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Symphony Fashion Show leaders step into Oscar de la Renta

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Dressed to Lead

The women behind the Symphony Fashion Show take center stage in Oscar de la Renta

34 Swan Song

Nashville Ballet marks 40 years with an elegant Ballet Ball inspired by ‘Swan Lake’

42 Dopamine Dressing

Designer Laura Citron’s new collection delivers joy in her signature maximalist style

46 Clothed in Purpose

An exhibit at Andrew Jackson’s Hermitage reveals how fashion reflected — and fueled — women’s civic leadership

50 Cart for a Cause

Turnip Truck launches a roundup program benefiting The Store

2026 | Vol.

No. 4 71 An Evening in Seville

La Bella Notte honors John Hoomes’ 30-year legacy with Nashville Opera

La Bella Notte Patrons Party hits the high notes before the main event

65 Roses

Rhythm and Roses fuels hope and raises funds for cystic fibrosis treatment 57 Strength, Hope and Community

The 2026 Heart Gala looks to a future without cardiovascular disease 61 Important Moments and Conversations

Conversations at OZ 2026 keeps the dialogue going 64 Rising Star

How About Dinner and a Movie? offers a charming evening of film and fundraising 67 Pairings with Purpose

Nashville Wine Auction pairs wine with advocacy to fight cancer

Campfire Couture

Nashville Humane Association’s Unleashed is full of wagging tails and cozy style 77 Prelude to Swan Lake

The Ballet Ball Patrons Party celebrates four decades of dance and community impact

In Our Words Spring fashion, the return of event season and the joy of dressing up again

the

Show co-chairs Marci Houff and Laura Kimbrell

executive

Ashley

Look! It Has Pockets

Spring fashion, the return of event season and the joy of dressing up again

WEARING A NEW — or new-to-you — ensemble often feels electrifying. You stand a little taller and hold your head a little higher. As the garment sways and its fabric glides across your skin, you might even feel invincible. And if your dress has pockets? Well then, the world is your oyster.

In this issue, we celebrate the arrival of spring with Symphony Fashion Show co-chairs Marci Houff and Laura Kimbrell and executive chair Ashley Rosen, who model some of headliner Oscar de la Renta’s stunning looks. Madeleine Bradford sits down with local designer Laura Citron to discuss “dopamine dressing” and her new spring collection. And I take readers back in time, exploring the century-old fashions on view in the Ladies’ Hermitage Society exhibit at Andrew Jackson’s Hermitage.

Whitney Clay offers a look at the new Prime + Proper steakhouse, Carrington Fox explores the art of elegant homemaking with designer Amanda Khouri, and Madeleine goes behind the scenes with The Hermitage Hotel’s resident historian, Tom Vickstrom. I also visit with The Store’s Collen Mayer and Turnip Truck’s John Dyke to discuss their new roundup program, which helps provide more options for Nashvillians in need of healthy food.

With event season kickstarting after a long winter’s nap, we take you inside some incredible evenings dedicated to uplifting our community — the Heart Gala, Conversations at OZ, Pairings, How About Dinner & a Movie? and more. We bring you two operatic evenings with La Bella Notte Patrons Party and La Bella Notte. And of course, we spotlight the 37th annual Ballet Ball, celebrating four decades of Nashville Ballet.

As spring unfolds across Nashville, so too does a season of gatherings that celebrate creativity, generosity and community. Whether it’s a gala gown, a designer look or a beloved piece pulled from the back of a closet, what we wear often reflects the joy of coming together. Here’s to a season filled with beautiful moments — and perhaps a dress or two with pockets.

BY JANET KURTZ

Janet moved to Nashville 27 years ago. She is an avid reader, traveler and collector of fountain pens, and she lives in downtown Nashville with her husband, Ron, and their dog, Julep. Email her at jkurtz@nfocusmagazine.com or follow her on Instagram @musiccitytraveler

Editorial

founding editor

Herbert Fox Jr.

editor-in-chief

Janet Kurtz

contributing editor

Lindsey Lanquist

associate editor

Madeleine Bradford

social correspondent

Gloria Houghland

editorial intern

Ria Skyer

contributors

Beth Alexander, Chris Chamberlain,

Whitney Clay, Carrington Fox, Hannah Herner, Margaret Littman, Hamilton

Matthew Masters, Nicolle Praino, D. Patrick Rodgers, Nancy Vienneau

Art

art director

Christie Passarello

senior photographer

Eric England

staff photographer

Angelina Castillo

contributing photographers/videographers

Tausha Dickinson, Michael Scott Evans, Peyton Hoge, Iris Leonardo, Hamilton

Matthew Masters, Daniel Meigs

graphic designers

Sandi Harrison, Mary Louise Meadors, Tracey Starck

Advertising

advertising solutions consultants

Teresa Birdsong, Kailey Idziak, Michael Jezewski, Carla Mathis, Heather Cantrell

Mullins, Allie Robbins, Niki Tyree, Andrea Vasquez, Alissa Wetzel

sales operations manager

Chelon Hasty

advertising solutions associates

Audry Houle, Jack Stejskal

Marketing

events director

Robin Fomusa

event manager

Tristan Maryanski

director of brand partnerships

Alissa Wetzel

Circulation

circulation manager

Gary Minnis

Business

president

Mike Smith

chief financial officer

Todd Patton

chief operating officer

Elizabeth Jones

chief revenue officer

Olivia Moye Britton

IT director

John Schaeffer

digital director

Caroline Prater

Owner FW Publishing, LLC

Behind the Scenes

With Tom

Vickstrom

of The Hermitage Hotel

WHEN TOM VICKSTROM, The Hermitage Hotel’s historian and financial adviser, tells the story of suffragist leader Carrie Chapman Catt’s stay in room 310, he often tears up. Legend has it that Catt opened her room’s Tennessee State Capitol-facing window to shouts and cries of joy once women officially gained the right to vote, a story Tom has proudly recited on historic hotel tours since 2009.

Pro- and anti-suffragists famously set up headquarters in The Hermitage Hotel, leading up to Tennessee’s ratification of the 19th Amendment. Those in favor wore yellow roses, while those against wore red ones — and to this day, yellow is one of the hotel’s key branding and storytelling devices.

Tom’s motto: “Quality always pays.” Whether he’s creating immersive guest experiences or enriching revelers with the property’s history, Tom’s love of the hotel shows — and he’s still making historical discoveries to this day.

What are some key facts about the hotel’s role in the suffragist movement that not everyone knows? [The hotel had] an expressed policy to open its doors to women, and that was documented in the newspaper as of 1911. We [also] gave a rent-free office to the national Equal Suffrage League as of 1915, in support of votes for women, and they used that right through 1920.

What are your other favorite things that took place on the property? Nashville’s first hit record [in 1947] is very significant. That was [by] our orchestra leader, Francis Craig, who initially provided music here starting at 1925 and continued right through to 1947 — 22 years of live music, six days a week at The Hermitage Hotel. [It] really helped bring the building to life.

Which anecdotes from your tours surprise guests the most? People are always fascinated with celebrities. Charlie Chaplin checked in at the front desk with a custard pie in his hand. Amelia Earhart gave a newspaper interview here in the lobby with her husband in 1935 — it was highly interesting. It’s fun that Minnesota Fats lived in the hotel for seven years in the 1980s. He was a celebrity, but he liked to station himself in the lobby and strike up conversations with guests that he didn’t even know. He just loved to tell fantastic stories about his life.

THE BASICS

Name: Tom Vickstrom

Hometown: Auburn, Mass.

ZIP code: 37076

Time in Nashville: 34 years

Number of property tours you’ve given: A couple hundred

What is your research process like, and how does it evolve as you keep making discoveries? When we produced our book, The Hermitage at One Hundred: Nashville’s First Million-Dollar Hotel, we pushed to have that published before our 100th birthday, which was [in] 2010. We engaged a prominent local historian, Ridley Wills, to research and write the book. At that point, I discovered the vertical file at the Nashville Public Library, and they had newspaper clippings about The Hermitage Hotel. I copied the complete collection, and that was a treasure trove of new information.

Up until then, we had a few old menus, some postcards, people mailed in stories — but then getting the book project going really put this into high gear.

In partnering with my wife, Wanda, it’s been a labor of love to work together. Sometimes we’d stay up until midnight on a Friday night, researching at home, talking back and forth, sharing results and findings. [She has a] very keen eye and a good sense of curiosity.

What’s the most rewarding part of your job? Besides loving the building and everything that’s happened in it, I think the most rewarding [thing] is working with such a talented group of hospitality professionals. I’ve said many times: We’re like a Super Bowl championship team. Just because we won it last year doesn’t make it automatic. Every day is our A-game.

BY MADELEINE BRADFORD PHOTOGRAPH BY ERIC ENGLAND

High Steaks

Prime + Proper, an upscale Detroit-based steakhouse, has opened in Music City

SOMETIMES A FRONT door is just a door. Other times, it’s an entrance. In the case of the newly opened Prime + Proper steakhouse on the first floor of the Grand Hyatt Nashville, it’s definitely the latter.

The marquis-like entryway, with its bold geometric design and imposing double doors, makes a statement. “I wanted an entry — a noticeable space,” says Jeremy Sasson, founder and CEO of Detroit-based Heirloom Hospitality. “And if our guests were coming from valet, they felt they could walk on our red carpet to this restaurant and not have to enter through the hotel.”

The steakhouse leases the space previously occupied by chef Sean Brock’s The Continental. There was always a separate door to comply with codes, but guests typically entered through the hotel, Jeremy says. And while Prime + Proper and the Grand Hyatt have a complementary aesthetic, he says it’s important that the restaurant — which opened its other location in Detroit in 2017 — has its own distinct and established identity.

As guests make their way to their tables, they pass through a hallway flanked by wine racks highlighting the restaurant’s expansive collection and cases displaying cuts of meat in different stages of the dry aging process.

Dramatic, hexagonal light fixtures hang from a coffered ceiling in the main dining room, accentuating the Art-Decoinfluenced velvet and leather booths and stone tables below. Black-and-white porcelain floors boast inlaid brass details.

At the far end of the room, taking up much of the back wall, is a striking art piece by Dallas-based hide artist Kyle Bunting.

But the real focal point is the restaurant’s large open kitchen. “It’s part of the dining experience,” says Jeremy. “We want you to feel the energy of the restaurant at all times.”

Every aspect of the 200-seat restaurant, designed by Detroit’s Colin Tury and architected by Nashville’s Remick Moore, has been meticulously thought out. There are no restrooms inside. Guests can use the ones in the hotel lobby. Patrons will never be seated by the restrooms or near the door — that way, there’s not a bad seat in the house. This plays into Jeremy’s goal for Prime + Proper. He sees it as a hospitality experience — not simply a steakhouse. “That’s not what I’m resting my hat on,” he says. “My hat is resting on taking care of people. By the way, you’ll also get the best steak.”

BY WHITNEY CLAY PHOTOGRAPHS BY CHRISTEN CLEMINS AND COURTESY OF PRIME + PROPER

ON THE MENU

Executive chef Steven Agosto is at the helm, with menu offerings including an Australian wagyu New York strip and a 28-ounce porterhouse that’s dry aged for 45 to 90 days. There is also a raw bar featuring three different varieties of osetra caviar and seafood entrées including wood-fired branzino and dover sole, served tableside. Sides, served à la carte, include wood-fired broccoli, the requisite macaroni and cheese, and lobster grits.

In addition to the extensive wine list, the menu features craft cocktails and a half-dozen zero proof options.

GOING PRIVATE

The restaurant offers a private dining room, complete with audiovisual capabilities, that can seat 20. One wall is lined with refrigerated wine cases, while another showcases black-andwhite photos of vintage cars, radios and snakeskin boots — all taken by Nashvillebased photographer Tony Shepherd.

“This kind of Detroit architectural automotive story met with vintage audio,” says Jeremy. He particularly likes the cowboy boot photograph. “I just thought it was great,” he says. “This restaurant felt like if it owned a pair of cowboy boots, it would own snakeskin ones.”

LOCALLY SOURCED

While Prime + Proper is a Detroit-born brand, its Nashville location has a distinct Tennessee accent. The cowboy ribeye is infused with Leiper’s Fork Distillery whiskey during the aging process, and the kitchen uses a custom wood-fired grill fueled by Tennessee white oak.

“Part of the sustainability of this restaurant is trying to pull products that are as close to this source as we can, whether that’s Bear Creek [Farm] or Black Hawk Farms or Leiper’s Fork Distillery,” says Jeremy. “There’s an immense opportunity to create relationships.”

Ndesign: Amanda Khouri, Amanda Khouri Interiors

Designer of spaces that feel like home

DESIGNER AMANDA KHOURI loves tension in a room — just enough tension, that is, to make the room feel authentic. To build that energy, the founder of Amanda Khouri Interiors toggles levers between “classic and unexpected,” “sophistication and practicality” and “new life and inherited heirlooms.” The result is a warm, layered aesthetic for a real world where playful kids and pets inhabit elegant and comfortable homes.

“We want our homes to be beautiful, but we also don’t want our children to, er, ruin everything,” jokes Amanda, whose two sons share a landscape-muraled bedroom that is the stuff of Instagram dreams.

“Authenticity is my North Star,” Amanda says, explaining that she is always looking for the moment — a reclaimed or repurposed remnant of beloved material, for example — that makes a room look like real life happens inside. “I never want to feel like I’m sitting in a period room, whether that period is really old or 2026,” she says. “I want a room to look like it is deeply considered, pulling from a variety of eras and time periods.”

Such consideration might present itself in clean, modern furniture next to a 200-yearold table, with fresh pops of lighting, classical millwork profiles and a pillow made of a textile found at an overseas market. When it comes to balancing sophistication and practicality, Amanda keeps materials cozy and elegant. Rather than relying on exterior or utility fabrics, she leans on patterns that can mask the inevitable staining of daily life.

Since she likes to interweave elements throughout a space, Amanda prefers projects where she can engage early on with an architect or builder, whether in a renovation or new build. That way, she can consider how selections of textiles, lighting and furniture will marry with architectural accents of millwork and casing.

A former lobbyist in Washington, D.C., Kentucky-born Amanda moved to Nashville in 2020 with her husband. A self-taught designer, Amanda sharpened her skills through classes at New York’s Parsons School of Design and Nashville State Community College. In 2025, she made a grand entrance — literally — on Nashville’s design stage, when she collaborated with James Dunn of Vintage Millworks to create the stunning entryway at the Antiques & Garden Show.

(Speaking of tension in a room, Amanda went into labor during installation and delivered her second son at the same time that she delivered the iconic lattice-lined corridor leading into the A&G showroom.)

More recently, Amanda showcased her creativity at the 2025 Flower Magazine showhouse, where she designed the Cutting Room. The utilitarian workspace dedicated to floral and craft projects upstaged more formal rooms, with its innovative wattle backsplash woven from willow branches and recalling rustic British garden fencing.

“The way to achieve that authenticity is using things that aren’t perfect,” says the mother of two. “I encourage people to live in their homes. If you scratch furniture, just live with it. Allow it to pick up a few imperfections. It doesn’t matter.” What does matter, she says, is living in a space that feels comfortable and cozy — like home.

“Drop some of the need for perfection,” Amanda says. “You don’t want to live in a space you can’t be at home in.”

BY CARRINGTON FOX

PHOTOGRAPH BY NICOLA HARGER

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DR ESSED TO LE AD

The women behind the Symphony Fashion Show take center stage in Oscar de la Renta

Editor-in-Chief: Janet Kurtz

Associate Editor: Madeleine Bradford

Art Director: Christie Passarello

Photographer: Eric England

Photographer Assistant: Angelina Castillo

Stylist: Bruce Pittman Inc.

Stylist Assistant: Nichole Hollaway-Smith

Models: Marci Houff, Laura Kimbrell, Ashley Rosen (Symphony Fashion Show co-chairs and executive chair)

Boutique: Gus Mayer

Designer: Oscar de la Renta (Symphony Fashion Show featured designer)

Jewelry: Diamond Cellar (Symphony Fashion Show official jeweler)

Hair and Makeup: Annelise Carey | Nashville Luxury Bridal, Caitlin Hughes | Nashville Luxury Bridal, Kelsey Aucoin

Location: The private home of Katie and Ben Gambill

MARCI HOUFF

Dress: Oscar de la Renta degradé foxglove faille dress

Earrings: Piranesi yellow diamond cluster earrings

Necklace: Piranesi diamond riviera necklace

Bracelet: Piranesi yellow diamond link bracelet

Ring: Yellow diamond bypass ring

LAURA KIMBRELL

Dress: Oscar de la Renta chiné cyclamen wool dress

Earrings: Céleste diamond drop earrings

Necklace: Piranesi ruby and diamond necklace

Bracelet: Piranesi ruby and diamond bracelet

Ring: Piranesi ruby and diamond ring

ASHLEY ROSEN

Dress: Oscar de la Renta scalloptrim knit dress

Jacket: Oscar de la Renta scalloptrim knit bolero

Earrings: Céleste diamond drop

earrings

Bracelet: Chanel Coco Crush

quilted diamond bracelet

Ring: Céleste pink diamond ring

SW N SONG

Nashville Ballet marks 40 years with an elegant Ballet Ball inspired by ‘Swan Lake’

In 1974, a group of dancers opened Dancers Studio, a teaching studio in Green Hills, to express themselves through dance and share their art with others. In the early 1980s, six dancers from the studio — led by Jane Fabian — formed a performance group called The Young Dancers’ Concert Group, which later evolved into Nashville City Ballet. Nashville City Ballet became a professional performance company in 1986 and officially changed its name to Nashville Ballet in 1987.

Four decades later, Nashville Ballet continues to bring the art form — and beloved characters like The Nutcracker’s Clara and Swan Lake’s Odette — to life while advancing its mission to strengthen the Nashville community by sharing the power of dance.

This year’s Ballet Ball celebrated Nashville Ballet’s 40th anniversary — and entering the Schermerhorn Symphony Center for the event was a delight for the senses. Event planner Bruce Pittman worked with co-chairs Neil Krugman, Lisa Manning and Julie Schneider to bring the Swan Lake-inspired evening to life. A mannequin in a floral tutu, crafted by Knestrick by Design, caught the eye. Swan Lake costumes flanked the room. Revelers enjoyed delicious hors d’oeuvres, making their way to the Nfocus portrait studio to capture memories from the elegant event.

After the reception, the main doors opened to a fantastical wonderland of delights. The room was cast in warm candlelight as hundreds of luminaries covered the tables, highlighting beautiful white floral centerpieces. Nashville Ballet performers, dressed as swans from Swan Lake, moved fluidly across the stage, putting the artistry and athleticism of dance on full display.

During dinner, guests delightedly watched Odette (Lily Saito) and Prince Siegfried (Jorge Emilio Peña) dance the “White Swan Pas de Deux,” a memorable duet from Swan Lake’s second act. And Nick Mullikin, Nashville Ballet’s president and artistic director, reflected on the organization’s history. “It is an honor for me to help guide Nashville Ballet to its next chapter, while honoring the remarkable legacy and traditions that have helped make us who we are today,” he said. “Perhaps what I am most proud of is the way that we serve this community through arts education, community engagement programs and performances that inspire audiences of all ages.”

The co-chairs recognized honorary chair Barbara Turner for her continued support of the arts in Nashville. Barbara co-chaired the ELEVATE campaign, launched in 2014, which funded the expansion of Nashville Ballet’s home in Sylvan Heights.

Nashville Ballet also presented the 2026 Synergy Award, which honors partners who strengthen the relationship between the community and the arts, to HCA Healthcare and the HCA Healthcare Foundation. “At HCA … we understand that synergy happens, in part, when organizations invest in the communities they call home,” said HCA senior counsel Susan Short Jones, who accepted the organization’s award. “HCA’s support of Nashville Ballet is a statement of belief in the importance of a mission and a shared commitment to enriching our communities.”

Country singer-songwriter Eric Paslay and Nashville Ballet dancers continued to captivate the audience with performances. And the Late Party, chaired by Catherine Bradbury, Eli Gibbons, Sophie and Preston Howard, and Kimberly MacDonald, invited patrons to dance long into the night. Fan-favorite band Bizz and the Everyday People kept the energy high — a fitting end to an evening that raised a record-breaking $725,000 for Nashville Ballet.

BY JANET KURTZ PHOTOGRAPHS BY ERIC ENGLAND

suzannemcmillanrealtor@gmail.com SuzanneMcMillanRE.com

DOPA MINE D R ESSING

Designer Laura Citron’s new collection delivers joy in her signature maximalist style

EVERY PROLIFIC FASHION designer is known for their signatures. Elsa Schiaparelli brought “Shocking Pink” to runways, while Coco Chanel distinguished herself with clean lines, tweed suits and the ever-relevant “little black dress.” Key players in Nashville’s fashion scene are no strangers to these identifying marks — and Laura Citron sets herself apart with glitter, vibrant colors and all things avant-garde.

“My mantra is ‘fashion is fantasy,’” she says. “It’s the idea that you shouldn’t wait until the special moments to wear the special occasion dresses. Every day that you’re alive is the occasion, and you are the occasion.”

SEQUINS  ND DENIM

IN HER LATEST COLLECTION, Citron amps up her glitzy, maximalist style. While all her collections are seasonless, her latest pieces are fitting for a spring release, featuring “light, airy fabrics that are mixed in with some heavier sequin [and] glitterpunching fabrics.” Her flowy, patterned gowns and shimmering jumpsuits are sure to make a statement at your next gala or cocktail party.

For the first time, she’s also incorporated more laidback pieces that, while colorful and patterned, can be worn day-to-day — not just at upscale events. “I always say, ‘Throw on a sequin jacket with jeans on a Tuesday night, and go to dinner,’” she says.

Like all of Citron’s designs, each new piece is attentively crafted, often featuring hand-beaded embellishments. When working on her collection, she found several raw fabrics with interesting prints. To make the colors fit within her style, she had them hand-dyed, creating one-of-a-kind textiles that can’t be found anywhere else.

“A lot of my customers are peacocks — musicians, or just people who don’t want to wear anything that anyone else is wearing,” says Citron. “So when I tell them that this fabric was created in-house, it really speaks true to what they are looking for.”

CL  SSIC QU  LITY

BUT STYLE ISN’T her only focus. Enamored with ’60s and ’70s fashion, Citron seeks to bring back the quality she thinks has been lost over the years. “There were so many details that were lost in the past and design elements of quality that have gone away, like lining things or putting a dart [or a] pleat,” she says. “Those tiny things can make such a big difference in the way a garment falls and drapes on you.”

Fabric-covered buttons, intricate linings and elegant vintage-inspired silhouettes distinguish Citron’s designs from other retro-inspired labels. Her admiration of yesteryear’s fashion sparked early at her childhood home in Louisiana.

“As a child in my mom’s closet, [I’d say], ‘I don’t understand why people don’t wear these clothes

all the time,’” she says. “They gave me so much joy, so I just thought if people had more of these, then maybe they would feel the joy that I feel.”

This joy is key to Citron’s design philosophy. (She doesn’t call her style “dopamine dressing” for nothing.) “When you wear a bright color, you get a literal pop of dopamine in your brain that makes you happy,” she says. “And other people who see that happy color on you have a little pop of dopamine in their brain. It’s truly feel-good fashion.”

Citron’s dopamine-inducing pieces often glimmer onstage at concerts and on red carpets (most recently, at the 2026 Academy Awards). Her partner, Andrew Clancey, brings similar delight to these spaces through his renowned fashion line, Any Old Iron.

IT TAKES TWO

CITRON AND CLANCEY have both a personal and professional relationship, often serving as each other’s creative collaborators. “We’ll be working together all day long on our collections, and then we come home, and we keep talking about our collections,” says Citron. “I know that can sound ridiculous and exhausting, but it doesn’t feel that way when it’s exciting to you.”

The couple debuted their latest collections in tandem at a release party in March at the Any Old Iron storefront downtown. The evening also featured an exhibit of photographs that Paris-based James Isaac Jones shot of Citron’s past collections.

While Citron and Clancey’s lines are both known for being retro, ornate and larger-thanlife, they’re distinct from one another. Citron describes her style as “feminine-inspired disco Studio 54 glam,” while she considers Clancey’s “more rock-‘n’-roll-inspired, edgy [and] hard.”

But she admits that she and Clancey have subconsciously influenced each other’s creative eyes. “I think it’s sort of like designing with your best friend,” says Citron. “And it’s so nice having someone to springboard ideas off of constantly. We do that all the time.”

PHIL  NTH  OPIC F SHION

CITRON AND CLANCEY often pair up to support philanthropic organizations, including Nashville Humane Association. They’ve coheadlined the beloved Cause for Paws fundraiser and most recently strutted down the runway with furry friends at this year’s Unleashed (see page 75). “I’m happiest when I can incorporate fashion and philanthropy,” says Citron.

Citron also serves on the board of Fashion is for Every Body, a cause dedicated to making fashion more inclusive and accessible for people of all backgrounds and physical abilities. The organization provides size- and ability-inclusive resources for designers, aiming to shape the industry’s future by highlighting the needs of underserved demographics.

“I can understand how some people think fashion can be superficial and superfluous — and it can be — but for me, fashion has always been empowerment,” she says. “My goal with fashion has always been making people feel good about themselves. That’s when I feel like I’m doing my very best work.”

In working with Fashion is For Every Body over the years — often as a featured designer — Citron has learned how to make her own pieces more accessible.

“If you have a model who cannot use her hands very well, then you can change from buttons to snaps to velcro — things that are easier to maneuver,” she says. People don’t just leave Citron’s custom fittings with perfectly tailored looks — they also walk away with necessary accommodations that make their clothing easier to wear.

For Citron, fashion is about instilling confidence, joy and dignity — three pillars she’ll surely keep in mind when designing and producing her next collection in a six-month process that will begin once her current collection debuts. “That’s the power of clothing,” she says. “It can be seen as colorful armor.”

BY MADELEINE BRADFORD

PHOTOGRAPHS BY ELI STACK, STEPHEN DILLON, ADRIAN MORALES, JOHN FLETCHER

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CLOTHED IN PU R POSE

An exhibit at Andrew Jackson’s Hermitage reveals how fashion reflected — and fueled — women’s civic leadership

IN 1889, the United States was a young nation expanding rapidly westward. North Dakota and South Dakota became the 39th and 40th states. That November, Montana and Washington followed. In Colorado, Butch Cassidy staged his first bank robbery, stealing $20,000.

In Nashville, a group of women set out to preserve the legacy of Andrew Jackson’s Hermitage. Led by Amy Jackson (wife of Andrew Jackson III) and Mary Doris, the women formed the Ladies’ Hermitage Association to prevent the home from becoming a residence for indigent Confederate soldiers. The state ultimately awarded the home and portions of the surrounding land to the association, and its members began preserving the site and its history.

IN A DARK vault rarely seen by guests, three female dress forms stand sentinel, each dressed in garments from a bygone era. One wears an elegant evening gown with asymmetrical drapery. Another features a skirt-and-shirtwaist ensemble — a daytime uniform of the period. The third displays a gray overcoat designed to protect against the elements. Together, these pieces illustrate not only the fashion of the time, but also a shift in women’s roles from homemakers to civic activists.

The garments appear in a larger exhibit, Saving Old Hickory’s Hermitage: The Women Who Preserved History — And Changed It, on view through Oct. 31 at the Hermitage. Curators selected the pieces using archival photographs from the Hermitage, and the Fashion Archives & Museum of Shippensburg University loaned them representative pieces for the exhibition.

One standout garment, the skirt-and-shirtwaist ensemble, offered a more feminine interpretation of a man’s suit — often seen with a matching jacket absent from this exhibit. During the 1880s and 1890s, at the height of the Industrial Revolution in the United States, women made up 15% of the workforce. “The skirt-and-shirtwaist ensemble was very much the ‘uniform’ of the new woman,” says Karin Bohleke, director of the Fashion Archives & Museum of Shippensburg University. “In fact, skirts hemmed at the ankle were described as ‘trotter’ or ‘trotteur’ in French. It reflected how much women were on the move.”

The ensemble also crossed social class, age and race, signaling a broader cultural shift. Women of all backgrounds wore it, marking the early days of a mix-and-match wardrobe. Key developments, like standardized measurements for ready-to-wear garments, spurred this on, Bohleke explains. “In addition, the garment industry had finally caught up to the industrialized menswear industry in its ability to produce efficiently made-to-measure items for individual wearers,” she adds.

The evening gown offers a striking example of the era’s elegance. Intricate embroidery and beading cover the garment, displayed alongside the shoes worn with it.

“The evening gown is one of my favorites,” Bohleke says. “It embodies the elegance we associate with the general era of the Titanic.”

The dress’s asymmetrical drapery is characteristic of evening gowns at this time, she explains. As is the combination of different kinds of trim and fabric.

The gray overcoat, while practical, also makes a statement. “[It] is a great example of how clothing of the time period combined elegant design with genuine protective qualities for dealing with the elements,” Bohleke says.

While fashion represents only one element of the exhibit, it remains essential to understanding the broader story. “Fashion matters because it is the way we can connect with our ancestors in 3D,” Bohleke says. “Nothing is more intimate and personal than the clothing [someone] wore.”

These garments offer a different perspective than historical photographs or painted portraits, she notes. And they served an essential role in history — part personal expression, part public statement, part practical concern.

“There are so many stories one can tell through clothing,” Bohleke says. “Personal, economic, invention, politics, trade, labor, women’s history and much more.”

BY JANET KURTZ

PHOTOGRAPHS BY ERIC ENGLAND

C AR T FO R

A C A USE

Turnip Truck launches a roundup program benefiting The Store

WALKING THROUGH THE STORE — the choice-based grocery nonprofit founded by Kimberly Williams Paisley and her husband, Brad Paisley — customers see something familiar: brightly lit aisles, shelves stocked with food and a produce section filled with fresh fruits and vegetables.

But unlike a typical grocery store, this market offers something many people take for granted — the gift of dignity.

That dignity matters more than ever in Nashville. According to Metro Social Services, approximately 1 in 10 residents — up to 198,000 Nashvillians — has limited access to adequate food, a problem exacerbated by rising living costs and food deserts. And nearly 1 in 5 Nashville children faces food insecurity, meaning they don’t have enough nutritious food to eat.

Collen Mayer, CEO of The Store, speaks passionately about the organization’s mission and the families it serves. He recalls one customer caring for her mother, daughter and grandchildren — four generations under one roof — while living on a fixed income.

“It’s just incredible,” Mayer says. “If you can imagine, you’re on a fixed income and trying to take care of multiple generations. And her mom was in bad health, so she wanted to be able to give the best food to her mom.”

That customer has since become an advocate for The Store, Mayer says. With easier access to healthier food, she now enjoys more time with her family and feels empowered to help others.

Many people misunderstand food insecurity, Mayer explains. Providing choice-based shopping is essential. “Much of food insecurity is not just about the absence of food,” he says. “Food insecurity means people cannot get the types of food they need to stay healthy and well.”

While The Store aims to provide as many options for its customers as possible, it struggles to stock specialty foods, like vegan pastas and other items that support specific diets. When external pressures — like reduced SNAP benefits during November’s government shutdown — increase demand, it’s even harder to ensure Nashvillians have what they need.

Bridging the gap requires partners, like John Dyke, owner of Nashville favorite Turnip Truck Natural Market.

“I opened Turnip Truck in early 2001 to serve my community,” Dyke says. Since then, he has created several programs to raise money for Nashvillians in need, including an initiative to rebuild the tree canopy after the March 2020 tornadoes.

When Dyke noticed that people needed help during November’s government shutdown, he and his team launched another fundraising program at Turnip Truck. The program allows customers to round up their purchases to the nearest dollar at checkout. Dyke then uses those extra funds to source specialty items for The Store, expanding community access to healthier foods.

The program, now a few months old, has already shown promising results. “People are not getting roundup fatigue,” Dyke says. “People are actually excited about this program because it’s feeding the community and aligns with our mission — supporting the community and serving each other.”

Mayer says the partnership will help The Store bring more high-quality items to families experiencing food insecurity, helping them stock those specialty foods they struggled to afford and source before.

“I think we can all agree that hardworking families deserve to eat and deserve to have food on their tables,” Mayer says.

BY JANET KURTZ PHOTOGRAPHS COURTESY OF THE STORE AND MARK STEELE PHOTOGRAPHY

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Elent Musins

La Bella Notte Patrons Party hits the high notes before the main event

t the height of the Victorian era, parlor games and live entertainment flourished in well-heeled society. And on an evening that felt like walking back in time, Friends of Nashville Opera nodded to this tradition. Jessica and Johnny Rich opened their beautiful home to host the La Bella Notte Patrons Party — complete with a delicious buffet, riveting conversation and, of course, operatic parlor entertainment.

As guests arrived, servers expertly passed trays of hors d’oeuvres from Johnny Hafner Catering. Revelers visited and shared how they’d fared during the ice storm. Around the living room, easels displayed posters highlighting the exciting auction items on offer.

After the reception, guests gathered in the front room, just as they might have done over a century ago, to hear remarks from board president Kathleen Evers and Nashville Opera CEO and artistic director John Hoomes. Both offered thanks, and John shared the early success of Little Red’s Most Unusual Day — a traveling children’s opera that retells the Brothers Grimm story Little Red Riding Hood

The highlight of the evening came when all five Mary Ragland Emerging Artists students performed beautifully for the room. Tenor Louis Tiemann opened, performing “Questa o quella” from Rigoletto. Mezzo-soprano Hailey Cohen took on “L’amour est un oiseau rebelle” from Carmen. Benjamin Pessognelli took to the piano and performed Maurice Ravel’s beautiful “Miroirs, M. 43: III. Une barque sur l’océan.” In one of the most dramatic and fun performances of the evening, bass Noah Mond performed “La Calunnia” from Il Barbiere di Siviglia. And soprano Elizabeth Fisher concluded the entertainment, singing “O mio babbino caro” from Gianni Schicchi.

Guests debriefed on the performances, enjoying a buffet supper while musing over their favorite moments from the evening.

BY JANET KURTZ

65 oses

Rhythm and Roses fuels hope and raises funds for cystic fibrosis treatment

For many who attended this year’s Rhythm and Roses, finding a cure for cystic fibrosis is a family affair. Take emcees and brothers Chris and Kevin Marchetti, for example, who took the stage in dashing, glittery blazers to tell the poignant story of their now 40-year-old niece Margaret, who underwent emergency surgery shortly after birth.

“The definition of a hero is a person admired for courage and outstanding achievements, typically acting to help others,” said Chris, tearing up. “And that’s Margaret.”

Several other Marchettis filled Clementine Hall to support the Cystic Fibrosis Foundation, including Liz Marchetti, who co-chaired the event alongside Gini Thompson. Yellow roses adorned the venue, referencing the moment in 1965 when 4-year-old Richard “Ricky” Weiss first heard the name of his disease and pronounced it as “65 Roses.” Today, many children use this term to describe their condition, and roses symbolize a shared hope for a cure.

At this year’s fundraiser, guests mingled with old and new friends during the cocktail hour. Many also searched for goodies at the silent auction, which directly benefited cystic fibrosis research throughout Tennessee.

Self-proclaimed “girl dads” Peter Hodge and Nick Breeding separately took the stage to tell the stories of their daughters who’ve met their diagnoses with courage and tenacity. Peter shared that, through advancements in medication, he’s witnessed progress in cystic fibrosis treatment firsthand, made possible through critical funding.

“If we want to make the world a better place, only we can make that happen,” he said. “We’ve been given this gift to cure cystic fibrosis so our loved ones — and the loved ones you don’t know, like my daughters — can live their fullest lives.”

BY MADELEINE BRADFORD PHOTOGRAPHS BY ANGELINA CASTILLO

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Strenth, Hope nd Community

The 2026 Heart Gala looks to a future without cardiovascular disease

When it comes to heart health, Tennessee ranks near the bottom in the U.S. Our state has one of the highest rates of heart attacks in the country, with heart disease being the leading cause of death of Tennesseans. Each year, cardiologists, supporters and friends of the American Heart Association gather to raise funds and support the organization’s mission — fighting heart disease and stroke through research and public education.

The AHA Heart Gala — held at the JW Marriott Nashville — celebrated the progress being made toward heart health. Guests enjoyed passed hors d’oeuvres and cocktails while bidding on bountiful silent auction items. Many admired the live auction Stock the Bar lot on display, which included two bottles of the rare Blanton’s Bourbon, a signed bottle of O.H. Ingram River Aged Straight Bourbon, and a host of other spirits and wine.

During dinner, guests watched videos about the many people who’ve experienced heart events in the past year alone. These powerful stories highlighted the lifesaving work the AHA promotes each day. Longtime supporter Alex DeBernardi earned the 2025 Leaders of Impact award, which honors dedicated community members who raise funds and awareness during a seven-week competition. And the AHA gave Dr. Michael Wiechart, TeamHealth president and chief operating officer, the William T. Coakley Award to honor his commitment to service.

After an entertaining and spirited live auction, advocate Jamie Yee opened up about her lifelong journey with heart health. After almost losing her life while giving birth to her daughter, Jamie shared that the support she received from strangers in the hospital showed her the power of strength, hope and community.

BY JANET KURTZ

PHOTOGRAPHS BY ERIC

ENGLAND

Importnt Moments nd Converstions

Conversations at OZ 2026 keeps the dialogue going

remark at a dinner party can leave a mark on the memory. That little quip or declaration burns into the mind for days after the last plate is cleared and the final goodbye is said. Such is the goal of Conversations at OZ — an evening of creative discussion meant to expand beyond the walls of OZ Arts Nashville. The annual event raises funds to support OZ’s mission to bring contemporary visual and performing arts to the city.

The evening opened with a private VIP reception. Thought leaders, tasked with hosting discussion tables at the main event, mingled with supporters and patrons. And co-chairs Alfred Degrafinreid II, Ken Levitan and Hunter Claire Rogers made sure to engage with as many guests as possible. Guests then made their way to cocktail hour in the performance hall, where a large crowd had already gathered, eagerly anticipating the night ahead.

Mark Murphy, OZ Arts Nashville’s executive and artistic director, talked about the legacy of Conversations. And cofounder and president Tim Ozgener reflected on the organization’s history. “It was a dream for us to bring contemporary performing arts and visual arts to Nashville,” he said. “We were inspired by what we saw in other markets. … And we were like ‘Why not Nashville?’”

Excerpts from Gorrión, a thought-provoking dance work, set the mood for the evening — and the 30 dinner parties about to get underway, helmed by musicians, writers, community leaders and more.

Holly Kernan, Nashville Public Radio’s new president and CEO, invited her table to think about storytelling in a new way. “What stories do people already know about Nashville?” she asked. “What stories are not being told?” The allotted 75 minutes weren’t nearly enough for a full discussion. But Holly’s questions clearly captured something her media-savvy table guests think about frequently — and might still be considering, long after the night came to a close.

BY JANET KURTZ PHOTOGRAPHS BY ERIC ENGLAND

isin Str

How About Dinner and a Movie? offers a charming evening of film and fundraising

The classic date night pairing of dinner and a movie goes together just as well as Nashville and its philanthropic community. At the 29th annual How About Dinner and a Movie?, these age-old traditions took center stage once again, immersing patrons in the Western frontier and raising funds for Park Center’s mental health services.

This year’s event also sparked a new tradition — kicking things off with cocktails and camaraderie at Anzie Blue. After boot-and-hat-donning guests perused the silent auction at the trendy venue, they ventured across the street to the Belcourt Theatre for the main event.

Bill Forrester and his crew — composed of many family members — provided dinner service with a smile, delivering trays of Southern delights to seated guests. Adam Stainbrook, Park Center’s development and marketing director, noted that Bill and his team have been integral to the event since honorary chair Barbara Daane created it almost 30 years ago. “I have never said ‘no’ to Barbara Daane,” Bill said.

Co-chairs Anastasia Brown and Whitney Daane highlighted Park Center’s role as the top housing provider for people experiencing mental illness and addiction in Middle Tennessee. Since 1984, the organization has made people feel seen and heard by providing professional support, employment opportunities and accessible housing. CEO Amanda Bracht shared plans to expand the organization’s impact by opening Park Center North this summer, which will include 26 affordable housing units.

Whitney recognized the night’s honoree, Debbie Carroll, for her leadership in mental health and entertainment initiatives, such as MusiCares and Belmont University’s Center for Mental Health in Entertainment. “It takes a village to address mental health and addiction,” said Debbie, while sporting a “Mental Health Matters” bandana.

The impactful evening closed with a showing of the 1979 film The Electric Horseman, starring the late Robert Redford as a former rodeo champion turned animal activist and Jane Fonda as a story-hungry reporter. As revelers watched the unlikely duo join forces to free Rising Star, a doped $12 million horse, laughter and applause flooded the theater — signs of a successful night at the movies.

BY MADELEINE BRADFORD PHOTOGRAPHS BY ANGELINA CASTILLO

Pirins with Purpose

Nashville Wine Auction pairs wine with advocacy to fight cancer

On an unseasonably warm evening in February, Nashville Wine Auction supporters gathered at the Loews Nashville Hotel at Vanderbilt Plaza for Pairings, the organization’s annual winter fundraiser. The event began in 2013 as another way to raise crucial funds for cancer research and community programs. Today, the auction supports 12 beneficiaries, including the American Cancer Society’s Hope Lodge, the Ascension Saint Thomas Foundation and Gilda’s Club Middle Tennessee. It also expands the Nashville Wine Auction’s reach, exclusively focusing on California wines (unlike July’s l’Eté du Vin celebration).

Reception guests mingled with honored winemakers who poured tastings of their newest releases. And gold sequins shimmered across the room, as guests embodied the evening’s Solid Gold theme. The Pairings auction features three components: a silent auction, a super-silent auction, and a live auction of exceptional wines, luxury trips, and once-in-a-lifetime tastings and dinners. Many guests study the auction catalog well in advance of the event, planning their strategies — and maximum bids — in hopes of securing their top selections.

When dinnertime came, the action began. Belmont University dancers, clad in gold costumes, opened the program with a rousing performance. And as the auctioneer introduced lots, tension built — paddles shot into the air and bidding moved at a brisk pace.

Longtime Nashville Wine Auction supporter Debbie Laffy inspired compassion and generosity when she shared the story of losing her brother — and best friend — to cancer.

By the end of the night, president and CEO Loren Chumley announced the organization had surpassed its $1 million goal — ensuring continued support for Middle Tennessee organizations working to fight cancer.

BY

Evenin in Seville

La Bella Notte honors John Hoomes’ 30-year legacy with Nashville Opera

For over 30 years, La Bella Notte has offered a theatrical, immersive evening in support of Nashville’s arts community. But the 32nd annual gala was extra special.

The event paid tribute to John Hoomes, Nashville Opera’s CEO and artistic director, who is celebrating 30 years with the company. And he wants to set the record straight: He’s not going anywhere anytime soon. “It’s just a milestone of 30 years,” John said. “I’m not leaving yet. I’m still here.”

Spanish-style pottery and bright-orange and cerulean flowers enhanced the night’s theme, An Evening in Seville (aptly nodding to Nashville Opera’s upcoming run of The Barber of Seville). Black-tie-clad guests greeted each other and browsed auction items before the main event — dinner and a show.

Soprano Amanda Batista and baritone Laureano Quant entranced the audience with operatic performances showcasing their vocal ranges and acting chops. Songs like “If Ever I Would Leave You” from Camelot and “Quando m’en vo” from Giacomo Puccini’s La Bohème emphasized the magnetic impact of live performance.

Friends of Nashville Opera member Sandra Frank received the Francis Robinson and Marion Couch Award for her excellence in volunteering and fundraising. And board member Andy Valentine shared three John Hoomes stories he’s collected over the last 25 years, illustrating John’s achievements as a director, leader and creative.

When John reflected on his career, he first thanked his wife, Carol Penterman. “We were hired as a couple,” he said. “I could not have done this without her, and she could not have done this without me. It seemed to be a perfect storm that came together here in this fantastic city.”

John highlighted several victories from the past few decades: creating fully staged operas for K-12 schools, launching Opera on Wheels, diversifying the company’s programming and — the elephant in the room — growing Nashville Opera’s annual budget from under $400,000 to nearly $4 million.

Speaking of elephants: “On stage at TPAC, I’ve had an elephant,” said John, making the crowd laugh. “We’ve had at least two horses. We’ve had six dogs. We had two cats — never again.”

BY MADELEINE BRADFORD PHOTOGRAPHS BY ERIC ENGLAND

Cmpfire Couture

Nashville Humane Association’s Unleashed is full of wagging tails and cozy style

One thing was clear when walking into the grand lobby of the Hilton Downtown Nashville — g uests of Nashville Humane Association’s 17th annual Unleashed: Dinner with Your Dog fundraiser understood the assignment. The theme, Barks & Bonfires, brought Nashville’s pet and rescue lovers together in festive attire and spirits. Attendees (both furry and human) dressed as campers, glampers, scouts of all varieties, fly fishers, lumberjacks, and even a campfire, donning their finest outdoor couture. Flannel may have held court, but there was plenty of sequin and sparkle to go around, too.

Greeted by co-chairs Heather Derrick and James Held, fourlegged guests (from tiny Chihuahuas to a 200-pound Saint Bernard) and their humans ascended the lobby staircase to find a lively silent auction and a photo booth bringing a wooded camping scene to life. After the humans grabbed a beverage, they visited a patio outfitted with everything you’d need to spend a night in the wild — a tent, camping chairs, a campfire and a cooler — all while enjoying downtown views and a relief turf.

Guests enjoyed dinner in the ballroom, alongside a program that highlighted NHA’s 80 years of incredible work helping pets find loving homes. Hosts carefully considered every detail , from the napkins folded into dog bones to the runway staged with firewood, evergreens, a dog in a canoe and ice coolers filled with freshly caught fish.

As always, the runway show showcasing 10 celebrity walkers and an adorable lineup of adoptable pups took center stage. Dog walkers included Tennessee Rep. Justin Jones, actor and director Melissa Joan Hart, and fashion designers Laura Citron and Andrew Clancey (of Any Old Iron).

While every pup in attendance had a warm, happy home to retreat to at the end of the night, the lights for NHA’s adoptables surely shone a bit brighter, thanks to the funds raised at this year’s Unleashed.

BY JEANETTE BARKER PHOTOGRAPHS BY ANGELINA CASTILLO

Prelude to Swn Lke

The Ballet Ball Patrons Party celebrates four decades of dance and community impact

On a stunning early spring evening, Nashville Ballet patrons gathered at Barry Stowe’s newly renovated home for the Ballet Ball Patrons Party, the traditional prelude to one of the city’s most anticipated cultural events. Both the patrons party and the upcoming Ballet Ball hold special significance this year, as Nashville Ballet celebrates 40 years as a professional company.

Hosts Barry and his fiancée, Emily Humphreys, warmly welcomed guests, who strolled through the property, admiring the contemporary sculptures and artwork dotting the home, lanai and backyard. Many revelers enjoyed French 75s accented with white feathers — a striking nod to the Ballet Ball’s theme, Swan Lake — while Kristen Winston served up delicious hors d’oeuvres, including her fan-favorite mini grilled cheeses. Event planner Bruce Pittman and his team ensured the evening ran smoothly, and Jim Knestrick provided floral finishing touches.

Ballet Ball co-chairs Neil Krugman, Lisa Manning and Julie Schneider visited with guests, while honorary chair Barbara Turner spoke about the ballet’s vital role in our community. Bringing world-class art to the city is just one component of Nashville Ballet’s multifaceted mission. Each year, it also reaches more than 30,000 schoolchildren and adults through its family and community programs.

Nick Mullikin, Nashville Ballet’s CEO and artistic director, thanked supporters and emphasized the importance of live art. “It’s something that can never be relived or reexperienced,” he said. “It’s one of those things that allows people to feel a sense of hope and inspiration because they realize what the human form is capable of doing.” Neil, Lisa and Julie asked the sold-out crowd to raise a glass, toasting the record-breaking funds raised through the ball this year.

As twilight settled over the terrace, the evening offered a fitting overture to the Ballet Ball — a celebration of not only an iconic production, but also four decades of artistry, education and community impact from Nashville Ballet.

BY JANET KURTZ PHOTOGRAPHS

BY ERIC ENGLAND

Into the woods

BORN IN 1879, Col. Luke Lea served as manager of the fabled 1899 Sewanee football team, founded The Tennessean newspaper, served as U.S. senator, emerged as the principal developer of Belle Meade, organized and led the 114th Field Artillery to fight in World War I, and hatched a plot to capture Kaiser Wilhelm II to stand trial for war crimes.

That was all before 1927, when Lea gave 868 acres to the city of Nashville for a park, named after his father-in-law, Percy Warner, who had chaired the parks board until his death that year.

After Lea’s death in 1945, officers from his regiment commissioned a monument to honor his contribution. The plaque, at the base of the park’s iconic steps, was unveiled in 1950 with family and friends in attendance, including (left to right) Gov. Gordon Browning, a clergyman, Luke Lea’s widow Percie Warner Lea, and children Overton Lea, Laura Lea (m. Knox) and Mary Louise Lea Tidwell.

BY CARRINGTON FOX PHOTOGRAPHS BY THE BANNER , COURTESY OF A PRIVATE COLLECTION