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Add Texture to GoogleIn 1994, Isaac Mizrahi was in a tight spot. After a previous season that had received a lukewarm reception from critics, the New York designer needed to prove that his energy and his take on American fashion remained essential. This tension, captured in black-and-white and color by his partner at the time, Douglas Keeve, gave rise to *Unzipped*. Originally released in 1995, this documentary has established itself as a raw account of the creative process. Thirty years later, the film is being given a new lease on life thanks to a 4K digital restoration. This project, led by Isaac Mizrahi Entertainment with support from the Sundance Institute and the UCLA Film & Television Archive, allows viewers to rediscover the Fall-Winter 1994 collection in a new light.
The world premiere of this restored version is scheduled for the Sundance Film Festival in January 2025. Audiences will have to wait until fall 2026 to see these images on the big screen again. Janus Films has acquired the North American distribution rights and plans to launch the film at the Film Forum in New York on September 25, 2026, followed by a wider release in other U.S. cities. This 73-minute cut remains a distillation of the adrenaline-fueled energy of the 1990s, despite the continued absence of certain archival scenes. For example, a sequence featuring actress Faye Dunaway could not be included in the final cut due to complex issues related to music rights and licensing.
The frenzy of supermodels and the unexpected turn of events in Minneapolis
Watching *Unzipped* today is like stepping back into an era when the runway belonged to personalities rather than anonymous figures. The Fall-Winter 1994 runway show, the film’s highlight, featured a lineup that few fashion houses could afford today: Naomi Campbell, Linda Evangelista, Christy Turlington, Kate Moss, Cindy Crawford, as well as Amber Valletta and Shalom Harlow. Back then, a model’s appearance on the runway was an event in itself, heightened by the appearances of figures from alternative culture and the entertainment world, such as Sandra Bernhard and Eartha Kitt.
The documentary traces the creation of this collection, from the initial inspiration to the final adjustments backstage. But beyond the technical aspects, Mizrahi retains vivid memories of this period of total fame. In particular, he recalls a moment of astonishment that occurred during one of his fashion shows in the mid-1990s: Prince, the musician from Minneapolis, showed up unannounced—without an invitation or prior notice—and simply settled in to observe the designer’s work. Anecdotes like this underscore the pull Mizrahi exerted at the time on the global cultural scene, far beyond the exclusive circles of the Council of Fashion Designers of America (CFDA).
From Haute Couture to Cabaret and Mass-Market Retail
Isaac Mizrahi’s career did not end with the closure of his eponymous label in 1998, a decision precipitated by Chanel’s withdrawal of funding. He successfully transformed his name into a multifaceted brand, exploring territories then considered incompatible with luxury. In June 2026, he was named Target’s first “Creative Director at Large,” reuniting with a retailer for which he had already designed collections as early as 2002. This ability to navigate between the prestige of the archives and the accessibility of mass-market ready-to-wear defines his recent career path.
At the same time, the fashion designer has transformed himself into a performer. For the past ten years, he has held an annual cabaret residency at the Café Carlyle, a New York institution of refinement, and performs regularly at 54 Below. It is through this blend of anecdotes, music, and self-deprecating humor that he continues to bring to life the spirit that already animated *Unzipped*: a form of theatrical sincerity that refuses to separate art from everyday life.
A Visit to the Safdies with *Marty Supreme*
The film industry continues to seek out Isaac Mizrahi, no longer just as a documentary subject, but as an actor. He will soon appear in the feature film *Marty Supreme*, directed by Josh Safdie for A24. The film, which delves into the world of professional table tennis, features a star-studded cast including Timothée Chalamet and Gwyneth Paltrow. Mizrahi plays the manager and publicist for the character portrayed by Paltrow.
The experience, while noteworthy, remains subject to the vagaries of film editing. Mizrahi shot a scene with dialogue as well as several silent appearances, while remaining realistic about the possibility that his single line might be cut before the film’s theatrical release. This foray into Josh Safdie’s fiction, however, reaffirms his status as an integral figure in New York’s cultural landscape—someone capable of transitioning from a 4K restoration of his own past to an avant-garde project alongside Hollywood’s new guard.