . Fashion is art but it is always doing something that art cannot technically do. What’s really going to be important this year is to ask ourselves, what kind of art is fashion exactly? What does fashion do that other art forms can’t? Fashion creates a mood and ends up in the laundry worn again differently the week after. Fashion creates a mood and changes how a stranger treats you on the street. This tension is what makes fashion interesting. How thrilling to see the conversations that will occur in response to perhaps a Gabreiela Hearst or Cristóbal Balenciaga next to a Vermeer!
Costume Art is structured around the body itself. From “The Naked Body” to “The Mortal Body,” the exhibit will document the human physical existence in conversation with physical art pieces at the museum. It will use the greatest hits of art history to assist in our thinking process of what it means to be a person inside of a body in a particular place and time.
The exhibition will also inaugurate the Costume Institute's brand new permanent home at the Condé M. Nast Galleries. This 12,000-square-foot space adjacent to the Great Hall is completely transformative for this battle of art and fashion. To give fashion this location is to finally give it the legitimacy in the conversation it’s been trying to enter for a century.
Back to the Dress Code
“Fashion Is Art.” Most coverage I have seen has called this the most “open” brief the Met Gala has issued in years. While this is technically true, with specific reference era or design vocabulary, I believe that open does not mean easy. To express one’s own relationship to fashion as art is to treat their own body as the subject, and reach deep into the memory of the industry.
This theme asks guests to have a genuine point of view, or perspective on what their outfit is really saying. I believe that this is going to create the most legible dividing line we’ve seen in years between the people who truly have engaged with history and the people who reached for something architectural.
Every year of the Met Gala has that moment that really does the work of art. This year, with the body as the explicit subject, I think that is going to involve the human form in a vulnerable way. This may not necessarily be a naked or illusion dress, but something of the kind of attention a sculptor brings to marble.
I also think someone is going to take the literal route and arrive dressed as a specific piece of art that will send the internet into a two-week art history spiral. The obvious picks are a Botticelli Venus or Van Gogh’s sky. But the look I actually want to see is something uncomfortably brilliant, like the reconstructed doll-body surrealism of Hans Bellmer.
At least one celebrity is going to show up in something that makes body art, with minimal garment and maximum statement. This is going to either be the most talked-about look or a complete misfire. I have a prediction that because Beyoncé is also returning after a 10 year hiatus as this year’s co-chair, she will literally breathe life into this take.
“Fashion Is Art” is also broad enough that most things technically qualify, which means the carpet policing is going to be fierce because of the invisible parameters. One’s “personal expression of art” can look completely different than another, so the interviews are going to be extremely helpful in decoding the designer’s intentions this year.
This year feels different overall because the Met is really pushing the idea that fashion belongs in a museum as a primary art form with five thousand years of history and a permanent home in one of the world’s greatest cultural institutions.
On May 4th, when each invitee poses on those stairs in their stylist’s selection, they’ll be participating in the argument that fashion has been making for decades. Some of them will prove the point, some will muddy it. A few of them might, in a single look, make it more eloquently than any wall text ever could.
Xoxo,
Annie
What to Wear to the Office This Summer
Every summer, New York City welcomes the fresh, innocent faces of a new cohort of interns. They pour off the subway at Fulton Street, Hudson Yards, and 51st and Lex, iced coffee in hand, both thrilled and terrified. This summer, you may be one of them. You’ve made it through the LinkedIn posts and late nights on Excel, and are now about to take on the new challenge of standing in front of your closet at 7am thinking: what do people actually wear to this?
The answer is, thankfully, not a mystery. New York will humble you in approximately forty other ways this summer, from your commute and rent, to the August humidity. So let’s go through this list and take the closet crisis off your mind.
Let’s start with Step One for when you have absolutely no idea what the vibe is. You likely don’t know the dress code yet. You don’t know if you will get fired if you wear jeans. In this scenario the correct move is a Frankie Shop camel crossover blazer and charcoal pinstripe trousers. Add the Margaux Parra flat in black and you’ve cracked the code.
Hot tip: if the crossover front feels too much, too fast for your office environment, add a white tee underneath!
For my girls in PR, fashion, or tech, this next look is essentially a sweater and trousers, but done so well that everyone thinks you’ve cracked some kind of effortless style secret.
The track is a fine-gauge knit that falls in a more elevated way than a simple top. I especially love the WNU Devon Jumper or the Reformation Clara Cashmere Cardigan. Find a balance between fine enough for summer, and warm enough for aggressively air-conditioned conference rooms.The Kookai Ariel Waistband Trouser in dark chocolate brings in a bit of warmth and, crucially, has a waistband that won’t dig into you on an eight-hour work day.
Now for those with decision fatigue after too many notifications before sunrise. The dress is the most underrated item in the intern wardrobe, because you put one thing on and you’re done. One item, out the door. Here are the ones that actually work in an office without a conversation with HR.
The Aritzia Priestly is a classy bodycon perfect with little kitten mules, blazer, and big bag. The fabrication defies gravity which does make it office appropriate. The Reiss Midi is so classy and perfect for layering over the pleated skirt. The Kole Dress by Rue Sophie is brilliantly sophisticated in Heather grey. On the more relaxed side, I love the Kookai Jac Mini Dress. A mini and blazer combo will never fail.
The Great Shirt Theory may be one of my greatest fascinations. Here is a truth that took my maximalist self years to accept: a good shirt is worth more than almost anything in your wardrobe. The J.Crew Étienne Oxford can be worn tucked, half-tucked, knotted, or let loose over a sharp trouser. The Frankie Shop Orsel crossover shirt is honestly more structured than it looks, and the built-in crossover is incredible for quick styling. I need both the silhouette of the Rue Sophie Piquenique Pintuck Shirt, and the pop of color from the A.L.C Dena Top in black cherry for my PR job immediately.
For presentation days and first impressions, the Artizia Domain blazer makes you look like you have been doing this for years. What even is entry level? Pair it with the Aritzia slip skirt in the same off-white colorway and you’ve achieved monochromatic dressing, which requires zero styling effort and looks so put-together. The fabrics are completely different so it looks intentional rather than matchy-matchy. The satin skirt and matte blazer do all the work for you. I also LOVE the J. Crew x Alex Eagle cuffed trouser and as confident anchor pieces. Finish with the Reformation Francine loafer mule, and walk in to own that office.
A simple cheat sheet for when your start from nothing is to build the intern capsule. Everything else will fall into place around it.
Ten weeks goes fast. You’ll figure out the job, the commute, the best lunch spots. Every morning you’ll get dressed, and it will get better and better. Come August, you’ll be the one who the new people are looking at for inspo. You will not fully know what you are doing, ever, but you will look incredible. For New York, that counts for a lot.
Xoxo,
Annie
Swim of the Summer
My childhood summers will never be topped. We were on boats before we learned how to swim, and jumping off cliffs before we were old enough to drive. Every summer was the same: the whole day spent in the ocean, you come home purple, jump straight into the hot tub, shower, grill, sleep, do it again. The greatest feeling in the whole world. This lifestyle has given me the credentials of years of swimsuits that I have tried and tested to find the perfect ones.
There is a very specific magic that happens when you find the swimsuit. The one that makes you want to stay in the water longer, walk around without anything else on, and take a million photos. I have been chasing this feeling my entire life, and I will continue to do so.
From my years of dedicated research, I have discovered that the best swimsuit shopping happens right after you leave the beach with a slight burn, salt-matted hair, and slight heatstroke. It’s like grocery shopping hungry.
That’s exactly how this edit was born. In my post-beach delirium during spring break, I collected eight suits that passed the test. These include a variety of styles and prices, with high quality, lasting sets, and sustainably made.
Indah Clothing Koh Top and Samui Bottom
Let me tell you about macramé done right. The top alone takes over a week to make by hand, with each piece being cut into fabric strips and woven into a diamond pattern in Bali. In the Goldi color, it catches the most beautiful light and makes you look like a mermaid. Ties securely at the back, fully adjustable, and fully worthy of obsession.
Indah Clothing Dixie Top and Shelly Bottom
Indah does Bali-made swim the right way, handcrafted, cut and built to last for consecutive summers. The Shelly is cheeky (they warn you, and they mean it) and it’s perfect. The silhouette is vintage-inspired, and spun with a unique yarn that holds its shape when wet.
Anooa / Mise Label Luchi Bikini Set in Brown
With Italian pearl beads at the center, an underwire bust, ruched balconette cut, and insane brown color, it supports you as much as it flatters you. Brown swimwear has been gaining popularity because of the magic it does to any skin tone, and this one is a perfect example of universally flattering.
Bamba Swim Malibu Top and Amore Bottoms
This set has that easy, California slouch that looks so effortless and stays in place so well. I cannot explain my love for Bamba swim, and this set is one that I do endorse from experience. It’s simple and sleek and built for giving you the best tan lines and staying on for swims. This shade of maroon also photographs like a dream against golden skin and white sand.
Bamba Swim Ursula Top and Rio Bottoms in Alligator
This set hits the waist exactly right, with the most unique print and ideal coverage. Rio is the hottest bikini capitol in the world, and with this set on, you will be turning heads wherever you are.
Horse & Berries Eternal Top and Elba Bottom in Root
Root is the color of the earth after it rains, a dried fig left in the sun, and a really sick leather bag. This set is the earthy anchor to any good swim collection. So simple, perfect for tanning, and the coolest base to any all-white outfit.
Gooseberry Intimates So Chic One-Piece in Cassis
I have done extensive one-piece research, and have yet to find a more flattering choice. The one-piece is everywhere, and for good reason. It’s simple, sexy, sculpting, and genuinely does stay on in the water. I recently discovered this deep, inky-purple black color that reminds me of the south of France. Purchased.
Tropic of C The Sculpting C in Black
Made from recycled materials, built to last, and cut to feel a simple black one-piece feel fresh, the Sculpting C is designed for the girl that swims past the brake until she's fried and pruned. This piece is rare in its ability to function and look insanely cool.
At the end of the day, the right suit does not make the summer, but it most certainly helps. My advice is to try one of these eight options, book the trip, stay in the water until your fingers prune and your skin is fried. There is no better feeling.
Xoxo,
Annie
Oxford and Cambridge Wear Chanel
My two worlds are colliding.
I spent many beautiful years, from high school to college, on the water with 5am alarms and blistered hands. I also grew up with stacks of dog-eared editions of Vogue. These two passions have lived happily in separate corners of my life for years.
Although the sport of rowing is undoubtedly as classy as they come, the Thames is getting even more glamorous this April. Chanel has announced its return as the title sponsor and official timekeeping partner of the Oxford-Cambridge Boat Race.
The Boat Race has been celebrated since 1829, hosting nearly 200 years of Oxford versus Cambridge, dark blue versus light, Putney to Moortlake. This partnership honors that heritage while emphasizing certain key components of both the sport and the maison: precision and excellence.
The J12 was inspired by the world of competitive sailing – so in a way, this partnership was always inevitable. In a sport where eight athletes and a coxswain must move in absolute synchrony with every second counting, the highest level of craft is necessary. The near-perfect instant when all eight rowers move as one — known as 'swing' — was Chanel president Frédéric Grangié's very inspiration for the partnership. These athletes are also high-achieving academics, working towards Masters or PhD degrees while training for five hours a day. This is the exact kind of excellence that Coco Chanel would have recognized. No wonder the maison felt so at home.
J12 Collection Courtesy of Chanel J12 Universe
What makes this collaboration so chic is that Chanel is not overwhelming the Boat Race with logos and fanfare. It is not a flashy and distinct Chanel campaign, but an acknowledgement that true icons recognize each other. Chanel stands along the banks of the Thames with a respect for the integrity of the sport, while also bringing the maison's hallmark precision and craftsmanship to the world of rowing.
Cambridge Women’s Crew
This year, the CHANEL J12 Boat Race 2026 will begin on Saturday April 4th, lined by over 200,000 spectators on the banks. All that's left is to watch the magic of eight blades catching the water together, and to see what happens when two icons move in perfect sync on Chanel’s time. My two worlds are crossing the finish line together.
Xoxo,
Annie
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.
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:
You are wearing the best fitting jeans for every body type
The cotton came from a farm that’s basically the Gwyneth Paltrow of agriculture
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