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Add Texture to GoogleAt the corner of 75th Street and Lexington Avenue, Manhattan seems to have momentarily welcomed back its most chic ghosts. On Monday, September 14, 2026, following its Spring/Summer 2027 ready-to-wear fashion show, Carolina Herrera orchestrated a journey back in time in the heart of the Upper East Side. For one evening only, the address at 1057 Lexington Avenue—home to the Orsay brasserie since the early 2000s—reclaimed the identity of its illustrious predecessor: Mortimer’s. Renamed “Herrera’s” at the initiative of Wes Gordon, the venue was transformed into a living tribute to what had been, for two decades, the unofficial headquarters of New York’s high society.
A Geography of Social Memory
This temporary transformation is no geographical coincidence. By reclaiming Mortimer’s exact address, Wes Gordon has taken on a monument of urban mythology. Opened in 1976 by Glenn Bernbaum and closed upon his death in 1998, Mortimer’s was not just a restaurant, but the central hub of “café society.” Carolina and Reinaldo Herrera were among its most loyal regulars, sharing tables with Nan Kempner, Jacqueline Kennedy Onassis, Bill Blass, and Pat Buckley.
The evening’s set design sought to recreate the intimate bistro atmosphere that characterized the original. The period frescoes and murals were meticulously recreated to capture the distinctive aesthetic of the 1980s. This stylistic and nostalgic evocation, led by the brand’s artistic direction, is intended as an interpretation of the spirit of the place rather than a museum-like replica. It evokes an era when Glenn Bernbaum enforced a seating policy reputed to be draconian, preferring to leave tables empty rather than seat people outside his social circle.
The Art of the Table and Portraiture
For this anniversary celebration marking the 45th year of the restaurant, founded in 1981, the space was enriched with contemporary artistic collaborations. Three works created specifically by artist Tim Snell were on display, interacting with the restaurant’s architecture. In direct response to the collection presented earlier at Lincoln Center, illustrators from *The New Yorker* were on hand to create live portraits of the guests.
The musical entertainment, curated by DJ Isabella Massenet, set the tone for a gathering that brought together several generations from the worlds of fashion and culture. Pamela Anderson, the guest of honor, mingled with notable figures whose presence was noted throughout the evening, including Alexa Chung, Becky G, Lux Pascal, and Ego Nwodim. According to photos and reports from this society column, Ed Westwick, Tory Burch, and Karlie Kloss were also among the guests at this exclusive dinner.
Dual Celebrations
The “Herrera’s” event served as a double celebration. In addition to the brand’s 45th anniversary, the evening marked the tenth anniversary of “Good Girl,” the house’s signature fragrance. Model Karlie Kloss symbolically blew out the candles on a birthday cake dedicated to the fragrance. This celebratory moment echoed the floral and spring-inspired aesthetic showcased a few hours earlier at the David H. Koch Theater, where Wes Gordon had arranged 28,798 yellow tulips as part of the runway decor.
The connection to New York’s intellectual and media elite was also evident through the presence, during the day’s festivities, of Martha Stewart and David Remnick, editor-in-chief of The New Yorker. This collaboration between the media institution and the fashion house underscores Wes Gordon’s desire to anchor Carolina Herrera in New York’s broader cultural heritage, blending the historic elegance of the Upper East Side with contemporary artistic vitality. While the budget for this private event remains undisclosed, the visual and symbolic impact of this one-night revival confirms the brand’s commitment to its social roots and the legacy of its founder.