Design teams behind some of this year’s most talked-about television looks gathered at the Chateau Marmont for a daytime reception hosted by The Hollywood Reporter and Bvlgari, continuing celebrations that followed the Creative Arts Emmys. The event put a spotlight on the craft shaping characters and story worlds — and underscored how awards momentum can reshape careers and industry attention.
The gathering, timed between the Creative Arts ceremonies and the primetime Emmys, drew dozens of costume designers, nominees and winners for an informal afternoon of conversation, photos and industry networking. Organizers said the goal was simple: give visibility to a group that often works behind the scenes but has an outsized influence on what audiences remember.
What won where
- Beef — Outstanding Contemporary Costumes (Limited/Anthology Series or Movie)
- Margo’s Got Money Troubles — Outstanding Contemporary Costumes (Series)
- The Masked Singer — Outstanding Costumes for Variety/Nonfiction/Reality Programming
- Fallout — Outstanding Fantasy/Sci‑Fi Costumes
- Palm Royale — Outstanding Period Costumes
Winners from the Creative Arts Emmys stopped by throughout the reception. Guests enjoyed light bites and drinks on the hotel’s well‑known balcony while costume professionals compared notes about creative challenges, sources and fabrication techniques.
Industry heavyweights in attendance
A number of prominent designers and long‑time collaborators walked through the room. Among them were Oscar winners and nominees as well as costume designers with decades of television and film credits: Mark Bridges, Trish Summerville, Ellen Mirojnick, Michelle Cole, Mona May and Lou Eyrich. Costume Designers Guild president Terry Gordon was also on hand, reflecting the close ties between the guild, the brand partner and the publication.
Bvlgari representatives used the occasion to acknowledge the partnership they’ve built with the guild. Earlier this year the brand introduced a new edition of the Costume Designers Guild Awards statuette; a version of that piece was on display at the reception.
Midway through the event, Brett Fahlgren of Bvlgari raised a glass and quipped about the unconventional schedule — the party had begun at 11 a.m. — adding that designers always make time for one another. He praised costume professionals for making actors look their best and for solving visual storytelling problems, and said the brand’s aim is to help amplify their work.
Why this matters now
The post‑Emmys reception is more than a social stop on awards week. Recognition from peers and high‑profile partners can drive new projects, influence hiring decisions and bring technical artisans — wigmakers, milliners, textile artists — into the spotlight. For viewers, it helps explain why certain shows feel so authentically lived‑in or stylistically fresh.
For readers following awards season trends, the event is a reminder that costume design shapes cultural conversations as much as it does character arcs. As streaming and franchise production continue to expand, demand for inventive, historically informed and technically ambitious costume work is likely to grow.
Photographers captured candid moments and posed portraits throughout the afternoon; attendees said the tone was celebratory but focused, a chance to recognize craft rather than stage a spectacle.
In practical terms: emerging designers who receive guild recognition or visibility at events like this often see concrete career benefits — from agency interest to invitations on bigger productions — and established names use the platform to mentor and to recalibrate industry standards.
With the primetime Emmys on the horizon, the reception served as both a wrap on the Creative Arts awards and a clear signal that costume design continues to shape storytelling and industry opportunity in meaningful ways.
