Once Again, Chloe Sevigny Takes Us All to Fashion School

Reported by Harper's Bazaar.

There were celebrities at Nicolas Ghesquière's Louis Vuitton Cruise 2027 show last night — and then there was Chloë Sevigny. The event itself was already a full production: Ghesquière staged the collection at New York's Frick Museum (Louis Vuitton's first resort show in the city since the TWA terminal in 2017), with a Keith Haring Foundation collaboration and a front row that included Anne Hathaway, Zendaya, and the Haim sisters. Sevigny attended in a look from his Fall 2026 Vuitton collection. Fine. Lovely. But the real moment came later.

At the brand's afterparty inside members-only club Maxime's, she walked in wearing a vintage asymmetric green-and-black-striped dress with a braided rope belt — and posted it to Instagram with two words: "deep cut." That's an understatement. The piece is from Callaghan, an Italian knitwear label that most people outside of serious fashion circles have never heard of, let alone own. According to Harper's Bazaar, the brand launched in 1966 with knit jacquard as its signature and a roster of collaborators that eventually included Walter Albini, Gianni Versace, and Romeo Gigli.

The Ghesquière Connection

Here's where the lore gets good. In the late '90s, a 25-year-old Ghesquière was simultaneously appointed creative director of Balenciaga and designing for Callaghan — a fact that fashion historians treat as foundational. His time at the Italian label was brief, but the work he produced there, including Sevigny's dress from the Spring 2001 collection, fringed wrap skirts, sequined lightning-bolt sweaters, and razor-sharp white button-downs, reads now as an early draft of the romantic-yet-futuristic aesthetic that would define the early 2000s. "So cool, so innovative," said Barneys' former fashion director Julie Gilhart, who remembers the department store carrying the line during his tenure. "You wanted all of it."

Ghesquière-era Callaghan is notoriously hard to track down through vintage and resale channels, which makes Sevigny's look a genuine grail — not a stylist-sourced archival flex engineered for press, but the kind of find that only happens when someone actually knows what they're looking at. At a moment when the celebrity-in-rare-archive formula has become almost formulaic, this landed differently: a fashion person in a fashion piece, no explanation required.

The lesson Sevigny keeps teaching, whether anyone asked or not: the deepest cuts don't announce themselves.

Read the original at Harper's Bazaar.