Image courtesy of Netflix

is so much that can be said about the competition reality show “America’s Next Top Model,” (ANTM) and much has been discussed in detail in the new Netflix documentary “Reality Check: Inside America’s Next Top Model.” Though some of the discussion in the highly rated documentary is negative.

Fashion Reverie has a special relationship with the hit television reality show because we know some of the judges from ANTM and have photographed several former contestants in editorial shoots. Though there has been a plethora of podcasts on the Netflix documentary, most of the podcasts are told from the perspective of lifestyle, pop culture, and entertainment experts, few from the perspective of fashion industry professionals.

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“America’s Next Model” premiered in 2003, and the reality competition show very quickly became a huge success, later becoming a global phenomenon in 180 countries with franchises in many countries, accumulating huge revenue from licensing deals. During the COVID-19 pandemic, with people experiencing limited in-person interactions, there was a lot of binge-watching of ANTM.

The re-examination of ANTM caused viewers to deeply question the relevancy and authenticity of ANTM. ANTM, in retrospect 20-plus years after its debut had some cultural, social, and racial challenges. Granted some of the standout problematic moments were created during a time where there was little focus on racial microaggressions, body shaming, and bullying, still, ANTM episodes remain problematic.

One of the most distressing and obvious elements of ANTM was the fact that ANTM was not an honest reflection of the fashion industry, but reality television.  And as entertaining as the show was, very few of the contestants on ANTM went on to become top models, as the name implies. Winnie Harlow is one of the most successful contestants from ANTM, continuing to be featured in fashion editorials, campaigns, and walking the runways of top fashion designers/brands. Other successful ANTM contestants have mostly found fame on television and in films, namely Yaya Dacosta, Eva Marcille, Saleisha Stowers, and Analeigh Tipton.

Image courtesy of charlesandhudson.com, reddit.com, and youtube.com, respectively

A former ANTM judge explained to Fashion Reverie that the reality show was about 15% to 20% fashion, the rest was entertaining television. And because ANTM was reality television, the fashion industry did not take the contestants seriously as fashion models. Model contestants had difficulty getting model management representation after ANTM.  Model Management agencies saw the ANTM contestants as reality television celebrities, not fashion models. To get work many former ANTM contestants had to change their names, hairstyles, and the color of their hair and get work in countries outside of the US.

Teyona Anderson, winner of Cycle 9, had to go to South Africa to get work. In a YouTube video, ANTM Cycle 6 runner up Joanie Dodds detailed her model journey after her appearance on ANTM. Strangely, she revealed that after Cycle 6 had taped, she was flown back to her hometown and was told not to take a regular job or go after modeling jobs until Cycle 6 premiered to protect any information that could come out about her particular cycle. She had to take an after-hours job cleaning offices until Cycle 6 premiered.

Dodds also detailed that after she moved to Los Angeles and signed with a major model management company, she was not able to secure any significant modeling work, only walking in Los Angeles Fashion Week for very little money ($200 a show) or no pay. Finally, she asked her agent to secure work for her in other countries. She began to book jobs in Hong Kong, where no one cared about her being a contestant on ANTM. Dodds made more money in Hong Kong in one month than she made in Los Angeles modeling, bartending, and in retail jobs.

In the Netflix documentary ANTM Cycle 6 winner Danielle Evans revealed that after her win she was unable to secure significant work in New York City. While living in the Ford Models’ house, every day she witnessed her fellow models going on go-sees, booking jobs, while the phone did not ring for her. A fellow housemate, top model Chanel Iman, finally asked her agent at Ford Models why Evans was not getting castings. Iman was informed that fashion designers/brands saw Evans as reality TV personality, not a fashion model. (Eventually, Evans did book jobs. Fashion Reverie saw her walking for Betsey Johnson during NYFW at Lincoln Center.) Still, Evans contends that Tyra Banks knew this was happening and did nothing to help former contestants with castings or bookings. In the documentary Evans feels her career was blighted by her association with ANTM. (Fashion Reverie discovered several years ago that a list was passed around in the fashion industry every ANTM cycle with the current ANTM contestants names and photos. Designers/brands were instructed not to hire ANTM contestants on the list.)

Remember, at that time in the early 2000s, until 10 years ago, reality television was seen as a last-ditch attempt to revive a lagging acting career or a desperate attempt to break into television and film, not a way to launch a career in fashion. ANTM Cycle 14 winner Krista White reveals that many of the former ANTM contestants worked very hard, pounding the pavement to achieve their goals with no assistance at all from Banks or the ANTM crew.

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And then there is the controversy over the bizarre and insane photoshoots on ANTM. While some of the photoshoots were entertaining and thought-provoking, most of the images were unusable in a model’s portfolio. (Shooting models in couture gowns in a garbage dump. Really Tyra!!)

Your portfolio, or book as it is called in the fashion industry, is your selling ticket to major castings and bookings. Without a good portfolio your career goes nowhere, even if you are signed to a major model management agency. Post-ANTM models had to scuffle to get fashion photographers to shoot test shots for their books. These test shots came out of their own pockets, or the model management agency created the test shots for the models and billed them later with interest. Fashion photographers for test shoots can cost over $500 and that does not include make-up and hair.

Images courtesy of teenvogue.com, realitybitesgames.com, and pinterest.com, respectively

In the end some former contestants did have successful fashion careers, with most of that success happening abroad where casting directors and fashion brands did not view the models as only reality TV fodder. ANTM Cycle 10 plus-size model Whitney Thompson had a thriving modeling career in Europe and Asia, coming back to the States years after her ANTM win. ANTM Cycle 19 contestant Leila Goldkuhl found success mostly in Europe, walking for Alexander McQueen, Alexandre Vauthier, Alberta Ferretti, Balmain, Chanel, Fendi, Dolce & Gabbana, Elie Saab, Emanuel Ungaro, Emilio Pucci, Lanvin, Isabel Marant, Hermes, Jean Paul Gaultier, Giambattista Valli, Marc Jacobs, Moschino, Nina Ricci, Oscar de la Renta, Prada, Roberto Cavalli, Salvatore Ferragamo, Shiatzy Chen, Valentino, Vera Wang, Versace and Zuhair Murad. And ANTM Cycle 6 contestant Molly Sue Steenis-Gondi became a very established model in Europe and Asia with covers for Vogue Russia, Vogue Italia, Vogue Nippon, Madame Germany, Madame Figaro, and others.

So, now you may wonder what was good about ANTM? Well, it was very entertaining television, and the longevity and ratings proved that. Also, it did expose the public to some small aspects of the fashion industry, thus increasing the visibility of the fashion industry. Still, does the good outweigh the bad? Hmm, let the gods decide that!!

William S. Gooch

Images courtesy of fashionweekdaily.com

Kelly Cutrone has never been known to have a filter. For those not familiar with Kelly Cutrone, Cutrone was the founder of People’s Revolution and OutLaw PR firms. Cutrone also had her own reality show “Kell on Earth” and served as a judge of “America’s Next Top Model” cycles 18 to 22 from 2012 to 2015, replacing Andre Leon Tally on the panel.

Recently, Cutrone commented on Instagram in lieu of the heightened buzz around Netflix’s highly rated documentary “Reality Check: Inside of America’s Next Top Model,” that Jay Manuel, one of the creative directors of the editorial shoots on “America’s Next Top Model” (ANTM), was never a real part of the fashion industry until he became and editorial creative director on ANTM.  Cutrone claims that before ANTM Manuel worked behind a makeup counter in Toronto. She asserts that Manuel is seeking to restore his reputation by criticizing his former boss, Tyra Banks, in the Netflix documentary. “Maybe he will get a deal as a spokesperson for spray tanning or filler,” Cutrone wrote, as reported in dailyfrontrow.com.

In truth, Jay Manuel was Tyra Banks makeup artist before he appeared on ANTM. Still, Cutrone stirs the gossip tea so well because unlike celebs that are so media trained that they seem fake and artificial, Cutrone always tells it like it ‘T-I-S.’ Kelly Cutrone does not appear in “Reality Check: Inside of America’s Next Top Model.”

Images courtesy of models.com

 Exciting changes at Zadig & Voltaire

If you have followed the fashion industry for any significant time you know that departures and new appointments happen often. Dan Sablon was recently announced as the new creative director of Zadig & Voltaire.

Sablon was a former fashion director of Lui magazine and contributing editor at i-D Magazine. He is also culture director-at-large at Vogue France and has worked alongside Marc Jacobs and collaborated with Carhartt and Fenty x Puma.

“Zadig & Voltaire has always stood for freedom of spirit, instinct, and a distinct Parisian rock attitude,” said Thierry Gillier, founder and owner of Zadig & Voltaire, in a statement, as reported in dailyfrontrow.com. “Dan’s modern vision and creative intelligence, combined with his deep understanding of our codes, make him the right choice to lead the creative direction of the maison today. This appointment marks an important step in the evolution of Zadig & Voltaire, and I look forward to opening this new chapter together.”

“Building on the vision set by Thierry Gillier, Dan will work closely with our teams to strengthen the creative identity of the Maison and further support its international development,” added the company’s CEO, Arnaud Gillier. “Zadig & Voltaire has always stood for freedom of spirit, instinct, and a distinct Parisian rock attitude,” said Thierry Gillier, founder and owner of Zadig & Voltaire, in a statement.

“To join Zadig & Voltaire at this moment in its evolution is an honor,” said Sablon, who will work closely with Gillier in his new role. “It has always embodied a distinct Paris attitude, effortless but intentional. My ambition is to refine that energy and to build a wardrobe with clarity and edge, grounded in strong archetypes and informed by culture today.”

Image courtesy of theguardian.com

Ciao Missoni family

The Missoni family has departed from its namesake brand. There had been rumors that the Missoni brand would turn over to American hands; however, that has been an incorrect assumption.

As one of jewels of Made in Italy, known for its zigzag patterns, the Missoni brand will stay in Italian hands.  According to fashionnetwork.com, the FSI Group will increase its share capital from 41% to 75%, while Katjes Quiet Luxury, the holding company of the Fassin and Bachmueller families, will acquire around 25% of Missoni.

These new developments will not shake up heads that much at Missoni, the current CEO, Livio Proli, remains at the helm. Barnaba Ravanne, co-founder of FSI, has been confirmed as chairman.

William S. Gooch

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Mariah Carey

The music icon delivered a headline-making appearance during the Opening Ceremony festivities, adding vocal star power to the grand kickoff in Milan.

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Andrea Bocelli

Italy’s beloved tenor brought emotional depth to the ceremony with a powerful performance celebrating the host nation.

Image courtesy of olympics.com

Lang Lang

The internationally acclaimed pianist participated in the Opening Ceremony, blending classical artistry with Olympic spectacle.

Image courtesy of athlonsports.com

Simone Biles

The Olympic gymnastics legend was spotted cheering from the stands, supporting Team USA and fellow athletes.

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Usher

The R&B superstar attended the festivities and was seen in VIP sections throughout the Games.

Image courtesy of E!News

Stanley Tucci

The actor made a stylish appearance at the Opening Ceremony, embracing the elegance of the Italian setting.

Image courtesy of pagesix.com

Jeff Goldblum

Known for his distinctive flair, Goldblum added Hollywood charm to the red-carpet arrivals in Milan.

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Donatella Versace

The fashion powerhouse represented Italy’s luxury legacy, turning heads with her signature glamorous style.

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Michelle Yeoh

The Academy Award-winning actress was among the high-profile guests spotted enjoying the Games.

Image courtesy of E!News

Snoop Dogg

Blending entertainment with sport, Snoop Dogg brought his larger-than-life personality to the Olympic atmosphere.

The 2026 Winter Olympics have proven to be more than a sporting event but a cultural moment where athletics, fashion, music, and film converge on one global stage in Northern Italy.

—Tijana Ibrahimovic

Anyone expecting spectacle without substance underestimated Toi. Beneath the theatrics is a designer who understands the needs of women whose calendars are filled with luncheons and fundraising galas. The palette centered on black and silver, punctuated by flashes of electric cobalt. Plush looks from Saga Furs added unapologetic glamour, despite pressure from the Council of Fashion Designers of America (CFDA) to keep fur off official runways. Toi stayed true to his aesthetic, and the show was stronger for it.

Signature ‘Zang-isms’ appeared through a playful, Jetson-era silver mini recalling Judy Jetson, metallic hand-loomed jumpsuits layered under sculpted leather jackets, and cozy cardigan wraps that balanced shine with softness. Pants were sleek and narrow, in both corduroy and lacquered leather.

Images courtesy of Zang Toi

Where Toi truly excelled was eveningwear. His mastery of drape and construction celebrated the female form. Horsehair gave sculptural volume to a black-velvet keyhole dress, while zibeline lent an architectural edge to an oversized cut-away coat. The finale delivered classic Toi drama: first, a black silk gazar cape hand-beaded with a skyscraper motif, followed by a couture bride floating through fog, clad in a sparkling white tulle and silk butterfly festooned wrap. Toi closed the show in a tuxedo beside his bride.

Vivian Kelly

Inspired by reimagined romance seen through the lens of fantasy, whimsy, and elegance, Azenabor juxtaposes this reflection against the contrast of strength and softness, whimsy alongside edge, and complex power married with calmness and layered beauty. All these varied points of view do exist in the same fashion petri dish with canceling each aspect or overshadowing points of view.

It takes a lot of craft and genius to combine these disparate elements into a collection that can have a wide appeal to different types of consumers and demographics. In this collection Azenabor demonstrates that she possesses the craft to create garments that have a variety of silhouettes combined in one cohesive garment. Sometimes, this melding of different points of view is overdone, but for the most part Azenabor accomplishes this challenge.

Ese Azenabor uses rose motifs throughout this collection. Imagine a winter rose, beautiful and vibrant in a deep red color. These blooming roses are an integral part of this fall 2026 collection. And showcasing this collection in the stunning 91st Street mansion was the perfect venue to highlight Azenabor’s genius and craft.

Images courtesy of Atelier PR

Though this collection has 43 looks, there were some standouts. The garments that caught Fashion Reverie’s attention most were the long sleeve shorts romper with narrow plunge, halter gown featuring bodice encrusted with red crystals, two-piece set featuring gold strapless asymmetrical corset comprised entirely of rose gold acrylic and crystal-beaded flowers, off-white tailored Mikado mini-dress with corset detailing on front and back with sweetheart neckline, and black strapless Mikado mini dress with large sequin flower for pop color.

—William S. Gooch

And though the potential was always evident, there was always something amiss. This fall 2026 collection was different. Malan Breton, for the most part, realized his potential.

Breton’s “Song of the Winter Siren” draws on the visual language of late 1920s and 1930s glamour and classic film noir, pairing refinement with an undercurrent of tension and consequence. A nocturnal palette anchors the collection, including inkwell black, bone white, champagne gold, garnet, and smoke silver reinforces the cinematic atmosphere, with beauty by Odilis and hair by Vivienne Mackinder leaning into polished, era inspiring glamour.

If there were some drawbacks to this collection, and there were a couple, it would be elements of his menswear. The expanded lapels, resembling sailor lapels, was a big stretch for menswear. And it is yet to be proven if a modern male consumer would purchase these kinds of jackets. Also, at times there were still too many ideas. Again, Breton should take advice from the late great Coco Chanel, “before you leave the house, look in the mirror and take one thing off.”

Images courtesy of Lawlor Media

Still, this was a much more of a cohesive attempt—with well-constructed garments—at making clothing that a wider demographic would want in their wardrobe. Malan Breton is on his way. And perhaps, this culmination in wearable, exciting clothes is the result of maturity and perseverance. Bravo for that!!

—William S. Gooch

The world is arguably falling apart; it feels like the end of times. The economy is in shambles (even though the White House won’t release an accurate jobs report), but on the bright side, for businesses affected by Trump’s tariffs, the Supreme Court overturned most of them. In times like these, escapism and surrealism are needed, and for many, fashion is a form of that.

Christian Siriano has always taken pride in dressing real women of all body types. Inclusivity has been his focus since he started rising to fame as a red-carpet dresser, dressing many curvy and full-figured actresses that other designers often refused to serve. While Siriano has designed for women of all shapes and sizes, Siriano’s true aesthetic has always been about glamour, fantasy, and opulence.

He continued to explore the idea of fantasy for his new collection, inspired by the dreamlike qualities of Salvador Dali’s paintings. While Siriano didn’t fully adopt Cubism, where subjects are broken down and reassembled in abstract forms, he played with proportions and exaggerations, much like Dali’s art.

The show opened with supermodel Coco Rocha wearing what, at first glance, seemed like a minimalist black outerwear ensemble with a corset jacket, but upon closer inspection exaggerated arms, shoulders, and a subtle flare at the top of the trousers. This hinted at the play on proportions to come, including a white feathered coat with oversized lapels, scalloped sleeves, and sculptural statement bodices.

Siriano aimed to blur the lines between reality and fantasy, successfully achieved through his use of fluid drapery and high-gloss textures. Rocha returned to close the show in a satin blue and green ombre gown with a balloon bodice, echoing the luminous contrast of a surrealist landscape.

Images courtesy of vogue.com

The architectural design of the gowns showcased Siriano’s craftsmanship, while the textures and handcrafted beading reflected his view of fashion as art. While Dali was a pioneer in Cubist painting, Siriano is demonstrating himself as a pioneer in modern glamour.

—Kristopher Fraser

This season’s collection, entitled “NOIR VIGILANTE,” featured runway pieces steeped in precision tailoring and controlled disruption. Rooted in American heritage dressing, the collection sharpened familiar forms; trench coats, denim, button-down shirts, and eveningwear into sculptural silhouettes defined by proportion and structure. Tuxedo elements were integrated into daywear. Stone-washed denim was engineered with cinched waists and architectural shaping. Classic tailoring was recalibrated for a sharper, more deliberate expression.

There were several, wonderful standout pieces in the collection such as the blue polka dot suit and the tiered polka dot skirt; however, Hunte’s outerwear has always been his main attraction and still is. The outerwear (for the people in the back) was tres magnifique, and remains Hunte’s signature designed elements. The crowd literally gasped when the trench coats hit the runway and when I say trench coats, I mean crocodile-textured technical coats, structured denim trenches, and saturated trench silhouettes in green, yellow, and deep burgundy that has all of us adding these coats to our Pinterest boards. And will hopefully be added to consumer’s fall/winter wardrobes.

Images courtesy of Romeo Hunte

The collection reflects the maturation of the brand: heritage informed, technically assured and architecturally precise. We see the elevation and applaud this new American heritage brand. Keep doing Romeo what you are doing. It is working!!

Renessta Olds

DeVos took a recent journey to Antarctica, where she was inspired by the continent’s quiet grandeur and frozen refinement. From the glacial formations to the vast landscapes, she began formulating ideas for Pamella Roland’s fall 2026 collection. One of her biggest inspirations came from penguins and the contrast of their black-and-white plumage. The opening black-and-white tailored look, accessorized with black leather gloves, easily invoked the contrast of penguins’ plumage and, with its strong peak lapels, also signified power dressing for women.

While Pamella Roland is known for its cocktail dresses and evening gowns, it was a very different choice for the brand to open with a suiting look, but it built up to the dramatic, red- carpet styles. The black-and-white contrast color palette was soon seen on a gown with a white bodice, black skirt, and cascading white train, accessorized with black opera gloves, a look that’s much more expected from Pamella Roland.

Beyond the black-and-white contrasting looks, the color palette for the collection also included glacial blues, icy whites, grays, and rich jewel tones, softened with blush and nude hues. The finale look, a halter gown with crystal and paillette appliqués paired with a white down puffer cape, was worthy of a magical snow queen and showed that Arctic inspiration can move well beyond industrial parks and down coats.

Images courtesy of Purple PR

Although DeVos offered hints of pieces, like the opening suit, that were outside of what defines the Pamella Roland brand, she still stuck to her tried-and-true elaborate gowns. She is a reminder to always think about the customer and what works, but it’s also worth offering them something unexpected and seeing how they respond.

—Kristopher Fraser

A nostalgic tribute to the untapped energy of the 1970s, this collection channels the poetry of folk rock with a modernized twist of opulence, grasping a firm balance between softness and edge. Cascading ruffles, gilded embroidery and pussy-bow blouses contrast sheer silhouettes, skin-baring necklines, and raised hemlines, striking a balance between softness and provocation. Silk trimmed in lace, regal gold brocade, lush florals, and plush faux furs accentuate familiar yet new silhouettes.

Ochre, deep burgundy, olive green, and ivory ground the palette, punctuated by bursts of poppy red and saturated blue. A silk lace-trimmed empire-waist dress with an ankle-grazing hem evokes romanticism, while a floor-length skirt is juxtaposed with a cinched-waist jacket. Vegan naplak leather is splattered throughout the collection, at times doubled in sets and others gracing softer silhouettes, adding a welcomed contrast.

Gold brocade appears in the form of both a slinky slip dress and an empire-waist gown with intricate bodice beadwork and tiered skirting, then reemerges as a dramatic counterpoint in a voluminous ballgown skirt paired with leather bomber jacket. Billowing floral and lace maxi dresses channel a bohemian ease, while intricate jeweled embellishments bring richness to bra top and high-waisted trousers. Faux fur jackets and stoles lend a luxe finish throughout.

Cinched-hem genie pants, leather micro shorts, and slinky lace-trim boxers add a refreshing twist to the otherwise classic presentation. A sheer lace duster with a billowing floor-length train brings free-spirited drama to exclaim the collection. Pointed lace-up booties, chunky square toe knee-highs and heeled loafers add interest while classic pumps and t-straps anchor the offering.

Images courtesy of Cinq a Sept

Sharing its name with the French term for the liminal moment linking late afternoon and early evening, Cinq à Sept brings the intriguing tension between day and night to an advanced contemporary collection.

—Lauren Pierre-Louis