For Spring 2027, Paolina Russo returned to Copenhagen with a collection built around a girl living two very different summer lives. By day, she is at her grandmother’s house, surrounded by floral prints and patchwork quilts; by night, she slips away to the skate park, channeling a more restless, teenage energy. According to the designers, the idea was to follow a character searching for identity through a mix of memory, fantasy, and small-town recollection.

That contrast showed up clearly in the clothes. A neat pea coat came in a muted cargo green but was broken up with clashing floral motifs, while wooden buttons were threaded with rainbow embroidery. The label’s familiar laser-printed denim was updated with geometric patterns inspired by quilting. Accessories carried the same sentimental, playful spirit: childhood Beyblade toys were transformed into bubblegum and acid-green earrings, skateboard wheels became chunky necklaces, and melted plastic cutlery was turned into neon floral details. The brand’s skater-girl belt chains also returned, now decorated with keys and found objects. Footwear came via Ecco, whose Joke shoes were finished with rhinestone laces.

The show itself was designed as a community event. Paolina Russo opened the doors to a large crowd of fans, then welcomed even more people for a second presentation after industry guests had left. The runway was paired with a live battle of the bands featuring singer Grace Ives and Copenhagen band Haloplus+, both tied to the designers’ personal and creative world. Behind the scenes, the brand also marked a sustainability milestone: after adopting Copenhagen as a second home and following the city’s standards, it reached about 77% mono-material garments, above its target. Its lenticular knitwear returned too, appearing in T-shirts, skirts, and capri leggings made from 100% Oekotex-certified cotton.

According to Russo, the collection was as much about belonging as it was about style. The result was a runway that connected nostalgia, youth culture, and technical progress without losing the brand’s playful identity.

Source: vogue.com

The post Paolina Russo Blends Nostalgia, Skate Culture, and Sustainability in Copenhagen Spring 2027 appeared first on toppoptoday.com.

By Malene Birger marked its return to the runway after a six-year break with a Spring 2027 show that was as much about place and identity as it was about clothes. Creative director Emilie Martinsen-Kønigsfeldt invited guests to her parents’ green estate outside Copenhagen, where models followed a gravel path beside a pond, framed by lawns, trees, shrubbery, and garden sculptures in the late-afternoon light. The setting was chosen to underline the collection’s back-to-basics message and the brand’s desire to reassert itself in Denmark.

Martinsen-Kønigsfeldt presented the show alongside newly appointed head designer Sydney Roark, with the collection built around the idea of serving women from day to night. Details such as sun-print motifs, sun-shaped buttons, and Caribou’s “Sun” on the soundtrack reinforced that theme, while the palette followed the passage of time, beginning in white, shifting into warm golden tones, and ending in black. The result was polished and elegant, though the overall impression was intentionally restrained.

Rather than pushing into radical new territory, the collection read like a careful overview of the label’s recent and longer-term references. A tassel on the back of a high-collared raincoat recalled resort 2027, ponyskin echoed an earlier season, and backless scarf-like tops pointed back to the years when Maja Dixdotter designed for the brand. Mirror embroidery on an airy evening look nodded both to founder Malene Birger’s taste for sparkle and to Martinsen-Kønigsfeldt’s preference for refined embellishment.

There was also a whisper of ’90s glamour in the clothes’ fluid movement and easy, natural attitude, with a possible nod to the sheer shimmering dress once worn by Kate Moss. According to Martinsen-Kønigsfeldt, returning to Copenhagen’s calendar matters because the brand is Danish, has a long history, and wants to be present in its home market. The show reinforced that point, positioning By Malene Birger as part of the city’s ongoing fashion momentum.

Source: vogue.com

The post By Malene Birger Returns to Copenhagen With a Sunlit Spring 2027 Collection appeared first on toppoptoday.com.

Ferragamo is leaning into its identity as a footwear house with a fall 2026 campaign built around shoes, archival references and a distinctly sculptural visual language. Shot by Johnny Dufort and unveiled on Thursday, the images revisit the brand’s old-fashioned campaign format, in which founder Salvatore Ferragamo was often shown alongside film stars surrounded by his creations.

This season’s cast includes Anok Yai, Vittoria Ceretti and Thibaud Charon, while Jingyu Huang and Ning Chang make their campaign debut after being named global brand ambassadors. Styled by Lotta Volkova, the group appears in a setting that also incorporates work by contemporary artist Willie Cole. A 1994 sculpture made entirely from colorful pumps becomes a throne for Yai, reinforcing the campaign’s shoe-first concept.

Creative director Maximilian Davis said the collaboration made sense because the imagery aligns with his interest in Surrealism and Dadaism. He also noted that Ferragamo’s footwear continues to be defined by construction, comfort and innovation, while his work has focused on sharpening the brand’s codes for a modern audience. The campaign also highlights accessories, including the new Cara bag in calf leather with Gancini hardware and a new east-west version of the Hug bag.

Beyond the campaign styling, the visuals point back to Ferragamo’s design history, including stilettos inspired by a 1954 style, the Opanka design with its architectural shell sole, and updated versions of the signature Varina flats. Together, the images position footwear not just as a product category, but as the central language of the brand’s current image.

Source: wwd.com

The post Ferragamo Puts Footwear Front and Center in Its Fall 2026 Campaign appeared first on toppoptoday.com.

Adidas is making a significant change at the top of its finance team. Harm Ohlmeyer, who has served as chief financial officer since 2017, will leave the role at the end of the year after nearly 30 years with the company. His departure follows a long run that included leadership posts across finance, sales, digital commerce and supply chain-related responsibilities.

According to the company, Ohlmeyer joined Adidas in 1998 and went on to hold a range of senior positions, including CFO of TaylorMade-Adidas Golf and senior vice president of finance for the Adidas brand and global sales. He later led the company’s e-commerce business, joined the executive board in 2017 and took on additional duties as labor director, with added oversight of supply chain and tech more recently. Adidas CEO Bjørn Gulden and supervisory board chairman Nassef Sawiris both praised Ohlmeyer’s contribution, pointing to his financial expertise and his role in major strategic moves such as building the e-commerce business and the divestitures of TaylorMade and Reebok.

Taking his place will be Birgit Kretschmer, an Adidas alum who is returning to the company after six years as CFO at C&A. She will join Adidas’ executive board on Sept. 1 and is set to become CFO at the end of the year. Kretschmer spent 25 years at Adidas in a variety of leadership roles, including CFO of Adidas International BV, CFO of Western Europe, and senior vice president of corporate and operations finance, where she oversaw accounting, treasury and M&A activities as well as operational controlling. She was part of the finance leadership team from 2012 and sat in the company’s core leadership group between 2017 and 2020.

Gulden said Kretschmer is well suited to the job because of her long history with Adidas and her recent experience at a major fashion retailer. Sawiris also described her as a leader who understands the company, its business and the wider industry. Adidas said that by Jan. 1, 2027, its executive board will include Gulden, Kretschmer, Michelle Robertson and Mathieu Sidokpohou. The leadership update arrives as the company also reported strong second-quarter results for fiscal 2026, with sales rising 14 percent to 6.74 billion euros, its highest quarterly net sales on record and above market expectations.

Source: wwd.com

The post Adidas Brings Back Birgit Kretschmer as Harm Ohlmeyer Prepares to Exit CFO Role appeared first on toppoptoday.com.

Skims is giving Tracy Nguyen a bigger seat at the table. The intimate apparel label founded by Kim Kardashian and Jens Grede has promoted Nguyen to chief communications officer, a newly created position that widens her responsibilities across the brand.

Nguyen, who joined Skims in 2024 as executive vice president of communications and entertainment, will continue to oversee global communications while also taking charge of entertainment, sports and brand partnerships. According to the report, she has played a key role in shaping Skims’ communications strategy and helping build the brand’s cultural profile. One of her most notable contributions was helping steer the Skims x Nike partnership, after which she was named co-general manager of the venture in 2025. She will keep that NikeSkims role as part of her expanded remit.

In her new position, Nguyen will also lead celebrity, talent and sports partnerships, along with brand collaborations and cultural activations. The move underscores Skims’ continued push to position itself at the intersection of fashion, entertainment and sport. Kardashian praised Nguyen as a trusted advisor and said the promotion reflects confidence in her strategic and creative instincts, while Grede called the expansion of her role a natural next step for the company.

Nguyen is based in New York and reports to Kardashian and Grede. Before joining Skims, she served as chief brand officer for KKW Brands beginning in 2017, working closely with Kardashian across her business interests. She also co-founded Industry Public Relations, where she spent more than a decade, and previously held roles at People’s Revolution, 5W Public Relations and Sunshine Sachs.

Source: wwd.com

The post Skims Promotes Tracy Nguyen to Chief Communications Officer appeared first on toppoptoday.com.

Bubble has tapped Diana Rubin as its first chief marketing officer, adding a new senior role to the Gen Z-focused skincare brand’s leadership team. Rubin will begin on Monday and report directly to founder Shai Eisenman.

In her new post, Rubin will oversee Bubble’s marketing direction, with the goal of supporting expansion and strengthening the brand’s standing in the beauty market. Eisenman described the hire as a major step for the company, saying Rubin brings a strong blend of skincare knowledge, brand intuition and commercial discipline.

Rubin arrives from Sol de Janeiro, where she most recently served as vice president and head of marketing at the L’Occitane Group label. Before that, she spent years in roles at Kiehl’s, YSL Beauty and Lancôme, giving her a long track record across major beauty names.

Rubin said she sees Bubble as being at an important point in its growth, pointing to the brand’s connection with consumers and its accessible approach to skincare. She said she looks forward to working with Eisenman and the team to widen Bubble’s reach, deepen engagement and drive the next phase of growth. Eisenman also said Bubble has decided to remain independent after previously exploring potential deals with Centerview Partners, and added that the brand will continue to focus on leading a new generation of skincare consumers.

Source: wwd.com

The post Bubble Appoints Diana Rubin as Its First Chief Marketing Officer appeared first on toppoptoday.com.

With artificial intelligence now able to handle much of the job-application process, the face-to-face interview has become even more important in fashion hiring. According to the report, employers and applicants are both navigating new questions about how much AI should be used, and whether it can blur the line between polish and authenticity. Daniel Peters, who founded Fashion Minority Report after working at Burberry and Selfridges, says candidates who lean too heavily on AI may struggle to speak naturally about their own experience once they are in the room.

For students and recent graduates, that makes the interview a rare chance to stand out. The article notes that AI-generated applications can make candidates look increasingly similar, while an in-person meeting allows designers to bring something tangible to the table. Parsons graduate Quinn Fertig says she values interviews because she can present physical work, especially since her designs rely heavily on texture and color. Career advisers also encourage applicants to show their process, while creative director Nicolas Aburm of Area emphasizes that candidates should be precise about their contributions rather than overstating what they did.

What you wear is part of the conversation

In fashion, interview dressing is not treated as a minor detail. Fertig says she plans her outfits carefully and often wears her own designs, even describing one pleated skirt she made for a pitch competition before going on to win it. She believes dressing in a way that reflects the company is important, and that clothing can help break the ice while also revealing how a candidate thinks creatively. In her view, an outfit can function almost like an extension of a portfolio, showing a manager how someone translates ideas into form.

The report also highlights how storytelling can shape an interview. Peters argues that AI may open doors for applicants who are neurodivergent or otherwise underserved, but he still encourages candidates to build a clear narrative around who they are and what they can do. He points to personal histories, family craft traditions, and early creative experiences as useful material. He also cites Tavi Gevinson’s early fashion blogging as an example of a self-made journey that created momentum. Finally, headhunter James Stuart advises job seekers to research employers as carefully as companies research them, including the culture and leadership style of the organization.

Source: vogue.com

The post What Fashion Interviewers Really Want to See, According to Industry Insiders appeared first on toppoptoday.com.

Alo is taking another step beyond its roots in activewear with the debut of its first sunglasses collection. The Los Angeles-based wellness brand has introduced six styles that were designed in Los Angeles and handcrafted in Japan, adding eyewear to a growing accessories business that already includes footwear and Italian-made handbags.

Priced between $250 and $375, the collection includes rectangle, skinny oval, cat-eye, aviator and wire-frame options, plus a sportier wraparound speed shape. The sunglasses are being sold through Alo’s website and Alo Sanctuary stores around the world, with South Korea excluded from the rollout.

The launch reflects what Alo chief design and merchandising officer Abby Gordon describes as “luxury wellness,” a brand direction meant to connect everything from studio clothes to the bag someone carries and the sunglasses they wear on the way out the door. According to the report, Alo sees eyewear as a natural test of that idea, especially as the brand continues to build recognition beyond leggings and matching workout sets.

Alo has been expanding carefully for several years. It entered footwear in 2023 with the Recovery Mode sneaker and later widened that category into lifestyle, performance and recovery styles. In 2025, the company moved further into high-end accessories with handbags made in Italy and priced from $1,200 to $3,600. For this latest category, Alo chose Japan for its long-standing reputation in frame-making and acetate craftsmanship.

The sunglasses are made with Takiron acetate, and some styles feature palladium or gold-plated hardware. Each frame is hand-polished rather than machine-finished, a detail the company says adds depth and shine. The collection took years to develop, and Alo ultimately decided to launch with six familiar silhouettes instead of a larger assortment, signaling a measured approach to its entry into luxury eyewear.

Source: wwd.com

The post Alo Steps Into Luxury Eyewear With Its First Sunglasses Collection appeared first on toppoptoday.com.

Daisy Edgar-Jones is already setting the tone for her upcoming Sense and Sensibility press run with a look that quietly nodded to historical dressing. The actor stepped out on Thursday, July 16 in a dramatic Vivienne Westwood gown that mixed the label’s familiar structure with a more unexpected striped finish.

Designed by Andreas Kronthaler for the Fall 2026 collection, the dress featured a fitted bodice and a full, gathered skirt, but its brown-and-tan diagonal stripes gave it a fresh twist. The print ran from the top of the gown to the raw hem, while the waist was pulled in to create a more sculptural shape. The result included an asymmetrical skirt, a thigh-high slit, and a bustle-like back.

Though the look echoed the kind of period references often associated with Jane Austen adaptations, it leaned more toward the era that followed Sense and Sensibility than the Regency styling usually tied to Austen. Rather than wearing the runway version with knit sleeves and slouchy brown boots, Edgar-Jones and stylist Dani Michelle finished the outfit with pointed white heels. They added Boucheron earrings shaped like feathers with drop pearls, along with Estée Lauder beauty touches.

The film, directed by Georgia Oakley, is set to arrive on October 16, with a September 25 release in the United Kingdom. Edgar-Jones plays Elinor Dashwood opposite Esmé Creed-Miles as Marianne Dashwood.

Source: harpersbazaar.com

The post Daisy Edgar-Jones Teases Her ‘Sense and Sensibility’ Era in a Brown-and-Tan Vivienne Westwood Gown appeared first on toppoptoday.com.

Matty Healy and Gabbriette Bechtel’s wedding brought together a notably stylish crowd at Castillo del Lago in Los Angeles, and the guest looks reflected the couple’s stated old-Hollywood-meets-gothic mood. Among the first arrivals were Charli XCX and her husband, George Daniel, who both dressed in head-to-toe black in a way that still felt unmistakably their own.

Charli chose a ruffled black wrap gown with a plunging neckline and a thigh-high slit, finishing the look with Jimmy Choo Love slingbacks, a black clutch, and square-framed Bulgari sunglasses. Daniel kept to a classic monochrome suit with shirt and tie, matching the formal tone of the evening while staying streamlined and understated.

Other guests also followed the dark, polished brief in different ways. Devon Lee Carlson wore a vintage Roberto Cavalli dress in gray and black cheetah print, while Sydney Carlson opted for a beaded cream-and-black flapper-style dress. Alex Consani appeared in a black slip decorated with crystal flowers and butterflies, and Stassie Karanikolaou wore a body-skimming black gown cinched with braided ropes. Gabbriette, meanwhile, wore a voluminous white bridal look with a sweetheart neckline, sculpted bodice, ruffled sleeves, a full skirt, and an embroidered train, along with a long sheer veil, while Healy wore a black tuxedo with a corsage on his lapel.

The report also notes that Charli and Daniel are approaching their one-year wedding anniversary. The pair were married at a London courthouse, where Charli wore a Vivienne Westwood Nova Cora mini with a simple veil and white Jimmy Choo Amita heels. For a second celebration in Sicily, she changed into a sheer Danielle Frankel dress with organza micro petals and baroque pearls, and she later attended Dua Lipa and Callum Turner’s Sicily wedding in a layered sheer black JW Anderson dress. Taken together, the looks underline the idea that wedding dressing does not have to mean softening personal style to fit the occasion.

Source: vogue.com

The post Charli XCX and George Daniel Show How Wedding-Guest Dressing Can Stay True to Personal Style appeared first on toppoptoday.com.

For Spring 2027, Paolina Russo returned to Copenhagen with a collection built around a girl living two very different summer lives. By day, she is at her grandmother’s house, surrounded by floral prints and patchwork quilts; by night, she slips away to the skate park, channeling a more restless, teenage energy. According to the designers, the idea was to follow a character searching for identity through a mix of memory, fantasy, and small-town recollection.

That contrast showed up clearly in the clothes. A neat pea coat came in a muted cargo green but was broken up with clashing floral motifs, while wooden buttons were threaded with rainbow embroidery. The label’s familiar laser-printed denim was updated with geometric patterns inspired by quilting. Accessories carried the same sentimental, playful spirit: childhood Beyblade toys were transformed into bubblegum and acid-green earrings, skateboard wheels became chunky necklaces, and melted plastic cutlery was turned into neon floral details. The brand’s skater-girl belt chains also returned, now decorated with keys and found objects. Footwear came via Ecco, whose Joke shoes were finished with rhinestone laces.

The show itself was designed as a community event. Paolina Russo opened the doors to a large crowd of fans, then welcomed even more people for a second presentation after industry guests had left. The runway was paired with a live battle of the bands featuring singer Grace Ives and Copenhagen band Haloplus+, both tied to the designers’ personal and creative world. Behind the scenes, the brand also marked a sustainability milestone: after adopting Copenhagen as a second home and following the city’s standards, it reached about 77% mono-material garments, above its target. Its lenticular knitwear returned too, appearing in T-shirts, skirts, and capri leggings made from 100% Oekotex-certified cotton.

According to Russo, the collection was as much about belonging as it was about style. The result was a runway that connected nostalgia, youth culture, and technical progress without losing the brand’s playful identity.

Source: vogue.com

The post Paolina Russo Blends Nostalgia, Skate Culture, and Sustainability in Copenhagen Spring 2027 appeared first on toppoptoday.com.

By Malene Birger marked its return to the runway after a six-year break with a Spring 2027 show that was as much about place and identity as it was about clothes. Creative director Emilie Martinsen-Kønigsfeldt invited guests to her parents’ green estate outside Copenhagen, where models followed a gravel path beside a pond, framed by lawns, trees, shrubbery, and garden sculptures in the late-afternoon light. The setting was chosen to underline the collection’s back-to-basics message and the brand’s desire to reassert itself in Denmark.

Martinsen-Kønigsfeldt presented the show alongside newly appointed head designer Sydney Roark, with the collection built around the idea of serving women from day to night. Details such as sun-print motifs, sun-shaped buttons, and Caribou’s “Sun” on the soundtrack reinforced that theme, while the palette followed the passage of time, beginning in white, shifting into warm golden tones, and ending in black. The result was polished and elegant, though the overall impression was intentionally restrained.

Rather than pushing into radical new territory, the collection read like a careful overview of the label’s recent and longer-term references. A tassel on the back of a high-collared raincoat recalled resort 2027, ponyskin echoed an earlier season, and backless scarf-like tops pointed back to the years when Maja Dixdotter designed for the brand. Mirror embroidery on an airy evening look nodded both to founder Malene Birger’s taste for sparkle and to Martinsen-Kønigsfeldt’s preference for refined embellishment.

There was also a whisper of ’90s glamour in the clothes’ fluid movement and easy, natural attitude, with a possible nod to the sheer shimmering dress once worn by Kate Moss. According to Martinsen-Kønigsfeldt, returning to Copenhagen’s calendar matters because the brand is Danish, has a long history, and wants to be present in its home market. The show reinforced that point, positioning By Malene Birger as part of the city’s ongoing fashion momentum.

Source: vogue.com

The post By Malene Birger Returns to Copenhagen With a Sunlit Spring 2027 Collection appeared first on toppoptoday.com.

Ferragamo is leaning into its identity as a footwear house with a fall 2026 campaign built around shoes, archival references and a distinctly sculptural visual language. Shot by Johnny Dufort and unveiled on Thursday, the images revisit the brand’s old-fashioned campaign format, in which founder Salvatore Ferragamo was often shown alongside film stars surrounded by his creations.

This season’s cast includes Anok Yai, Vittoria Ceretti and Thibaud Charon, while Jingyu Huang and Ning Chang make their campaign debut after being named global brand ambassadors. Styled by Lotta Volkova, the group appears in a setting that also incorporates work by contemporary artist Willie Cole. A 1994 sculpture made entirely from colorful pumps becomes a throne for Yai, reinforcing the campaign’s shoe-first concept.

Creative director Maximilian Davis said the collaboration made sense because the imagery aligns with his interest in Surrealism and Dadaism. He also noted that Ferragamo’s footwear continues to be defined by construction, comfort and innovation, while his work has focused on sharpening the brand’s codes for a modern audience. The campaign also highlights accessories, including the new Cara bag in calf leather with Gancini hardware and a new east-west version of the Hug bag.

Beyond the campaign styling, the visuals point back to Ferragamo’s design history, including stilettos inspired by a 1954 style, the Opanka design with its architectural shell sole, and updated versions of the signature Varina flats. Together, the images position footwear not just as a product category, but as the central language of the brand’s current image.

Source: wwd.com

The post Ferragamo Puts Footwear Front and Center in Its Fall 2026 Campaign appeared first on toppoptoday.com.

Adidas is making a significant change at the top of its finance team. Harm Ohlmeyer, who has served as chief financial officer since 2017, will leave the role at the end of the year after nearly 30 years with the company. His departure follows a long run that included leadership posts across finance, sales, digital commerce and supply chain-related responsibilities.

According to the company, Ohlmeyer joined Adidas in 1998 and went on to hold a range of senior positions, including CFO of TaylorMade-Adidas Golf and senior vice president of finance for the Adidas brand and global sales. He later led the company’s e-commerce business, joined the executive board in 2017 and took on additional duties as labor director, with added oversight of supply chain and tech more recently. Adidas CEO Bjørn Gulden and supervisory board chairman Nassef Sawiris both praised Ohlmeyer’s contribution, pointing to his financial expertise and his role in major strategic moves such as building the e-commerce business and the divestitures of TaylorMade and Reebok.

Taking his place will be Birgit Kretschmer, an Adidas alum who is returning to the company after six years as CFO at C&A. She will join Adidas’ executive board on Sept. 1 and is set to become CFO at the end of the year. Kretschmer spent 25 years at Adidas in a variety of leadership roles, including CFO of Adidas International BV, CFO of Western Europe, and senior vice president of corporate and operations finance, where she oversaw accounting, treasury and M&A activities as well as operational controlling. She was part of the finance leadership team from 2012 and sat in the company’s core leadership group between 2017 and 2020.

Gulden said Kretschmer is well suited to the job because of her long history with Adidas and her recent experience at a major fashion retailer. Sawiris also described her as a leader who understands the company, its business and the wider industry. Adidas said that by Jan. 1, 2027, its executive board will include Gulden, Kretschmer, Michelle Robertson and Mathieu Sidokpohou. The leadership update arrives as the company also reported strong second-quarter results for fiscal 2026, with sales rising 14 percent to 6.74 billion euros, its highest quarterly net sales on record and above market expectations.

Source: wwd.com

The post Adidas Brings Back Birgit Kretschmer as Harm Ohlmeyer Prepares to Exit CFO Role appeared first on toppoptoday.com.

Skims is giving Tracy Nguyen a bigger seat at the table. The intimate apparel label founded by Kim Kardashian and Jens Grede has promoted Nguyen to chief communications officer, a newly created position that widens her responsibilities across the brand.

Nguyen, who joined Skims in 2024 as executive vice president of communications and entertainment, will continue to oversee global communications while also taking charge of entertainment, sports and brand partnerships. According to the report, she has played a key role in shaping Skims’ communications strategy and helping build the brand’s cultural profile. One of her most notable contributions was helping steer the Skims x Nike partnership, after which she was named co-general manager of the venture in 2025. She will keep that NikeSkims role as part of her expanded remit.

In her new position, Nguyen will also lead celebrity, talent and sports partnerships, along with brand collaborations and cultural activations. The move underscores Skims’ continued push to position itself at the intersection of fashion, entertainment and sport. Kardashian praised Nguyen as a trusted advisor and said the promotion reflects confidence in her strategic and creative instincts, while Grede called the expansion of her role a natural next step for the company.

Nguyen is based in New York and reports to Kardashian and Grede. Before joining Skims, she served as chief brand officer for KKW Brands beginning in 2017, working closely with Kardashian across her business interests. She also co-founded Industry Public Relations, where she spent more than a decade, and previously held roles at People’s Revolution, 5W Public Relations and Sunshine Sachs.

Source: wwd.com

The post Skims Promotes Tracy Nguyen to Chief Communications Officer appeared first on toppoptoday.com.

Bubble has tapped Diana Rubin as its first chief marketing officer, adding a new senior role to the Gen Z-focused skincare brand’s leadership team. Rubin will begin on Monday and report directly to founder Shai Eisenman.

In her new post, Rubin will oversee Bubble’s marketing direction, with the goal of supporting expansion and strengthening the brand’s standing in the beauty market. Eisenman described the hire as a major step for the company, saying Rubin brings a strong blend of skincare knowledge, brand intuition and commercial discipline.

Rubin arrives from Sol de Janeiro, where she most recently served as vice president and head of marketing at the L’Occitane Group label. Before that, she spent years in roles at Kiehl’s, YSL Beauty and Lancôme, giving her a long track record across major beauty names.

Rubin said she sees Bubble as being at an important point in its growth, pointing to the brand’s connection with consumers and its accessible approach to skincare. She said she looks forward to working with Eisenman and the team to widen Bubble’s reach, deepen engagement and drive the next phase of growth. Eisenman also said Bubble has decided to remain independent after previously exploring potential deals with Centerview Partners, and added that the brand will continue to focus on leading a new generation of skincare consumers.

Source: wwd.com

The post Bubble Appoints Diana Rubin as Its First Chief Marketing Officer appeared first on toppoptoday.com.

With artificial intelligence now able to handle much of the job-application process, the face-to-face interview has become even more important in fashion hiring. According to the report, employers and applicants are both navigating new questions about how much AI should be used, and whether it can blur the line between polish and authenticity. Daniel Peters, who founded Fashion Minority Report after working at Burberry and Selfridges, says candidates who lean too heavily on AI may struggle to speak naturally about their own experience once they are in the room.

For students and recent graduates, that makes the interview a rare chance to stand out. The article notes that AI-generated applications can make candidates look increasingly similar, while an in-person meeting allows designers to bring something tangible to the table. Parsons graduate Quinn Fertig says she values interviews because she can present physical work, especially since her designs rely heavily on texture and color. Career advisers also encourage applicants to show their process, while creative director Nicolas Aburm of Area emphasizes that candidates should be precise about their contributions rather than overstating what they did.

What you wear is part of the conversation

In fashion, interview dressing is not treated as a minor detail. Fertig says she plans her outfits carefully and often wears her own designs, even describing one pleated skirt she made for a pitch competition before going on to win it. She believes dressing in a way that reflects the company is important, and that clothing can help break the ice while also revealing how a candidate thinks creatively. In her view, an outfit can function almost like an extension of a portfolio, showing a manager how someone translates ideas into form.

The report also highlights how storytelling can shape an interview. Peters argues that AI may open doors for applicants who are neurodivergent or otherwise underserved, but he still encourages candidates to build a clear narrative around who they are and what they can do. He points to personal histories, family craft traditions, and early creative experiences as useful material. He also cites Tavi Gevinson’s early fashion blogging as an example of a self-made journey that created momentum. Finally, headhunter James Stuart advises job seekers to research employers as carefully as companies research them, including the culture and leadership style of the organization.

Source: vogue.com

The post What Fashion Interviewers Really Want to See, According to Industry Insiders appeared first on toppoptoday.com.

Alo is taking another step beyond its roots in activewear with the debut of its first sunglasses collection. The Los Angeles-based wellness brand has introduced six styles that were designed in Los Angeles and handcrafted in Japan, adding eyewear to a growing accessories business that already includes footwear and Italian-made handbags.

Priced between $250 and $375, the collection includes rectangle, skinny oval, cat-eye, aviator and wire-frame options, plus a sportier wraparound speed shape. The sunglasses are being sold through Alo’s website and Alo Sanctuary stores around the world, with South Korea excluded from the rollout.

The launch reflects what Alo chief design and merchandising officer Abby Gordon describes as “luxury wellness,” a brand direction meant to connect everything from studio clothes to the bag someone carries and the sunglasses they wear on the way out the door. According to the report, Alo sees eyewear as a natural test of that idea, especially as the brand continues to build recognition beyond leggings and matching workout sets.

Alo has been expanding carefully for several years. It entered footwear in 2023 with the Recovery Mode sneaker and later widened that category into lifestyle, performance and recovery styles. In 2025, the company moved further into high-end accessories with handbags made in Italy and priced from $1,200 to $3,600. For this latest category, Alo chose Japan for its long-standing reputation in frame-making and acetate craftsmanship.

The sunglasses are made with Takiron acetate, and some styles feature palladium or gold-plated hardware. Each frame is hand-polished rather than machine-finished, a detail the company says adds depth and shine. The collection took years to develop, and Alo ultimately decided to launch with six familiar silhouettes instead of a larger assortment, signaling a measured approach to its entry into luxury eyewear.

Source: wwd.com

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Daisy Edgar-Jones is already setting the tone for her upcoming Sense and Sensibility press run with a look that quietly nodded to historical dressing. The actor stepped out on Thursday, July 16 in a dramatic Vivienne Westwood gown that mixed the label’s familiar structure with a more unexpected striped finish.

Designed by Andreas Kronthaler for the Fall 2026 collection, the dress featured a fitted bodice and a full, gathered skirt, but its brown-and-tan diagonal stripes gave it a fresh twist. The print ran from the top of the gown to the raw hem, while the waist was pulled in to create a more sculptural shape. The result included an asymmetrical skirt, a thigh-high slit, and a bustle-like back.

Though the look echoed the kind of period references often associated with Jane Austen adaptations, it leaned more toward the era that followed Sense and Sensibility than the Regency styling usually tied to Austen. Rather than wearing the runway version with knit sleeves and slouchy brown boots, Edgar-Jones and stylist Dani Michelle finished the outfit with pointed white heels. They added Boucheron earrings shaped like feathers with drop pearls, along with Estée Lauder beauty touches.

The film, directed by Georgia Oakley, is set to arrive on October 16, with a September 25 release in the United Kingdom. Edgar-Jones plays Elinor Dashwood opposite Esmé Creed-Miles as Marianne Dashwood.

Source: harpersbazaar.com

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Matty Healy and Gabbriette Bechtel’s wedding brought together a notably stylish crowd at Castillo del Lago in Los Angeles, and the guest looks reflected the couple’s stated old-Hollywood-meets-gothic mood. Among the first arrivals were Charli XCX and her husband, George Daniel, who both dressed in head-to-toe black in a way that still felt unmistakably their own.

Charli chose a ruffled black wrap gown with a plunging neckline and a thigh-high slit, finishing the look with Jimmy Choo Love slingbacks, a black clutch, and square-framed Bulgari sunglasses. Daniel kept to a classic monochrome suit with shirt and tie, matching the formal tone of the evening while staying streamlined and understated.

Other guests also followed the dark, polished brief in different ways. Devon Lee Carlson wore a vintage Roberto Cavalli dress in gray and black cheetah print, while Sydney Carlson opted for a beaded cream-and-black flapper-style dress. Alex Consani appeared in a black slip decorated with crystal flowers and butterflies, and Stassie Karanikolaou wore a body-skimming black gown cinched with braided ropes. Gabbriette, meanwhile, wore a voluminous white bridal look with a sweetheart neckline, sculpted bodice, ruffled sleeves, a full skirt, and an embroidered train, along with a long sheer veil, while Healy wore a black tuxedo with a corsage on his lapel.

The report also notes that Charli and Daniel are approaching their one-year wedding anniversary. The pair were married at a London courthouse, where Charli wore a Vivienne Westwood Nova Cora mini with a simple veil and white Jimmy Choo Amita heels. For a second celebration in Sicily, she changed into a sheer Danielle Frankel dress with organza micro petals and baroque pearls, and she later attended Dua Lipa and Callum Turner’s Sicily wedding in a layered sheer black JW Anderson dress. Taken together, the looks underline the idea that wedding dressing does not have to mean softening personal style to fit the occasion.

Source: vogue.com

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