A year after the fires that ravaged Los Angeles, Vogue Business examines fashion’s recovery and rebuilding efforts in our series, Refashioning LA, exploring where the city’s fashion and apparel industry is headed in 2026.
For the next few weeks, Hollywood will briefly feel like itself again. Awards season has begun, and the entertainment industry has descended on LA for the nonstop run of ceremonies, culminating in the Oscars in mid-March. Yet this influx of actors and executives only makes their absence for the rest of the year more noticeable.
Many former Angelenos now spend much of the year elsewhere—filming in Atlanta, Vancouver, or Australia, for example—and some have left the city entirely. This shift is driven more by economics than lifestyle. Studio budgets are shrinking, and production has moved out of Hollywood as other states and countries offer tax incentives that make filming cheaper. Last year, production in LA hit an all-time low, according to an October report by the nonprofit FilmLA.
“Everyone can definitely feel the effects of shifting budgets, including the talent,” says Kent Belden, CEO of The Only Agency, which represents celebrity stylists like Dani Michelle and Sam Woolf.
This is having a ripple effect on fashion. Studios have traditionally set aside styling budgets for talent during press tours, but those budgets have shrunk in recent years. One stylist notes she’s amazed when she sees reports of how much big-budget movies earn, only to be paid $500 to $700 per look.
“These media companies and studios are huge corporations. They’re public companies. They’re always looking to save money,” says Karla Welch, who styles actors like Renate Reinsve and Tessa Thompson.
“The studio budgets are not sustainable,” adds stylist Britt Theodora, who works with director Celine Song and actor Pete Davidson. “I have a studio, a full-time employee, freelance assistants, and tailors. There’s a lot of work that goes into these looks.” Sometimes, she explains, you expect a major 20-look press tour—only to end up needing just a couple of outfits. But the preparation work remains the same.
The tide may be turning, at least for film budgets. In June 2025, California Governor Gavin Newsom increased annual tax credits for film and TV production from $330 million to $750 million. One stylist who works in fashion and film expects this to bring movie and commercial work back to LA. In December, Newsom announced that 28 film projects had received support through the expanded tax credit program, a positive sign for 2026.
Fashion publicist David Siwicki, who was in LA in December for press days, feels optimistic. “After the writers’ strike, the fires… there have been some bumps in the road and hard times for LA,” he says. “I know it’s still tough for the industry here, but it felt like a good moment to come back and connect with people in person.” Siwicki has built relationships with top stylists like Wayman and Micah, Karla Welch, Elizabeth Stewart, and Jamie Mizrahi. “It’s great to have that in-person time. That’s the most valuable.”
While tax incentives may bring production back to LA, that doesn’t mean studios will invest more in talent’s fashion. Stylists believe the current precedent is set, and the status quo is unlikely to change. Belden sees budget constraints as a chance for new opportunities. “It opens the door to finding creative ways to build relationships directly with brands to offset budgets, which benefits both stylists and their clients,” he says.
But this also means naNavigating brand contracts and relationships is becoming more challenging for Hollywood’s fashion set, especially with smaller financial safety nets. There are growing concerns about creative freedom for stylists working with independent brands if major fashion houses dominate awards season through strict contracts. So, how is Hollywood’s fashion industry adapting?
Shifting Brand Dynamics
Big brand contracts were once seen as bonuses on top of studio fees, but now many rely on them as a steady income source, says stylist Jessica Welch. With studio budgets shrinking and filming moving out of Los Angeles, the impact is trickling down to how fashion appears in Hollywood. These lucrative brand deals, often worth millions, typically include exclusivity and full-look clauses, limiting what talent can wear outside the contracted brand. This is especially common during awards season, as major brands leverage top events to showcase their looks on partnered celebrities.
“Landing a brand contract for your client is the dream, but then she has to wear only that brand,” Welch notes. She argues this can be a disservice to both the talent and the brand. “Of course, having a list of major competitors your client can’t wear is fair. But seeing your talent in other brands adds value. They can have diverse moments, making your contracted moments even more impactful.”
Welch advocates for this balanced approach. For instance, she styles actress Renate Reinsve in Louis Vuitton while also incorporating independent labels like Renaissance Renaissance and Meryll Rogge. Stylist Danielle Goldberg follows a similar strategy with her clients. Dior ambassador Greta Lee, for example, continues to support independent New York designers such as Colleen Allen, Diotima, Luar, and Still Kelly even after her Dior announcement.
However, this approach doesn’t always succeed. Welch planned for a client to wear an independent brand to the Gotham Awards last month, but the client’s major brand contract prevented it.
Meanwhile, talent without brand contracts sometimes have to cover costs like tailoring themselves, Welch explains. This is where watch and jewelry placements can help offset fashion and labor expenses, says stylist Theodora. “We’re ‘girl mathing’ everything to make it work.”
Silver Linings
Despite challenges in local filming, the celebrity styling scene hasn’t been all bleak since the pandemic, says stylist Andrew Belden. Several positive trends have emerged alongside budget concerns. “The celebrity styling landscape experienced a major reset post-pandemic, leading to more opportunities for stylists and glam teams,” he notes. “There’s been an increase in in-person events—sporting events, red carpets, press events—which boosts demand for our artists.” The rise of streaming has also been a plus, he adds, with more talent needing outfits for promotional activities. Welch agrees, pointing out that the constant flow of content means there’s always work available.
This creates opportunities for smaller brands to gain visibility, even as red carpets remain dominated by major houses. David Siwicki, founder of David Siwicki Communication, held his second Los Angeles press day in December to capitalize on the early awards season buzz. “I like to engage after new collections launch in October, at the start of awards season,” he says of this strategy. Most of Siwicki’s designer clients, including Meryll Rogge, Renaissance Renaissance, and August Barron, are better suited for daytime events like talk shows and press days rather than red carpets, offering alternative avenues to dress talent.
“It’s another balancing act,” he concludes, highlighting the ongoing effort to navigate these evolving dynamics.It’s a delicate balancing act. “If a client has 20 events in a week, I need to consider whether they’ll actually get a moment to shine in a look from an event that might not get much visibility,” says Welch. Additionally, some smaller brands can’t afford shipping costs, so the stylist must decide if an outfit is worth covering the FedEx bill. “The days of having a studio-provided FedEx account are over. That’s just not how it works anymore. No studios are offering that,” Welch explains.
For brands, however, getting their clothes in front of stylists and onto celebrities remains crucial, even for smaller promotional events. There’s variation in these opportunities, Siwicki notes. “Some shows have a lot more built-in promotion; it really depends. Are they doing the New York morning shows, or is it just premieres and video interviews?”
A PR representative for a major fashion house emphasizes the importance of dressing talent for smaller awards events, despite the limited coverage, to stay top-of-mind with stylists for the bigger occasions. Theodora agrees this has real value. “I’ll always be so grateful to the people who loaned pieces early on,” she says. “You don’t forget that, because not everyone gets to work with a fashion darling right from the start.”
Elle Fanning arriving at Jimmy Kimmel to promote Sentimental Value wearing the independent brand Oude Waag, represented by Siwicki.
Photo: PG/Bauer-Griffin/GC Images
One positive aspect of these changing Hollywood dynamics—including reduced studio styling fees—is that awards season is no longer the ultimate priority for many stylists, according to Theodora. Currently, none of her clients are nominated this season. “As a celebrity stylist, I still sometimes think, ‘Oh, I didn’t have anyone for awards season this year,’ but my business is still growing,” she says. “I don’t need awards season to grow my business anymore. There are plenty of other opportunities.” She jokes that her answer might be different in ten years.
Insiders believe awards season will remain significant. “Movies will always be made, and awards season isn’t going away—it’s deeply embedded in the entertainment industry,” says Welch. “And thank goodness. I hope it continues to inspire people, because that’s essential for its survival.”
However, the bidding war between Netflix and Paramount (the latter released only eight movies in 2025, none filmed in LA) points to future uncertainty. This means stylists will need to be even more strategic with their fees and budgets, while brands continue to hold sway on the red carpet. Welch hopes this may lead to an evolution in how brands approach ambassadorships. “A bit more flexibility within that system is crucial for everyone’s success,” he says. “Luxury and fashion brands need to participate in a more meaningful and adaptable way. They might see better returns.”
More on this topic:
– What’s Next for LA Manufacturing?
– How LA Fashion Is Rebuilding Post-Fires
– What Does Building a Brand in LA Look Like in 2026?
Frequently Asked Questions
FAQs Hollywood Exodus the Fashion Industry
BeginnerLevel Questions
What is the Hollywood exodus everyone is talking about
It refers to the trend of many actors writers and other entertainment professionals leaving Los Angeles for other cities and states often due to high costs quality of life and changes in remote work
How is the fashion industry connected to Hollywood
Hollywood and fashion have always been closely linked Celebrities wear designer outfits to premieres and events which drives trends boosts brand visibility and creates huge demand for red carpet styles
So if celebrities are leaving LA does that mean fewer red carpet events
Not necessarily fewer events but the geographic center of celebrity culture is spreading Major events still happen but the daily closeknit relationship between stylists designers and stars in LA is changing
Impact Changes
Whats the biggest immediate impact on fashion brands
Brands are losing the constant informal access to celebrities they had in LA Its harder to get outfits to stars for lastminute events or to build relationships through inperson showroom visits
Are fashion weeks and launches being affected
Yes The front rows at shows in New York Paris and Milan might look different with fewer Alist faces flying in from LA for every show Brands are now also focusing more on influencers and celebrities based in their new home cities
Is red carpet fashion becoming less important
Its evolving While major awards shows remain critical everyday celebrity style has less volume Fashion influence is shifting more to social media and digital content creators not just traditional movie stars
Which parts of the fashion industry are hit hardest
Highend stylists and PR firms in LA Their business model relied on proximity
Luxury rental services Fewer lastminute requests for premiere outfits
Eventbased fashion journalism Less daily celebrity style to report on
Opportunities Shifts
Could this change be good for fashion in any way
Potentially yes It could
Democratize influence Spotlight trends from other cities like Austin Nashville or Miami