Latest from Business of Fashion
Business of Fashion
an hour ago
- Entertainment
- Business of Fashion
Can TikTok's ‘Shirtless Race' Become More than a Trend?
NEW YORK — For three days in May, 14,000 men and women stormed New York City's Pier 76, just west of Hudson Yards, many of them in various states of athletic undress — not to party, but certainly to sweat. They were there for what outsiders viewing from TikTok call 'the shirtless race,' and what is known to proponents as Hyrox, a strength-and-endurance fitness race that combines an eight kilometre run with eight functional workouts, including a 330-pound sled drag. Some athletes collapse from exhaustion at the finish line. The last 2024–2025 season attracted over 600,000 participants, who competed in over 80 races worldwide. (Courtesy) Yet, Hyrox has built a devoted and growing global following. Fitness influencer Eric Hinman, NFL tight end Darren Waller and actor Patrick Wilson were among those who competed during the New York event, which had a waitlist, according to Hyrox and its Swiss parent company Infront Sports & Media. The first race, held in 2017 in Hamburg, Germany, drew about 650 participants; the last 2024–2025 season attracted over 600,000, who competed in over 80 races worldwide, culminating in the World Championships in Chicago last week. By combining familiar functional movements like rowing and wall balls with running in an open-entry, festival-like marathon atmosphere, Hyrox has become the latest global fitness craze, with almost equal participation by men (52 percent) and women (48). In the past, millions of everyday gym-goers didn't have anything to work towards besides looking good and getting healthy. 'We gave them a definition [and competition] for what they were already doing,' said Moritz 'Mo' Fürste, who, along with Christian Toetzke, co-founded the company in 2017. ADVERTISEMENT Each athlete paid anywhere from $70 to over $200 to participate. While company reps declined to disclose revenue figures, Fürste shared on a Business of Sport podcast earlier this year that the average entry fee is around €130 ($150), putting its annual ticket sales revenue at roughly $90 million. They also generate revenue from event brand sponsors like Redbull, a constellation of 8,000 gyms that pay up to $150 a month to be its affiliates, spectator tickets and partnerships with brands like Puma, which sells co-branded products at the events, its stores and third-party retail partners. 'There's a real loyalty from participants to support the brands that are involved with Hyrox,' said Erin Longin, Puma's vice president of running and training. 'It's really helping us reach more consumers that way.' As the social distancing era fades, athletes are seeking community-driven fitness beyond the walls of traditional gyms. (Courtesy) Hyrox arrives at an opportune moment. As the social distancing era fades, athletes are seeking community-driven fitness beyond the walls of traditional gyms. With its stickiness and built-in social media appeal, Hyrox has the makings of a spectator sport like a marathon or a triathlon. Still, like any sport, it needs to continually find ways to keep its athletes and audiences engaged to avoid becoming another fleeting fad. Off to the Races Hyrox isn't the first strength-and-endurance race out of the blocks. In the 2010s, cultish CrossFit peaked with 415,000 participants in their 2018 Games, and rugged adventure Spartan Race saw 1.3 million participants each year at its height. But most CrossFit Games participants competed in their local affiliate gyms (called 'boxes'), and most Spartan Races were held in far-flung locations without mass-level audiences. During the pandemic, both saw declines in participation. On the surface, Hyrox follows the same formula, but with accessible twists: Athletes can compete in various division such as singles, doubles and relay teams, allowing different ability levels to take part. The format is also simpler. Unlike other races with their involved scoring systems, whoever finishes Hyrox first wins, and the standardized workouts make it a straightforward race for time. 'There is this repetitive combination of things that you have to do, which makes it stickier,' said Fürste. The challenge of completing the race is a draw, allowing participants to not only compete against one another but their own personal records. 'The endorphins you get from doing something that hard are insanely rewarding, and that sense of accomplishment is worth chasing and repeating,' added Heber Cannon, a fitness filmmaker. Hyrox also stages its events in some of the world's biggest media markets in some of the most picturesque locations — New York's Pier 76, Paris' Grand Palais and Singapore's Marina Bay Sands — where everyday athletes and professionals compete in front of packed crowds and seas of iPhones recording their every move. Fürste said the organic growth in participation coincided with the organic growth on social media too. In the past twenty months, views on Hyrox-related terms have surged 654 percent on TikTok, according to a cultural analytics firm. In the month following its first major co-branded product collection with Puma in January, Puma x Hyrox mentions generated $537,000 in media impact value, said data analytics firm Launchmetrics. ADVERTISEMENT And products from the Puma x Hyrox collection sold out within hours of the New York event opening its doors. 'We almost can't figure out the right stock levels to have at these events, because each event just keeps outdoing the last,' said Longin. Tribe Check Behind the social media hype, Hyrox's growth is driven by its 8,000 (and growing) partner gyms, which Fürste called 'the backbone of its ever-expanding global community.' He explained how Hyrox has, in some ways, solved problems for the crowded traditional gym industry, where many businesses compete for fickle consumers solely based on price and convenience. 'It's very difficult for a gym, usually, to create a strong community,' he said. Most are built for solo experiences and feel outdated in a moment where people are craving more social fitness activities, as evidenced by the rise of running clubs and climbing gyms. Even sportswear giants like Nike are noting the behavioural shift — the US company has begun to open Nike Studios, group fitness gyms designed to foster community workouts, starting with a Southern California location in 2023. Competitors run at Hyrox. (Courtesy) After the social distancing era, Magida noticed that people wanted to be connected with each other more than ever. When he launched a Hyrox program in his gym in 2021, 'it revitalised the community, and people were talking to each other, and there was culture forming because people were training with purpose,' said Magida. 'There were more high-fives and hugs than ever before.' Within two years of being a Hyrox partner, he saw a 40 percent increase in his business. Ruben Belliard, who runs The Training Lab in New York City — one of the most competitive markets for gyms — saw his membership jump up to 15 percent in the first year after partnering with Hyrox. In his 17 years in the fitness business, he's seen plenty of fitness trends come and go. 'The next evolution is going to be hybrid training like Hyrox,' he said. 'People want to be able to run fast and be strong at the same time, where, typically, in the past, it was one or the other.' For the upcoming season, which starts next month, many races — in Singapore, Sydney, London — have already sold out, often in minutes of being announced. 'I think it's still in that building phase, building awareness, building participation,' said Longin, noting the previous season's awareness wasn't as widespread. Now the company is preparing to scale further to keep up with growing demand by planning to add more cities and race days. 'The next evolution is going to be hybrid training like Hyrox,' Ruben Belliard said. (Courtesy) But long-term staying power is far from guaranteed. 'It's been proven that people will always train for marathons. People will always train for those types of things,' added Vennare. 'But Hyrox needs to make sure to keep its brand and the competition exciting and fun so that people don't get sick of it.'
Business of Fashion
5 hours ago
- Entertainment
- Business of Fashion
Jonathan Anderson's Grunge Aristocracy at Dior
PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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Business of Fashion
19 hours ago
- Business
- Business of Fashion
Nike Fourth-Quarter Sales Fall by Less Than Expected
Nike said it would cut its reliance on production in China to mitigate the impact from US tariffs on imports, and forecast a smaller-than-expected drop in first-quarter revenue, sending its shares up 11 percent in extended trading. US President Donald Trump's sweeping tariffs on imports from key trading partners could add around $1 billion to Nike's costs, company executives said on a post-earnings call after the sportswear giant topped estimates for fourth-quarter results. China, subject to the biggest tariff increases imposed by Trump, accounts for about 16 percent of the shoes Nike imports into the United States, chief financial officer Matthew Friend said. But the company aims to cut the figure to a 'high single-digit percentage range' by the end of May 2026 as it shifts production to other countries. Consumer goods is one of the most affected areas by the tariff dispute between the world's two largest economies, but Nike's executives said they were focused on cutting the financial pain. Nike will 'evaluate' corporate cost reductions to deal with the tariff impact, Friend said. The company has already announced price increases for some products in the U.S. 'The tariff impact is significant. However, I expect others in the sportswear industry will also raise prices, so Nike may not lose much share in the US,' said David Swartz, analyst at Morningstar Research. Running Finds Its Footing Chief executive Elliott Hill's strategy to focus product innovation and marketing around sports is beginning to show some fruit with the running category returning to growth in the fourth quarter after several quarters of weakness. Having lost share in the fast-growing running market, Nike has invested heavily in running shoes such as Pegasus and Vomero, while scaling back production of sneakers such as the Air Force 1. 'Running has performed especially strongly for Nike,' said Citi analyst Monique Pollard, adding that new running shoes and sportswear products are expected to offset the declines in Nike's classic sneaker franchises at wholesale partner stores. Marketing spending was up 15 percent year-on-year in the quarter. On Thursday, Nike hosted an event in which its sponsored athlete Faith Kipyegon attempted to run a mile in under four minutes. Paced by other star athletes in the glitzy and live-streamed from a Paris stadium, Kipyegon fell short of the goal but set a new unofficial record. Nike forecast first-quarter revenue to fall in the mid-single digits, slightly better than analysts' expectations of a 7.3 percent drop, according to data compiled by LSEG. Its fourth-quarter sales fell 12 percent to $11.10 billion, but still beat estimates of a 14.9 percent drop to $10.72 billion. China continued to be a pain point, with executives saying a turnaround in the country will take time as Nike contends with tougher economic conditions and competition. The company's inventory was flat year-over-year at $7.5 billion as of May 31. By Helen Reid and Juveria Tabassum. Reporting by Juveria Tabassum in Bengaluru; Editing by Shinjini Ganguli and Alan Barona. Learn more: Is Nike Finally Winning With Women? With the bold marketing like the 'So Win' campaign, a revamped leadership team under new brand president Amy Montagne and star power from A'ja Wilson, Nike's long-promised women's push is starting to stick.
Business of Fashion
a day ago
- Entertainment
- Business of Fashion
For Makeup that Performs, Look to Drag Queens
It almost sounds almost naive to say that the underground performance artists known as drag queens are in no small part responsible for the 21st century beauty boom, i.e. contouring, cut creases and maybe Kim Kardashian. But the truth is that drag has infiltrated popular culture in almost every way, from pop star imagery to Hollywood franchises to the way we present ourselves. If RuPaul's famous catchphrase is a cliché, it's only because it's true enough to be rote: You're born naked, and the rest is drag. 'You see people wearing lashes on a daily basis,' said the makeup artist David Petruschin, better known by her drag alter ego Raven. 'You see people at a fast food window who are completely contoured and highlighted.' Some queens are only just beginning to cash in. A newly created pipeline, powered in large part by RuPaul Charles' 'Drag Race' universe, which is owned and operated by production company World of Wonder, has delivered some performers to mainstream business success as the faces, formulators and founders of makeup brands. These businesses take on a variety of structures. Mo-Beauty, by the drag queen Mo Heart, is produced by Gostrider, a consumer goods portfolio which owns a majority stake. The Barbiesque Trixie Mattel owns her label Trixie Cosmetics outright, which staffs about nine employees in an office in Burbank, California; it's one of many of Mattel's projects, including shows, a Palm Springs motel and a show about said motel. But both beauty businesses are small compared to competitor brands, and sold only via e-commerce. Trixie Mattel owns her label Trixie Cosmetics. (Courtesy) Then there's Kimchi Chic, founded by the Korean-American drag queen Kim Chi, and the most successful makeup venture to come out of the Drag Race universe to date. The brand has scaled up to $20 million in annual revenue, said a person with knowledge of the company's finances, driven by far and wide distribution — the brand launched in CVS in 2022, came to Amazon in 2024 and has grown explosively on TikTok Shop in the past year. Success depends on good partners. Chi had an early one in Nyx Cosmetics and Bespoke Beauty Brands founder Toni Ko, who approached the queen about partnering on a makeup line in 2018. On its face, putting a drag queen in the seat of a makeup company could be seen as a bankable strategy: Who among professionals better understands both the art and performance of cosmetics? On the other hand, the strategy is not without risk, as drag queens have become targets in the greater culture war. Their default association with progressive politics gives these brands more volatility than typical celebrity or influencer-led ventures. For these brands, that's the point, not the problem. 'We will always champion our drag community,' Tank said, 'in every way that we can.' Partner Up 'Most drag and cosmetics careers intersect,' said Raven, who in her early career worked at the MAC Cosmetics counter by day and performed in clubs by night. But she quit the counter to focus on one-on-one clients after discovering she didn't have the merchant's heart. 'It was hard for me to find the balance between selling and artistry,' she sighed. If RuPaul is the face of drag, it's painted by Raven, who became the diva's makeup artist after impressing her with her technique as a contestant on season three of 'Drag Race.' She estimates she has put Charles in drag between 400 and 500 times — now she hosts a World of Wonder show called Painted by Raven. The two have MAC Cosmetics in common, with the elder queen kicking off MAC's Viva Glam campaign benefitting AIDS research in 1994. (The brand was acquired by the Estée Lauder Companies the same year.) The first season of 'RuPaul's Drag Race,' produced by World of Wonder for the Logo TV channel, attracted a fair share of LGBTQ friendly corporate sponsors; the final four contestants made dresses inspired by Absolut vodka flavors. The show's initial beauty sponsor was Ko's Nyx Cosmetics, but Anastasia Beverly Hills took over in season 7. RuPaul bellows the brand name in the intro of every episode, thanks to Claudia 'Norvina' Soare, the company's president, daughter of founder Anastasia Soare and 'Drag Race' fan, who initiated the partnership. Randy Barbato and Fenton Bailey, the founders of World of Wonder, said they didn't have a sense of how successful the partnership has been. 'I feel like there's been mutual growth with both their brand and our brand,' Barbato offered. But 'it's equally or more exciting to watch [sponsors] look at queens as viable and serious partners for their businesses.' These partnerships are key to drag businesses — everybody needs the Raven to their RuPaul. Kimchi Chic has found a great partner in Bespoke Beauty Brands, which has leveraged its founder's charisma on TikTok Shop to drive sales growth. CEO Tank said that founder Chi drives sales in part through 'megalives,' hourslong streams with product demonstrations and special guests. Founder Kim Chi drives sales in part through 'megalives,' hourslong streams with product demonstrations and special guests. (Courtesy) 'TikTok Shop was a game changer for us,' Tank said. The app is a hotbed of users in their teens, 20s and 30s who are perfectly targeted by the brand's accessibly priced products; the hero Stage Proof setting spray, she points out, is $16. Tank said this year, the brand intends to be even more disciplined with its capital, with the aim of reinvesting money in product development. 'Innovation is queen in beauty,' Tank said, adding that TikTok provides a live 24/7 focus group. 'We develop products and launch them, many of them, just off the back of TikTok Shop and TikTok feedback.' Audrey Napoleon, whose portfolio is called Gostrider Brands, tapped Mo Heart of 'Drag Race' to create Mo Beauty, which launched in 2021. Napoleon's background in the music industry left her with an affection for helping performers build viable second income streams, even if doing so extends beyond Gostrider's purview. Monique Heart, founder of Mo Beauty. (Courtesy) 'If Mo ever comes [to me] and she's like, 'Covergirl called me and said they're gonna give me X amount of dollars to do this,' we're saying, 'Girl, go do that.'' Napoleon said. You Better Work Napoleon's insight reveals an underside to the drag boom: Performers have become products too. Those with good partners can find footing, but many are going it alone. As the world's drag stage continues to crowd, it takes investment to stand out. Most queens revenue streams come primarily from club tips, though the 'Drag Race' universe has helped some access the opportunities of influencers and RuPaul-level celebrity. By contrast, a single pageant gown can cost a couple thousand dollars, to say nothing of wigs and jewellery. The expenses multiply for queens in the 'Drag Race' universe, many of whom are plucked from the club circuit but must arrive to their TV debuts with full, camera-ready wardrobes. Lexi Love, a long-limbed drag queen from Kentucky in the US and finalist on the most recent season of 'Drag Race,' took out a second mortgage to, as she put it to Pride Today's Ricky Cornish, 'gag you on these runways.' Love estimates she spends about $1,000 a month on makeup; not as an indulgence, but an occupational hazard. 'I can't go out with, like, Chapstick and mascara!' she cried. It's true that the beauty industry continues to offer meaningful support to the drag community. (While Love didn't take home the show's grand prize of $100,000, she was 'tipped' $10,000 by Anastasia Beverly Hills.) But there's room for more, and not just in the context of 'Drag Race' or the month of June. 'Drag is inherently entrepreneurial,' Bailey said. 'People put on a suit and go to work on Wall Street, drag queens puts on a wig and go to perform. Often, drag artists show a keener sense of innovation and a stronger intuition about their audience. They are sharp, and they are real leaders in the field.'
Business of Fashion
2 days ago
- Entertainment
- Business of Fashion
Anna Wintour Makes Room for New Editorial Leader at US Vogue
American Vogue is hiring a new head of editorial content. The move will bring in a new leader for the title that will put it under the same structure that Vogue has rolled out across its international editions, with a head of editorial content reporting to Anna Wintour as global editorial director of Vogue. Wintour will continue on in that role, overseeing American Vogue as well as eight of the publication's international editions. She will also continue on as chief content officer of parent company Condé Nast, where she supervises nearly every title at the company, with the exception of the New Yorker. The company will not seek an editor-in-chief to replace her at American Vogue, but instead a 'head of editorial content' — the title used by all of the more recently-installed international editors. This news, which was announced to Vogue staffers on Thursday morning, is something of a response to how much Wintour's role at the company has expanded in recent years; bringing on a new head of editorial content will allow her to more equally distribute her time among the other titles under her supervision. ADVERTISEMENT Rumours of Wintour's departure from the top job at American Vogue have swirled for years — decades, even — typically shot down by a Condé Nast spokesperson or Wintour herself. While this move is certainly far from a retirement, it is the surest sign that the company is considering succession plans for the inevitable post-Wintour era. Wintour joined American Vogue as editor-in-chief in 1988; she previously served as the top editor at British Vogue. In her nearly 40 years at the helm, she's become not only one of the most important figures in the fashion industry, but also a pop culture icon memorialised in films like the 2009 documentary 'The September Issue' and less directly, 'The Devil Wears Prada.' She also spearheaded the transformation of the Metropolitan Museum of Art's annual Costume Institute fundraiser from quiet society function to one of the most talked-about red carpets in the world. Stay tuned to BoF for updates on this developing story.
