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Proenza Schouler Designers Depart in Further Fashion World Tumult

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Proenza Schouler Designers Depart in Further Fashion World Tumult

The very messy game of designer musical chairs that roiled the fashion world at the end of 2024 is continuing into 2025.

On Wednesday, Proenza Schouler, a New York brand that was once considered the future of fashion in the city, announced that its designers, Jack McCollough and Lazaro Hernandez, would be stepping down from the company, which they founded back in 2002. They will remain on the board and will continue to be minority shareholders. A search is underway for their replacements.

No reason was given for the decision, other than that the time simply felt “right,” and no statement was made about what the designers would do next. Mr. McCollough and Mr. Hernandez reportedly began thinking about exploring other opportunities after the company’s 20th anniversary in 2022, and their new chief executive, Shira Suveyke Snyder, was brought in last October in part to manage the transition.

Still, a designer leaving a house he or she founded when it is relatively stable and they are relatively young (Mr. Hernandez and Mr. McCollough are 46) is almost unheard-of, unless there has been a falling out with a backer or the designer is planning to take another job.

It is possible Mr. McCollough and Mr. Hernandez are setting a new precedent when it comes to career paths. But they are also widely rumored to be under consideration to be the new designers of Loewe, the Spanish brand owned by LVMH, replacing Jonathan Anderson, who has been said for months to be heading to Dior. (A spokesman declined to comment on the move.)

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It should be noted that Mr. Anderson has not officially left Loewe, nor has Maria Grazia Chiuri, the creative director of Dior women’s wear whom he would theoretically replace, left Dior. Also, Kim Jones, the creative director of Dior men’s wear, recently re-signed his contract with the brand.

LVMH, which once explored acquiring Proenza Schouler, has neither confirmed nor denied the various anonymous reports suggesting all the above, even as the rumors have spread across social media. Neither Loewe nor Proenza Schouler nor JW Anderson, Mr. Anderson’s namesake brand, are on the coming fashion show schedules in New York, Paris or London.

According to headhunters, major luxury groups are now asking that designers who take on positions at fashion houses in their group stop doing double duty with their own labels. For example, Veronica Leoni, the new designer at Calvin Klein, put her Quira collection on hold when she took the bigger job.

All of which has further fueled the speculation about who is going where.

The only thing that is certain is that despite Proenza Schouler’s being synonymous with Mr. McCollough and Mr. Hernandez, the designers intend for it to go on without them. It is not being closed or suspended, and the opening of a second store in New York in February is going ahead. (The February woman’s collection will be released digitally; the fate of a planned men’s collection is to be determined.)

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What Proenza Schouler, which was named after Mr. McCollough and Mr. Hernandez’s mothers, will look like without its founders is less clear.

Other than being known for a coolly urban art gallerist vibe and a hit bag (the PS1), and despite Mr. McCollough and Mr. Hernandez’s being highly mediagenic, winning five Council of Fashion Designers of America awards and being championed by Anna Wintour, Proenza Schouler never really fulfilled the promise of becoming the Next Great American Brand.

Within the industry, the designers are still known as “the Proenza boys,” which reflects the sense that they have remained designers on the verge. Two collections shown in Paris during the couture shows were tepidly received, and the company has struggled with a revolving cast of investors. (Currently Proenza Schouler is majority-owned by Mudrick Capital.)

The Proenza job opening now joins those at Fendi, Maison Margiela and Helmut Lang and will further reshape a fashion world in the midst of extraordinary designer change. Eight creative directors are making their debuts this year as fashion houses seek to offer something new in the face of a global slowdown in luxury spending. The dominoes are not done falling.

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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