Rihanna at New York Fashion Week? This is what we came for.
The 36-year-old music superstar made a surprise appearance at Friday night's runway show for Alaïa, held at the rotunda of the Solomon R. Guggenheim Museum on Manhattan's Upper East Side.
according to PrevalenceThe mother of two delayed the start of the show by more than half an hour, coming straight from the Daily Front Row's Fashion Media Awards ceremony, where she honored Fenty Beauty creative director, Jahleel Weaver.
Glittering in exclusive crystals created by the brand — and holding a glittery shawl close to her corseted torso — Rihanna entered the Guggenheim and took her seat on the first floor before the models descended. Quarter-Mile Catwalk,
French fashion houses, Best known to the public for her favourite mesh ballet flatsended the first official day of NYFW with a star-studded show that saw Linda Evangelista sit front row while Kendall Jenner and Vittoria Ceretti walk the famous museum's winding ramp-turned-runway.
The show was a grand return to the Big Apple for the international fashion house — reminiscent of Alaïa's first fashion show at Bergdorf Goodman in 1982.
“New York holds a very special meaning for me. It's a city of resilience. And resilience is breeding ground for creativity,” said Creative Director Pieter Mulier. Prevalence of this decision Shows at NYFW,
“My time in New York has not only shaped my artistic vision, but has become an integral part of my personality. This is where Alaïa's story connects with the beats of the world. New York is not just a destination; it is a homecoming, a celebration of Alaïa's past, present, and future.”
In the evening, Ceretti said, Prevalence“It was very special.”
“I think Alaïa is the epitome of beauty,” he said. “And this is New York, which I find different from Paris in that it's younger and a little more raw and cool.”
The label's winter/spring 2025 collection was fresh, simple, and airy, featuring airy, flowing fabrics and a more neutral color palette.
Celebrity makeup artist Pat McGrath, who created the “seamless” beauty look for the show, told Vogue that the spectacular costumes had no bells and whistles — literally, “there were no buttons or zippers.”
And when there were more structural, avant-garde items — frocks covered in fringed coils and puffed pieces, some of which puffed throughout or only at the hemline — they seemed to mimic the architecture of the iconic venue, with its spiraling roundels and bulbous exterior.
In particular, the “Spiral Number”, a series of gowns near the end of the runway collection, seemed to mirror the waves of the museum's interiors. V Magazine,
