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After a year-long hiatus and many months of the Hollywood writer’s strike, the Golden Globe Awards returned this Sunday, offering attendees the chance to return to the fashion limelight. 

The ceremony, traditionally leading the way for the Oscars, gives critics a clue as to which films will lead the way during awards season. The event also lets viewers glimpse some of this year’s fashion trends. 

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As stars began to arrive at Los Angeles’ Beverly Hilton Hotel it quickly became obvious that red was the stand-out color of the night. Selena Gomez arrived in a silky Armani Privé gown, Florence Pugh wearing scarlet Valentino, Heidi Klum’s Sophie Couture dress featuring a peek-a-boo leg slit. 

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With “Barbie” being the takeover film of the season and being nominated for more Golden Globes than any other film this year, it was no surprise that Margot Robbie arrived in pink. The look was an Armani gown and matching shrug modeled after one worn by the “Superstar Barbie” doll, originally released in 1977. 

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Oprah Winfrey followed suit with Robbie, nodding to the coming-of-age drama “The Color Purple,” which she co-produced, wearing a custom purple Louis Vuitton gown. 

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Having a Golden Globe nomination for her film, “Taylor Swift: The Eras Tour,” Taylor Swift arrived on the red carpet in a sleek green Gucci dress with De Beers jewelry.

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Da’Vine Joy Randolph first gained recognition for her portrayal of Oda Mae Brown in the Broadway production of “Ghost,” but last night Randolph was recognized for her supporting role in “The Holdovers.” Both winning the award and taking over the red carpet, Randolph accepted her award in a Rodarte mermaid dress with a clamshell sequined bodice. 

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Many of the night’s best-dressed men, including nominee Timothée Chalamet in an all-black Celine Homme look with a bit of shimmer and sparkle, broke from traditional black-tie attire. 

Irish actor Barry Keoghan, nominated for his role in “Saltburn,” arrived in head-to-toe red with a Tiffany & Co. piece featuring diamonds and pink sapphires while Colman Domingo, nominated for his role in “Rustin,” wore two golden brooches on his mandarin collar Louis Vuitton jacket. 

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The night featured other unusual accessories including a black arm sling worn by Pedro Pascal, matching his all-black Bottega Veneta outfit. When asked about the sling during the official red carpet pre-show all he said was, “I fell,” laughing a bit about the sling.

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Keoghan’s “Saltburn” co-star Rosamund Pike paired her lace black Dior gown with a veiled fascinator by Philip Treacy after she was injured in a skiing accident last month. 

“My face was entirely smashed up,” Pike said during the red carpet pre-show. “Actually it’s healed, but I fell in love with the look.” 

Vivienne Westwood, born Vivienne Isabel Swire, was born in Glossop, Derbyshire in 1941 and has since become best known for her provocative clothing and has been credited for extending the influence of the 1970s punk music movement into the world of fashion. 

On Dec. 29, 2022, Westwood died peacefully in her home in London at 81 and today, a year after her death, take a look at her life and achievements in fashion. 

According to The Met, Westwood is often credited with introducing the idea of “underwear as outerwear,” reviving the corset and, most notably, creating the “mini-crini.” Still, before she became one of the world’s most influential fashion designers, Westwood was a schoolteacher in London. 

In 1958 Westwood’s family moved to Harrow, Greater London where Westwood began taking courses in jewelry-making at the University of Westminster, then known as the Harrow Art School. 

In 1962 Vivienne Swire met Derek Westwood while he was a Hoover factory apprentice in Harrow. The two married on July 21, 1962, Westwood designed and created her wedding dress, and in 1963 they welcomed their son Benjamin Westwood into the world. 

Their marriage ended shortly after the birth of their son, in 1965 when Vivienne Westwood met Malcolm McLaren. The pair moved to Thurleigh Court in Balham, Greater London where their son Joseph Corré was born in 1967. 

Malcolm McLaren and Vivienne Westwood in the 1970s / Credit: Bill Kennedy

According to The Times, at this point in her life, Westwood continued to work as a schoolteacher but also loved to create clothes that McLaren designed. It was when McLaren became manager of the punk band Sex Pistols that the two garnered attention for the clothing they designed and created for the band. 

In 1974, Westwood opened her first boutique, SEX, in London. The boutique, originally managed by McLaren, was known to be a meeting place for the London punk scene. 

Throughout the years the boutique changed its name and interior design but to this day the boutique is still open at its original location at 430 King’s Road under the name Worlds End. 

Vivienne Westwood’s 1981 “Pirate” collection / Credit: Getty Images 

In 1981, Westwood and McLaren debuted their first partnered collection to the media and potential buyers. The collection was called “Pirate” and it was first seen on the catwalk later the same year in Olympia. 

Westwood and McLaren continued to create and produce clothing in Paris and London with collections including “Savages” in late 1981, “Buffalo/Nostalgia Of Mud” in spring 1982, “Punkature” in late 1982, “Witches” in early 1983 and “Worlds End 1984,” later renamed “Hypnos,” in late 1983. 

“Clint Eastwood” 1985 / Credit: Vivienne Westwood 

After Westwood and McLaren dissolved their partnership, Westwood showed one more collection under the Worlds End label. Titled “Clint Eastwood” the 1984-85 collection featured fluorescent and logoed pieces inspired by the neon lights in Tokyo. 

Adam and the Ants, 1981 / Credit: Getty Images 

According to Vogue, Westwood eventually dubbed this period between 1981-85 “New Romantic,” during which she worked alongside McLaren in creating many famous looks for the pop group Adam and the Ants. 

From 1988-91, the “Pagan Years,” Westwood’s inspiration shifted away from punk as she discovered her more feminine side. 

Vivienne Westwood Mini-Crini 

From 1985 to 1987, Westwood took inspiration from the ballet Petrushka to design the infamous mini-crini, an abbreviated version of the Victorian crinoline featuring a mini-length, bouffant silhouette-inspired skirt. 

Vivienne Westwood at King’s Cross College / Credit: King’s Cross College

In 2007, Patricia Rawlings, the chair of King’s College London, approached Westwood to design an academic gown for the college after it had successfully petitioned the Privy Council for the right to award degrees. 

Sarah Jessica Parker as Carrie Bradshaw in a wedding gown designed by Vivienne Westwood / Credit: Vogue 

In 2008, Westwood’s designs were featured in the film adaptation of the television series “Sex and the City.” In the film, Carrie Bradshaw gets engaged to her long-term boyfriend and as she prepares for the wedding she models many wedding dresses, including a design made by Westwood. The gown was sent to Bradshaw as a gift with a handwritten note from Westwood herself and eventually, it is the gown that Bradshaw decides to wear. 

According to the Victoria and Albert Museum, it was in March 2016 when Westwood handed over the reigns of her Gold Label to her husband, Andreas Kronthaler, who had been working alongside her for many years. The two continued to design the main line together, though the Gold Label became officially called “Andreas Kronthaler for Vivienne Westwood.” 

Crowds waiting outside Studio 54 in March, 1978, Getty Images

Located in the heart of Midtown Manhattan, Studio 54 is a Broadway theater and former disco club that is the brainchild of Brooklyn-born Steve Rubell and Ian Schrager.

The club was first opened on April 26, 1977, as disco was gaining popularity in the United States, and was best known for its celebrity guest list, restrictive entry policies, extravagant events, open sexual activity and rampant drug use. 

Steve Rubell (left) and Ian Schrager (right) outside the front doors of the iconic club, Photofest

Rubell was known to stand just behind the velvet ropes and decide who was and wasn’t allowed entry, Felipe Rose, a member of the original Village People, recalled in a PBS article. 

“He would say, ‘yes, no, you can stay, you can go, maybe so,’” Rose said. “His own nursery rhyme because he was having a ball doing that.”

“Disco Sally” at Studio 54 in 1978, Getty Images

“You start out playing rock’n’roll so you can have sex and do drugs, but you end up doing drugs so you can still play rock’n’roll and have sex.”  -Mick Jagger

The club was regularly frequented by celebrities including Cher, Andy Warhol, Mick Jagger, John Travolta, Sylvester Stallone, Farrah Fawcett and “Disco Sally,” a then-77-year-old retired lawyer who, according to the article, became best known for her “cocaine-fueled antics.” 

“You start out playing rock’n’roll so you can have sex and do drugs, but you end up doing drugs so you can still play rock’n’roll and have sex,” said The Rolling Stones lead singer Mick Jagger and that is what Studio 54 is all about. 

Drag queen Divine, artist Andy Warhol and Bianca Jagger at one of the club’s black tie events, Getty Images 

In May 1977, Bianca Jagger rode into the club on a white horse to celebrate her birthday, Getty Images 

Model Bethann Hardison and Interview Magazine editor Daniela Morera masked, and fashion designer Stephen Burrows at a Studio 54 party for Valentino, New York, 1977, Getty Images

Cher (left), Elton John (middle) and Diana Ross (right) photographed together at Studio 54, Getty Images 

In a GQ article, Schrager said the club’s dynamic scene, which wasn’t limited to only upper-class citizens and celebrities, was one of the reasons the club was so special. 

“New York wasn’t dominated by only rich people, which it is now. It was a little bit more bohemian, maybe because of the demographics or maybe because people didn’t have anything to lose. So everyone was willing to give it a shot,” Schrager said. “It was the emergence of drugs at, again, a full state. And it was the golden era of music. So all those things were happening and Studio happened to be the right time at the right place to ride that cultural wind.” 

In an article for The New York Times, Schrager recalled the club’s opening night as being a mob scene. 

“We were actually scared,” Schrager said. “We had to bring all the security inside out onto the street.” 

Schrager recalled some of his favorite nights at Studio 54 were its annual Halloween parties when it was easier for people to get into the club due to their extravagant costumes.

A quartet of mummies at Studio 54’s annual Halloween party in 1978, Getty Images 

“They were the zenith, anything goes, do anything you wanted, the one night that almost anyone in a good costume could get in. They were so amazing, so creative,” Schrager said. “There were six doors when you walked down the corridor and when you opened up one door you might have four dwarfs sitting at a table with silverware that came out of a doll’s house, eating a Cornish hen. In another, you might find a guy sitting under a table with a tablecloth with a hole in the table and his head on a plate eating noodles coming out of his mouth.” 

Rubell and Schrager sold the business in February of 1980 after pleading guilty to tax evasion and serving 20 months in jail. The club reopened shortly after, operating until 1986, but the club was never the same with its two original owners. 

In the years since the closure of the club, Schrager has reflected on his life, saying he only remembers there being two seminal cultural events in his life, Woodstock and Studio 54.

In the ‘60s, before the club first opened, Schrager spent a lot of time studying Woodstock at St. John’s University School of Law in New York, according to GQ, and what he discovered was a place in which people were free to express themselves with almost no rules and regulations. 

“Here’s a society of 400,000 people where there’s no laws, no police force,” Schrager said in regard to the original Woodstock in 1969. “How did they get along? Maybe you don’t need laws?” 

It is that idea of freedom, Schrager said, that planted the seed for Studio 54. 

Priscilla Presley, although best known for her marriage to Elvis Presley, has proven to be a style icon. 

With the release of Sofia Coppola’s 2023 film “Priscilla” this Friday, all eyes are on Presley and her daring fashion moments as she transitioned from being a 14-year-old girl in love into one of the world’s most famous women. 

Here is a look at some of Presley’s most iconic looks over the years.

1959 – Bad Nauheim, Germany 

The first time Priscilla Beaulieu met Elvis Presley was at a party in 1959. While out with her brother, another service member invited her to accompany him and his wife to meet Presley and after her stepfather spoke to the man’s commanding officer, he gave her permission to attend. 

On that November night, Beaulieu walked into Presley’s home in Bad Nauheim she was wearing a navy-and-white sailor dress.

Priscilla Presley was only in the ninth grade at the time, which she said didn’t seem to bother Elvis. Presley recalled him saying to her, “Why, you’re just a baby.”

1960 – Frankfurt, Germany

In 1960, when she was only 16 years old, Priscilla Beaulieu was photographed waving goodbye to her then-boyfriend Elvis Presley at the Frankfurt Airport in Germany after his time in the service had come to an end and he was headed back to the United States. 

“I dreaded this day very much because I didn’t know, actually, if I was ever going to see him again,” Presley told Vogue for its “Life in Looks” series in June 2022. “One request that he asked, that I not be teary-eyed, so you see me smiling here. There are other pictures where I am down and looking away and knowing that I may never see him again.” 

1963 – Memphis, Tennesse

In 1963, Presley was photographed at the Memphis International Airport wearing a dress, matching cape and leather gloves.

“People back in the day dressed up, and I mean really dressed up, because being on an airplane and flying was quite the thing. You never saw anyone undressed,” Presley told Vogue. “I loved capes at the time. I still love capes.”

Presley said that the poodle she is seen carrying in the infamous photo is her poodle which Elvis had gifted to her for Christmas in 1962, which she named Honey and took everywhere with her. 

1967 – Las Vegas, Nevada 

A few years later, on May 1, 1967, the Presleys tied the knot at the Aladdin Hotel in Las Vegas with a very intimate ceremony. 

While shopping for her dress, Presley found herself with an interesting dilemma; how would she buy her wedding dress without drawing attention from paparazzi? 

“This was a well-kept secret because we wanted it to be our wedding with our friends and not to be loaded with paparazzi,” Presley told Vogue. “I went to places like Neiman Marcus in disguise. I went with a [blonde] wig  and everything just to keep it private.” 

Presley, along with friend and musician Charlie Hodge, finally found the perfect dress at the Westwood department store in Los Angeles. 

The dress was white, with long lace sleeves and pearl embellishments and topped with a rhinestone tiara and three-foot tulle veil. 

“It wasn’t extravagant, It wasn’t extreme – it was simple and to me, beautiful,” Presley told Vogue. “I didn’t have time to stay there forever and look at dresses; I had one fitting for this dress and that was it, I was out of there.” 

Before the reception began, the couple pleased the waiting press by cutting their six-tier, five-foot-tall cake. A moment that was captured with one of the couple’s most iconic photographs, one that Jacob Elordi and Cailee Spaeny recreated for Coppola’s film. 

1968 – Memphis Tennesse

On Feb. 1, 1968, Priscilla and Elvis Presley welcomed baby Lisa Marie Presley into the world. 

In an iconic photograph of the family from a room in the Baptist Hospital in Memphis, Tennesse, Presley wore a simple pink dress from Neiman Marcus, that she said was one of the most beautiful dresses from one of the most beautiful moments in her life. 

Presley recalled the joyous day, saying it was funny and amazing to watch Elvis become a father that day. 

“He was looking at her like, oh my gosh, I have child,” Presley told Vogue. “He was so afraid to hold her. He was so frightened that he would drop her.” 

1974 – Beverly Hills, California

It was the 1970s, denim was steadily becoming one of the hottest trends of its time, and Priscilla Presley wasn’t one to shy away from the world of fashion.

In 1973, Presley, along with long-time friend and fellow designer Olivia Bis, opened the Bis & Beau Boutique, on the corner of Little Santa Monica and Bedford, in Beverly Hills California and in 1974 they designed their own version of the Canadian tuxedo, complete with rhinestones. 

Celebrities including Cher, Barbara Streisand and Jane Fonda were avid shoppers at Presley’s boutique, Presley recalled in an interview with Vogue. 

1975 – Beverly Hills, California 

The denim didn’t end there, in 1975 Presley was photographed in a denim bikini poolside at her Beverly Hills home. 

The halter-neck suit featured applique flowers and was complete with the standard jeans fly closure. Presley paired the look with a simple gold chain around her waist and a blown-out highlighted hairstyle. 

1978 – Los Angeles, California 

Less than a year after Elvis’ death in August of 1977, Presley was seen out in Los Angeles in January of 1978 with her hairdresser Elie Ezerzer. The couple reportedly dated for about a year, but Presley never remarried after Elvis’ death. 

During the couple’s short-lived relationship, there was one photograph in particular that became very well-known. The photograph shows Presley holding onto Ezerzer’s arm, sporting an all-white tuxedo and matching golf hat. 

Despite being spotted out together on numerous occasions, not much has been revealed about the relationship itself. 

1994 – Hollywood, California 

Presley first began acting in 1983 when she starred as a recurring character in the popular primetime drama “Dallas.” 

In 1994, Presley starred in Peter Segal’s comedy film, “Naked Gun 33⅓: The Final Insult,” a genre Presley is not often associated with. 

“My whole life has been a drama. And people kind of associate me with that,” Presley said in an interview with the Los Angeles Times. “So that’s why I wanted to do comedy because it was so totally unexpected for me to do. No one would ever have thought that I would go from that into something like this.”

Presley attended the film’s Hollywood premiere wearing a silk gown with black details, completed with a short blonde hairstyle. 

2001 – Los Angeles, California 

In November of 2001, the first Harry Potter film, “Harry Potter and The Sorcerer’s Stone,” was released and Presley attended the Los Angeles premiere dressed in an all-red look, seeming to embody the stone itself. 

The ruby-red velvet suit was completed with a matching scarf and rectangular red glasses. 

2022 – New York, New York 

In 2022, while promoting Baz Luhrmann’s 2022 film “Elvis,” Presley attended the Met Gala in a Prada gown, showing her support for Luhrmann and Austin Butler, who played Elvis in the film. 

“[It was] so unbelievable it was frightening, both my daughter and I were blown away,” Presley said about Butler’s performance as Elvis in an interview for Vogue. 

Presley attended the event in a floor-length Prada gown that featured boning on the bodice and gold sequin cuffs on the sleeves. The look was completed with gold sequin shoes and a thick black headband. 

2023 – Venice, Italy 

In celebration of the Venice Film Festival premiere of Sofia Coppola’s film “Priscilla” on Sep. 4, Presley and Coppola attended in matching Chanel pre-fall 2021 sheer black designs.

“Priscilla,” Coppola’s latest film recounts the glamorous life of the Presleys through an often forgotten perspective, Priscilla’s. 

“I felt like my role was just to explain her experience and always go through [Priscilla’s] point of view,” Coppola said in an interview with NPR. “I thought [of] all the things we have to go through as a teenager [that] she was going through while she was living in Graceland with Elvis.”

One of the most challenging aspects of the film, Coppola said, was finding someone to portray Priscilla in the film. 

“The first thing I thought is, for Priscilla, how am I going to find an actress that can play 14 believably, to 28,” Coppola told NPR. “It’s always important to me that that teenager feels authentic and that that’s done right.” 

Then comes, Cailee Spaeny, the up-in-coming actress whom Coppola and her team cast for the role. 

Spaeny attended the Venice Film Festival for the first time, promoting the film alongside Coppola, Presley and co-star Jacob Elordi. 

In a clip from an interview with The Hollywood Reporter shared on Instagram, Spaeny said she felt a wide range of emotions as she sat next to Presley during the premiere. 

“I think the thing that was most touching to me, also terrifying [was] to be watching the movie with Priscilla Presley right next to me,” Spaeny said in the interview. “But at the end, I think she felt really moved by it. She looked at me and she said, ‘That was a great performance,’ and that was the first time hearing that, which was – it’s just been absolutely surreal.” 

Photo Credit: LAIKA Studios 

For two days, on Aug. 14 and 15, Henry Selick’s 2009 stop-motion film “Coraline” – based on the 2002 book of the same name by Neil Gaiman – returned to theaters in celebration of LAIKA studios’ 15th anniversary and since “Coraline” was the first film that LAIKA ever produced, why not give fans the opportunity to see the iconic film in theaters. 

The special showing  – put on by Fathom Events, LAIKA and Park Circus – was freshly remastered and recolored and featured additional footage from head costume designer Deborah Cook and senior hair and fur fabricator Jess Lynn as they combed through the LAIKA archives, looking at the miniature costumes and wigs that brought the characters to life. 

The art of creating stop-motion animations dates back to the 1890s and is one of the oldest filmmaking techniques that is still used today. With photography as its medium, stop-motion films play a series of photographs in a sequence – 24 photographs per second – to give the appearance of continuous motion. 

In recent years, the use of CGI has advanced the filmmaking technique but no matter the advances in technology, stop-motion is an art that will always require the human touch. 

Photo Credit: LAIKA Studios 

According to LAIKA’s website, the film took over 500 people and four years to complete, typically taking ten people about three to four months to construct a single Coraline puppet. In the end, there were 28 identical Coraline puppets, the main one of which stood at about 9-¾ inches tall.

During the bonus footage of the film, Cook said the main goal was to make the film feel as genuine as possible which was done through the creation of hundreds of tiny wigs and garments for each of the characters. 

Photo Credit: LAIKA Studios 

Many stop-motion characters are given one or two outfits that they are seen in throughout the entirety of the film. This is done because creating hundreds of tiny outfits isn’t always the easiest or quickest process. However, Coraline Jones is seen in seven costumes throughout the span of the 1-hour and 40-minute production, which Cook said makes Coraline the stop-motion character with the most costume changes out of all stop-motion films. 

In an interview with the Fashion Institute of Design & Merchandising (FIDM), Cook said no garments were purchased for the film, everything was entirely handmade to custom-fit each character. 

“Not even doll clothes [were used], as they’re actually far too big and wouldn’t fit our characters or have as much attention to detail paid in their making or in their choice or scale of fabric. Barbie’s jeans, for example, are more than twice the size of Coraline’s,” Cook said. 

According to LAIKA’s website, Coraline’s gloves were knitted by hand by a miniature knitter, who made six pairs of gloves using needles so small, that they were as fine as a strand of human hair. A single garment of that size took anywhere from six weeks to six months from conceptual design to finished product. 

Photo Credit: LAIKA Studios 

Both the hand-knitted gloves and Coraline’s blue star sweater were lined with latex after being completed to ensure that the duplicates held the same shape, then they were hand sewn onto each puppet, said Cook. 

“The most surprising aspect of working in such a small scale is how much detail can actually be achieved once you’ve set out to have no limits in that respect,” Cook said in an interview with FIDM. “The most challenging aspect is finding fabrics in the scale we need and working to deadlines without losing sight of our attention to detail for the costume.”

Cook said that they had to use some unique techniques in order to give the clothes a natural fit on the puppets. 

“[The garments are] weighted with very tiny weights to give them a natural sense of gravity and they often have different gauges of wire within their structure too, which connects to the armature to encourage the costume to move along with the characters’ movements in a realistic way,” Cook said. “The costumes are sometimes airbrushed or even lightly sanded to ‘fade’ and ‘age’ them in certain areas so they look realistic. They’re often treated with stiffeners and fabric protector to stop them fading from the strong stage lighting or the extensive human handling.” 

Photo Credit: LAIKA Studios 

Along with all of the many garments created for each character, Coraline alone had over 6,3000 face replacements and 42 different wigs, according to LAIKA’s website. The hair used for the wigs was a special blend of three colors and was made of everyday hair products that included Got2Be Glued Hair Cement and Garnier Fructis Texture Paste. 

Jess Lynn, LAIKA’s senior hair and fur fabricator, said each wig is made with such detail to make the movement look as real as possible. 

“We’re adding a lot of movement in the story with the wig and that’s when we’ve done our job right,” Lynn said in a LAIKA Archives video. “The upside-down wig, you know, that was the first sign of where we were headed as a studio and what we wanted to do with the medium to show this moment of all these individual strands falling down just for this shot of her looking under the bed and it just makes the world so much more real.” 

Photo Credit: LAIKA Studios 

As a part of LAIKA’s 15-year anniversary celebration, they opened their first-ever online store on Friday for fans to purchase clothes, vinyl records, books and more from their favorite LAIKA films.

Highball Halloween 2021. Credit: Dave Toth Photography

Eat and drink and be alarming at Columbus’ own Halloween fashion show. 

Highball Halloween, the Short North Arts District’s annual Halloween fashion show – hosted by the Short North Alliance – returns to High Street this Saturday for the first time since 2019. The event will take place from 5-11 p.m. and will include live music, food and drinks and a costume contest, said the Short North Alliance’s executive director, Betsy Pandora. 

In 2020, Highball Halloween was hosted as a virtual event, said Pandora. In 2021, people were still cautious about gathering, so the event was hosted on a much smaller scale at the intersections of Goodale Street and Park Street. This year, the event is returning to its original location at the intersections of High Street and Goodale Street. 

2021 Highball Halloween attendees. Credit: Dave Toth Photography 

“There is something so magical about High Street. It is the heartbeat of the city and we are really excited to return there this year,” Pandora said. “This year is the sweet 16 anniversary and it has grown into such a significant event in the community, which all started on High Street.” 

Tickets start at $20 a person and all the money from the event goes back to the Short North Alliance, a non-profit organization that serves property and business owners of the Short North Arts District. 

This year’s event includes performances from Anna and the Annaroids, performances from a local stage production of “Rocky Horror Picture Show,” beers from New Belgium and Bell’s breweries and not just ghostly spirits but also cocktails from Middle West Spirits. 

“It’s a little bit like Mardi Gras,” Pandora said. “It’s a street festival. We shut down part of High Street and there is food and drinks and tons of music.” 

The main event of the evening, the Costume Couture Fashion Show, features looks – one couture look and four ready-to-wear designs – from seven local designers, one of whom will win a $1,000 prize, said Pandora. 

Designs from Ohio State alumni and designer Shiree Houf from Highball Halloween 2022. Credit: JAMS Photography 

Columbus is the third-largest fashion capital in the country, said Pandora, and there is nothing quite like Highball Halloween anywhere else. 

“The event is so special and unique. It is a place to be in costumes and to see others in costumes,” Pandora. “It is a place to see and be seen.”

More information about the event and tickets can be found here.