Advertise on podcast: The Glossy Podcast

This week, Ralph Lauren became the most decorated designer in CFDA history after he won the Menswear Designer of the Year award. That's 12 CFDA awards for Ralph Lauren, who has now won in every category there is to win. On top of Lauren's personal victory, Ralph Lauren, the company, posted earnings this week that were similarly triumphant. Revenue was up 10%, revenue in Asia was up 28%, and 1.7 million new customers shopped at Ralph Lauren's DTC channels this quarter. The wins coupled with Ralph Lauren's stellar financial performance beg the question: Why is Ralph so dominant? On the Glossy Podcast this week, senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff discussed what has made Ralph Lauren such a vital presence in American fashion.

Recent fashion brand campaigns have gotten a lot funnier. Increasingly, brands are moving beyond working with athletes, musicians and influencers and are instead bringing in comedians to be part of their campaigns. J.Crew's recent campaign with the three "Saturday Night Live" cast members John Higgins, Martin Herlihy and Ben Marshall is an obvious example. But other current and former "SNL" cast members like Chloe Fineman and Sarah Sherman, as well as non-SNL comedians like Shane Gillis and Meg Stalter, have also all made recent appearances in campaigns from brands like Under Armour and Vivaia. On the Glossy Podcast this week, senior fashion reporter Danny Parisi and international reporter Zofia Zwieglinska speak with Dayna Carney, founder of the creative agency Dayna's House, about the appeal for brands of working with comedians. Ultimately, Carney said, comedic content is far more shareable than a brand's curated lookbook. People tend to share things they find funny. "If you think about the purchase journey, it's about the moment that will bring you back to the brand," Carney said. "You watch something, it's funny, it's delightful, you save it for later, and maybe you share it with someone else. It's not always a 'swipe up and buy' play."

This past weekend, the Khloé Kardashian- and Emma Grede-founded denim brand Good American hosted a pop-up in New York City, inviting dozens of content creators and influencers. Many of the influencers who showed up, however, did not get the experience they were expecting. In the days after the pop-up, social media was flooded with videos of disgruntled creators sharing their experience. Believing the event was an "exclusive" experience for VIPs, some flew from other cities only to face a long line in the rain and decidedly less-than-VIP treatment. Since then, there has been widespread public debate over who was in the wrong here. Did Good American err by poorly communicating the exact nature of the event? Or did the influencers, as some have said, have too high an opinion of themselves or fail to read between the lines, expecting special treatment at what was ultimately a standard pop-up event? On the Glossy Podcast this week, senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff discussed what exactly went wrong with this pop-up and what it says about how brands work with influencers, who are increasingly central to their marketing efforts. "The problem was that a lot of these creators are nano-influencers or micro-influencers," said Zwieglinska. Typically, a nano-influencer has 1,000-10,000 followers, while a micro-influencer has 10,000-100,000. "A lot of them thought this was an exclusive invite and, for their size, having an opportunity to work with a big brand like Good American could be a really big deal." Zwieglinska pointed out that a separate, actually exclusive event later in the day let influencers with much larger followings in without issue. They posted far more positively about how much fun they had, adding to the bitterness for smaller creators, many of whom never even got into the store before being turned away. Manoff said she understood why the situation provoked such an intensely negative reaction from the influencers who felt burned. "I've had similar experiences," she said. "I've been invited to fashion shows, and they tell you you have a seat, and you get there, and it's such a scene — they've clearly invited too many people, or they're a buzzy brand and the public swarms it, and you don't get in. You have certain expectations when you get invited. You're there to do your job. And, bluntly, you feel like a loser. Like, what am I doing here? It's a really bad feeling." Fashion brands are increasingly relying on influencers and content creators to magnify their reach, and brand executives often tell Glossy reporters that micro-influencers are key to that strategy. Despite their smaller followings, they often have more engaged audiences, and their influence can be just as valuable as big-name celebrities. Yet in reality, brands often use a tiered system, and influencers with bigger follower counts still get the glamorous treatment. The hosts also discussed how they could have avoided this. All it really would have taken was Good American being more direct about what exactly the event entailed. "I think there is also a scourge of PR, in their efforts to make their clients look good, increasingly exaggerating their pitches," Parisi said. "I get a lot of PR pitches, and I feel like they are getting longer, vaguer and more exaggerated. They want to make every event sound sexy and

This week, LVMH reported earnings that showed its recovery last quarter was short-lived. Sales in its bellwether fashion and leather goods category fell 5% last quarter. Sales in Asia were also down 5%, and the company's share price has fallen by nearly 40% so far since its peak in 2023. While LVMH is still the largest luxury conglomerate in the world, it's clear that something isn't working in the company's strategy. Other luxury brands and conglomerates have faced similar issues, like slower sales in China and disruption in the Middle East, but several aren't facing LVMH's problems. Chanel, for example, has seen double-digit growth in every region, including Asia, this year. So what's going on at LVMH? On the Glossy Podcast this week, senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff discussed some of the reasons for LVMH's declining sales. For one, the company's brands are failing to inspire on the runway, and the lack of creative innovation is leading to a loss of desirability. "I've looked at a lot of recent reports from resale sites like Fashionphile, Rebag and The RealReal, and in 2023, LVMH had four of the top 10 most searched brands," Manoff said, citing a recent The RealReal report. "In 2024, they had four again; in 2025, they had five of the top 10. But in 2026, they only have one of the top 10. Louis Vuitton was the only one still there. That is quite a backslide in my eyes." Manoff also noted that executives on LVMH's earnings call on Monday talked a lot about environmental factors negatively affecting performance, but offered little in the way of planned changes to their strategy. "At some of their brands like Bulgari, they're introducing more accessibly priced products and being more innovative," Zwieglinska said. "But at Louis Vuitton, in particular, they've been very stubborn about making any changes."

With Paris Fashion Week over, we've officially reached the end of this season's Fashion Month. For the latest Glossy Podcast, senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff, came prepared to discuss Paris Fashion Week, including a designer that impressed them, a runway product that made an impact and a trend that said something about the state of the fashion industry. Here are their picks.

Milan Fashion Week wrapped earlier this week, and now that the dust has settled, it's clear there were several striking themes. Many of them centered on maximalism. As quiet luxury fades away, Milan showed a return to the more extravagant dressing of previous years. On the Glossy Podcast this week, hosts senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff broke down three of the major themes they saw at Milan Fashion Week.

London Fashion Week returned with more international buyers, several major British brands and a sharper commercial focus. On this week’s Glossy Podcast, senior fashion reporter Danny Parisi spoke with international reporter Zofia Zwieglinska about the September 17-21 shows. They discussed Christopher Kane’s Mulberry debut, McQueen’s London return, Burberry’s turnaround and the pressure on independent designers to make their shows pay off.

New York Fashion Week Spring 2027 was a memorable one. Between the return of several big-name designers and the controversy involving the CEO of the CFDA, there was much to discuss. On the Glossy Podcast this week, senior fashion reporter Danny Parisi and editor-in-chief Jill Manoff discuss six of the biggest new things they saw at NYFW this season.

Uniqlo has taken the U.S. by storm. The Japanese purveyor of affordable but high-quality basics has become a household name, particularly on the populous East and West Coasts of the country. But in the last year, Uniqlo has ratcheted up its expansion in the U.S. It has opened dozens of new stores across the U.S., with its 87th store opening in Washington, D.C. at the end of last month. Nico Cessot, head of marketing in North America for Uniqlo, joined the Glossy Podcast to talk about some of the expansion strategies Uniqlo has adopted to grow its American audience. According to Cessot, despite operating in the U.S. since 2005, Uniqlo still has plenty of room to grow its customer base and build awareness. "Our biggest priority is to continue to drive our brand awareness," he said. "Ultimately, we're still new in this market. This year is our 20th anniversary. So we're still pretty new. We want to continue to appeal to the U.S. customers. And how do we do this? Obviously, the store expansion is one thing, but the brand awareness and the discovery of who we are, what we stand for, what products we promote, I think that is also key for the success of Uniqlo moving forward." Ultimately, Uniqlo's goal is to reach approximately $19 billion in U.S. sales with nearly 200 stores in the next few years. Part of that strategy is to expand its store fleet beyond the coasts and into the middle of the country. "For many, many years, Uniqlo has been expanding in both the East Coast and West Coast," Cessot said. "New York is obviously a big market for us, but we also have California and L.A. locations. We recently opened in Texas — Dallas and Houston — Seattle in Washington state, Boston, D.C. and Chicago, where we recently also opened another local flagship store. But I think many, many customers still don't have acce

After several years of ups and downs, the Chinese fast-fashion brand Shein finally went public this week. But the IPO wasn't what Shein hoped for. For one, it came four years late. The company first started attempting to go public in 2022, but a series of political hurdles in New York and then London led to long delays. Finally, Shein went public in Hong Kong this week at a valuation of around $25 billion, down from $100 billion in 2022. On this week's Glossy Podcast, senior fashion reporter Danny Parisi and international reporter Zofia Zwieglisnka break down the three big reasons Shein has struggled to maintain the valuation it held in recent years.

The Vogue September issue is the most important issue of the year for the storied fashion magazine. And this year's edition is the first one published under the new direction of Chloe Malle, head of editorial content, who took over for the legendary Anna Wintour last September. On the Glossy Podcast this week, hosts senior fashion reporter Danny Parisi and editor-in-chief Jill Manoff take a look at Malle's first September issue and break down some of the ways that both Vogue and the larger fashion media industry have evolved. Chief among those changes is that print magazines are no longer the primary source of style information for the vast majority of fashion enthusiasts. The September issue of old was a bellwether for trends, informing the public about what was in style now and coming down the pipeline. But print can't compete with the speed of online publishing, where much of that timely trend analysis has moved, meaning that print has to be more timeless. The result is a sometimes contradictory product, full of ads for brands that are hot right now, but with editorial content that feels detached from the fashion business. "It's interesting that Chloe Malle is coming from a digital background," Manoff said. "I was a Vogue subscriber for years, and I used to read things that were buzzy and new. This issue had stories about improving your mood with Botox or one about the dangers of clenching your jaw. I was just like, 'What am I reading here?'" "A lot of it doesn't feel very timely," Parisi said. "Part of that is that people are more likely to buy print magazines today as a collector's item, as a coffee table book. That's why you see so many of those commemorative issues of random magazines in the grocery store aisle. They're not meant to give you timely information, which has all moved online." The hosts also discuss the cover story, featuring Kaia Gerber and Homer Gere, two children of famous parents, and the connection to Chloe Malle, herself the daughter of actress Candice Bergen and filmmaker Louis Malle. The issue ties the theme of children of famous parents to the many designers who have taken over at legacy fashion houses in the last year. And the September issue would be nothing without the clothes. This issue continues a trend in fashion editorial of single-brand looks. "We've definitely moved away from the stylist-driven looks, which haven't been the norm for a while," Manoff said. "I like when you see 'stylist-owned ball cap' or 'vintage jeans' in the credits. It's unfortunate that that's gone, because that is very inspiring to me. When you see a head-to-toe look that's all one brand, you're not getting ideas on how to style it. Nobody dresses that way."

On this week’s Glossy Podcast, international fashion reporter Zofia Zwieglinska joins senior fashion reporter Danny Parisi to explain who Mike Ashley is, why the Harvey Nichols deal matters and how Frasers is gaining influence across the fashion industry.

It started with the Palantir chore coat. Then it was the Anthropic "thinking cap." Now, OpenAI has its own regular merch drops through its apparel arm, Supply Co. Over the last year, big tech and AI companies have started to get into the fashion game, releasing streetwear-inspired drops, hiring people into roles like "head of vibes" and opening pop-up shops to show off their merch. The reaction has been split. Many in the fashion community have lambasted these releases, calling them inauthentic and using fashion as a means of reputation laundering. Many of the companies involved, particularly Palantir, have been widely criticized for reasons including their environmental impact, unethical data acquisition models or contributions to mass surveillance. Highsnobiety style writer Chris Erik Thomas joined the Glossy Podcast this week to discuss why these companies are entering the fashion game and why the reaction from streetwear communities has been so negative.

Copenhagen Fashion Week has spent the past two decades growing from a regional trade event into fashion’s unofficial fifth city. Along the way, it helped define the Scandi aesthetic, pioneered sustainability requirements that have influenced fashion weeks around the world and launched brands including Ganni, Cecilie Bahnsen and Saks Potts onto the global stage. But as many of its biggest success stories move to Paris, what comes next? This week, Glossy international fashion reporter Zofia Zwieglinska is joined by fashion editor and broadcaster Natalie Salmon to discuss Copenhagen’s rise, the legacy of the “Scandi girl,” the evolution of Ganni, why editors increasingly prioritize the week and what the next 20 years could look like.

Method dressing is once again dominating the red carpet. At the Los Angeles premiere of “Spider-Man: Brand New Day” on July 27, Zendaya arrived in an Ashi Studio fall 2026 gown with a plunging neckline framed by sculptural elements resembling a spider’s appendages. Three days later, she and longtime stylist Law Roach continued the narrative at the film’s London premiere with a cream Tamara Ralph couture gown traced with metallic, web-like lines. The London look was finished with a diamond-encrusted gold spider brooch by couture jewelry designer Keren Wolf, placed at the base of Zendaya’s back. The piece was originally created to form part of a spiderweb headpiece designed by Shani Dvorkin with Wolf, before being reworked as an embellishment for the gown. Tom Holland joined in with an articulated spider brooch by British jeweler Pragnell, worn on the knot of his tie. The appearances were the latest demonstration of the red-carpet strategy Zendaya and Roach have helped turn into an entertainment-marketing event of its own, from “Dune” to “The Odyssey”. Instead of treating each premiere as an isolated fashion moment, they build a visual world across photocalls, press events and carpets, giving fans another reference to identify and circulate with every appearance. During the current “Spider-Man” tour, that has included a vintage Giorgio Armani dress covered in silver cobwebs at the film’s Rome premiere on June 23 and a $34.99 vintage Spider-Man T-shirt sourced on eBay for a Paris photocall two days later. The pair have simultaneously been promoting Christopher Nolan’s “The Odyssey,” shifting between literal spider references and contemporary interpretations of Greek dress. But as increasingly recognizable references become a fixture of movie promotion, celebrity stylist Micaela Erlanger believes the most successful looks should not resemble costumes. Erlanger, whose clients include Lupita Nyong’o and Meryl Streep, prefers the term “meta dressing”: using colors, silhouettes and more discreet cultural references to connect an actor’s wardrobe to a project without overwhelming the person wearing it. “For me, it hasn’t always felt like it has to be that literal,” Erlanger said on the Glossy Podcast this week. “I like the idea of referencing a character, or referencing a film, a moment, a dialogue or a period in time, without it having to feel gimmicky or obvious.” Erlanger used that approach while styling Nyong’o, who plays Helen of Troy, for “The Odyssey” press tour. At the film’s London premiere on July 6, Nyong’o wore a silver Christian Cowan gown with a relatively restrained silhouette from the front, but deep sculptural cutouts beneath the arms that revealed her figure from the side. Rather than reaching for an overtly Grecian chiffon dress, Erlanger wanted the look to communicate Helen’s legendary beauty more indirectly. “She’s playing Helen of Troy, the most beautiful woman in the world,” Erlanger said. “You don’t need a lot of clothing or a whole lot of look when it’s about who the woman wearing the dress is and how she stands on her own.” Erlanger had limited information when she began working on the wardrobe. Nolan is known for keeping his films private, while Nyong’o initially disclosed little beyond the identity of her character. Erlanger instead drew from Homer’s poem, Greek mythology and her own interpretation of Helen. For an earlier New York appearance, Nyong’o wore a custom Sally LaPointe look with ostrich feathers. The idea was developed by Erlanger and Nyong’o as a reference to the story that Helen was born after Zeus took the form of a swan. “If you know, you know,” Erlanger said. “Lovers of the book and Greek mythology might be able to pick up on that.” The outfit still worked independently for audiences unfamiliar with the reference, which is central to Erlanger’s distinction between meta dressing and simply recreating a film’s costume. She applied the same thinking while styling Streep during the press tour for “The Devil Wears Prada 2.” At an April 12 event in Shanghai, Streep wore a cobalt-blue Saint Laurent military-inspired coat dress with oversized sunglasses, subtly recalling both Miranda Priestly and the original film’s famous cerulean monologue. In the speech, Priestly describes cerulean military jackets supposedly shown by Yves Saint Laurent before the color filtered down through the fashion system. The collection described in the screenplay never actually existed, making Streep’s coat what Erlanger called “a reference within a reference.” “If you were paying attention, you would pick up on these kinds of things,” she said. Social media has made such details increasingly valuable. An obscure reference decoded by fans can become a viral post, generating attention for the actor, stylist, designer and film simultaneously. It has also brought stylists themselves out from behind the scenes. Erlanger said their work now extends far beyond choosing attractive clothes, encompassing public-image management, brand exposure and the strategic positioning of clients. “We are responsible for shaping the public image of some of the biggest names in entertainment,” she said. “There’s a whole business to all of it.”