On Monday, Sept. 14, the iconic supermodel closed the Dennis Basso Spring/Summer 2027 runway show at New York Fashion Week, marking her first runway appearance in seven years. The 72-year-old walked the finale in a custom off-the-shoulder gown adorned with pearl beading, set to the unmistakable opening notes of Billy Joel’s “Uptown Girl” — a song forever linked to her own history.
But the moment wasn’t just a nostalgic callback. In an exclusive backstage conversation with PEOPLE following the show, Brinkley made clear that this chapter of her life is one she is actively enjoying. “I have to say the 70s have been amazing,” she said. “When I actually say the number, it seems very foreign to me because I don’t feel like that, and I want to let other women know not to fear [aging] because it’s not what you think. I’m having a great time.”
The Dennis Basso show, held at Gotham Hall in New York City, was a homecoming of sorts for Brinkley. She had not walked a runway since February 2019, when she appeared alongside her daughter Sailor Brinkley Cook at the Elie Tahari show. That seven-year gap made her return all the more notable.
Brinkley’s role was specific: she closed the show, serving as the final and most prominent model of the presentation. The designer, Dennis Basso, told PEOPLE that the collection was themed “Uptown Girl,” a direct reference to the 1983 Billy Joel music video that helped cement Brinkley’s status as a cultural icon.
The runway itself was a spectacle. Brinkley’s gown featured an open neckline with draped, sheer sleeves. The bust was embellished with pearl beading, and a matching beaded piece at the waistline flowed into a dramatic draped train. According to reports, the gown was completed in just thirty hours after the workshop had to restart its creation due to a fabric shortage.
Front-row attendees included Laverne Cox, Bella Thorne, and Huma Abedin, underscoring the event’s significance within the New York Fashion Week calendar.
In the moments after her walk, Brinkley was candid about the experience. “To be able to come to New York Fashion Week and walk in a show and wear this spectacular gown that makes me feel like a million bucks plus taxes, it’s so fun,” she told PEOPLE.
The phrase captures something essential about Brinkley’s approach to her work: she is not performing youth or chasing an ideal. She is enjoying the moment, wearing a beautiful dress, and feeling good doing it. The “plus taxes” quip — delivered with characteristic wit — signals that she is not taking the moment too seriously, even as she takes the opportunity seriously.
Brinkley also acknowledged that runway modeling has never been her primary focus. “I’ve never been a runway model. I occasionally will take a little stroll, but it’s never been my thing,” she said. That context makes her decision to close Basso’s show meaningful — she chose to do this, not because she needed to, but because it was fun and because the collection’s theme resonated with her history.
Brinkley’s comments about aging were among the most widely reported aspects of her New York Fashion Week appearance, and for good reason. She has consistently spoken about getting older not as something to be resisted, but as something to be experienced with curiosity and gratitude.
“I want to let other women know not to fear [aging] because it’s not what you think,” she said. The statement reflects a perspective she has articulated before. Ahead of her 70th birthday in February 2024, she posted a message on Instagram announcing she would “dance into my sensational 70s,” advising her followers to “love, laugh, and LIVE IT UP.”
In a previous interview, she explained her approach to cosmetic procedures with a similar philosophy of balance. She has admitted to trying Botox twice, which resulted in a “droopy eyebrow,” and now opts for annual injectables for laugh lines rather than more frequent treatments. “I want to embrace certain wrinkles. That is my approach to aging,” she said. “Sometimes when people get older and overdo it, they can look waxy and, I don’t know the right word, preserved. I want there to be some life in my face, you know?”
This is not a woman in denial about aging. It is a woman who has decided that aging is not something to be fought or hidden, but navigated with intention and good humor.
Brinkley’s return to the runway at 72 is part of a broader conversation about the visibility of older women in fashion. For decades, the modeling industry has been criticized for prioritizing youth, often discarding models as they aged. But there has been a slow shift, with established figures like Brinkley, Lauren Hutton, and others continuing to work and commanding attention when they do.
Brinkley’s longevity is notable not just because she is still working, but because she is still relevant. She is not appearing as a novelty or a nostalgic callback — though the “Uptown Girl” soundtrack certainly played on that. She is appearing because a designer wanted her, because her presence brings something to the presentation, and because she can still command a runway.
Her career trajectory reflects a shift in how the industry and audiences view aging models. When Brinkley was in her prime, the expectation was often that a model’s career would wind down as she aged. Now, there are more opportunities for models to continue working into their 60s, 70s, and beyond, particularly when they have maintained strong public profiles and recognizable brands.
Brinkley’s own comments suggest she has navigated this transition with intention. She has said she is “finicky and choosy about what I do,” and that having a great time is a whole part of the decision-making process. That selectivity has allowed her to maintain a presence in fashion without overexposing herself or taking on projects that don’t align with her interests.
Brinkley’s career is one of the most significant in American modeling history. Born in Monroe, Michigan, in 1954, she moved to Paris in the early 1970s to study art before being discovered by a photographer. She signed with Elite Model Management and later joined Ford Model Agency in New York.
Her breakthrough came in 1976, when she signed a contract with CoverGirl — a relationship that would last 25 years — and was hired as a Sports Illustrated swimsuit model. Her popularity was such that Sports Illustrated put her on the cover of its annual swimsuit edition for three consecutive years, from 1979 to 1981. That run remains one of the most impressive achievements in the history of the swimsuit issue.
Beyond Sports Illustrated, Brinkley appeared on more than 500 magazine covers, including Glamour, Harper’s Bazaar, and Cosmopolitan. She held major contracts with brands including Chanel No. 19, Prell, MasterCard, Diet Coke, Revlon, and many others.
Her cultural impact extended well beyond modeling. She starred in Billy Joel’s “Uptown Girl” music video in 1983, a role that made her a recognizable figure in pop culture. She appeared in National Lampoon’s Vacation as “The Girl in the Red Ferrari,” a role she reprised in the 1997 sequel and later spoofed in commercials. She had a recurring role on Parks and Recreation and made her Broadway debut as Roxie Hart in Chicago in 2011.
She also built a business portfolio, launching her own skincare line, eyewear collection, and other ventures. Her financial holdings were estimated at $80 million in 2019, primarily from real estate in the Hamptons.
Brinkley’s status as a fashion icon rests on more than her magazine covers and contracts. She represented a specific kind of American beauty — wholesome, athletic, sun-kissed — that resonated with audiences in the late 1970s and 1980s. She was photographed more often in sportswear than in couture, a departure from the high-fashion models who preceded her.
That accessibility helped her become a household name. She was not just a model; she was a personality, a recognizable face whose career spanned decades and mediums. Her relationship with Billy Joel, whom she married in 1985 and divorced in 1994, kept her in the public eye. Her appearances in music videos, films, and television made her a familiar presence across generations.
The “Uptown Girl” connection that framed her Dennis Basso appearance is a perfect example of this cross-generational appeal. The song and video are touchstones for audiences who remember the 1980s, but they also endure as cultural references that younger audiences recognize. When Brinkley walked to that song at New York Fashion Week, it was a moment that resonated across decades.
Brinkley’s Dennis Basso gown was a custom creation designed specifically for her finale walk. The off-the-shoulder silhouette featured draped, sheer sleeves and a neckline that framed her shoulders and collarbone. Pearl beading adorned the bust, and a matching beaded element at the waistline created a defined, elegant line.
The gown flowed into a draped train, adding movement and drama to her walk. The overall effect was classic and sophisticated — a look that suited both the “Uptown Girl” theme and Brinkley’s own established style.
Her hair was styled in long, soft waves, and her makeup emphasized her features with defined cheekbones. The look was polished but not overdone, consistent with her public approach to beauty and aging.
There are several reasons why Brinkley’s appearance at New York Fashion Week generated attention beyond the typical fashion-week coverage.
First, it was a genuine return. Seven years is a significant absence, and her decision to walk again — particularly at 72 — makes a statement about career longevity and the continued relevance of established models.
Second, it was a reunion of sorts. The “Uptown Girl” connection tied the moment to a specific era of pop culture, creating a sense of continuity between Brinkley’s past and present. The song was written about her, and the video made her a star. Walking to it decades later, in a gown designed for her, created a narrative arc that felt earned rather than contrived.
Third, it was an opportunity for Brinkley to speak about aging on her own terms. Her comments about her “amazing” 70s and her advice to other women not to fear aging were widely shared, positioning her as a voice of experience and confidence.
Brinkley has been open about her approach to beauty over the years. She has shared three simple principles: sunblock, a vegetarian diet, and an adventurous nature. She works out regularly, engaging in daily spin classes and biking.
Her philosophy on aging and cosmetic procedures is similarly pragmatic. She has tried Botox and injectables but prefers a restrained approach. She receives Fraxel treatments twice a year for sun damage. She has said she wants to “embrace certain wrinkles” rather than erase all signs of life from her face.
This approach reflects a broader attitude: beauty is not about looking young, but about looking like yourself — only a version that feels good and confident. That philosophy has made her a relatable figure for women navigating their own relationships with aging.
Brinkley’s fitness routine is a consistent part of her life. She has spoken about enjoying spin classes that last 20 to 30 minutes, as well as biking and using her Peloton. Her approach to staying active is framed as something she enjoys rather than something she forces herself to do.
She has also credited her daughter Sailor with encouraging her to embrace her appearance. In a previous interview, Brinkley said Sailor tells her, “Mom, you’re beautiful, embrace it, you know, go with it, lean into it.” That dynamic — a daughter encouraging her mother to feel confident — is a reversal of the usual narrative and speaks to the supportive relationship between them.
Brinkley’s career has spanned more than five decades, and she has remained culturally relevant in ways that few models achieve. Her work has extended beyond modeling into acting, business, writing, and activism.
She has appeared in films and television shows, including a recurring role on Parks and Recreation and guest appearances on The Goldbergs and Dexter: Resurrection. She made her Broadway debut in Chicago and later reprised the role in London and Las Vegas.
She has also been an active advocate for animal rights, particularly the protection of wild horses. In her conversation with PEOPLE at New York Fashion Week, she discussed her work on this issue, noting that wild horses “represent everything that we love about America. Freedom, untamed.”
That combination of professional versatility and personal purpose has allowed Brinkley to maintain a public profile that is not dependent on any single role or era.
| Year | Event | Why It Mattered |
|---|---|---|
| 1954 | Born in Monroe, Michigan | Beginning of a life that would become synonymous with American modeling |
| Early 1970s | Discovered in Paris while studying art | Launched her modeling career |
| 1976 | Signs with CoverGirl; first Sports Illustrated swimsuit appearance | Established her as a major commercial model |
| 1979–1981 | Three consecutive Sports Illustrated Swimsuit covers | Unprecedented achievement in the magazine’s history |
| 1983 | Stars in Billy Joel’s “Uptown Girl” music video | Cemented her pop-culture icon status |
| 1983 | Appears in National Lampoon’s Vacation | Her first major film role |
| 2011 | Broadway debut as Roxie Hart in Chicago | Demonstrated her versatility as a performer |
| 2019 | Walks Elie Tahari runway with daughter Sailor | Her last runway appearance before 2026 |
| 2024 | Publishes “sensational 70s” Instagram message | Articulated her positive approach to aging |
| Sept. 14, 2026 | Closes Dennis Basso show at New York Fashion Week | Her first runway appearance in seven years |
Christie Brinkley continues to attract attention for several reasons. She is a recognizable name with a career that spans multiple generations — audiences who remember her Sports Illustrated covers, audiences who know her from Billy Joel’s music video, and audiences who have followed her more recent work.
Her approach to aging is also a factor. In a culture that often treats aging as something to be feared or hidden, Brinkley speaks about it with enthusiasm and perspective. She does not claim to have discovered a secret formula; she simply says she is having a good time and encourages others not to be afraid.
Her appearance at New York Fashion Week brought these threads together: a legendary model, a nostalgic cultural reference, a beautiful gown, and a woman in her 70s who is clearly enjoying herself. That combination is inherently compelling.
Christie Brinkley is 72 years old. She was born on February 2, 1954.
Yes. Brinkley walked in the Dennis Basso Spring/Summer 2027 show on Sept. 14, 2026, closing the presentation. It was her first runway appearance in seven years.
She wore a custom off-the-shoulder gown by Dennis Basso, featuring draped sheer sleeves, pearl beading on the bust, a matching beaded waistline, and a draped train.
Brinkley said wearing the spectacular gown made her feel “like a million bucks plus taxes.” It was a playful way of describing the confidence and enjoyment she felt during the runway walk.
She said, “I have to say the 70s have been amazing.” She added that she wants to let other women know not to fear aging because “it’s not what you think.”
Yes. Brinkley continues to take on select modeling projects. She has said she is “finicky and choosy” about what she does, prioritizing enjoyment.
She is best known for her Sports Illustrated Swimsuit covers, her 25-year contract with CoverGirl, her appearance in Billy Joel’s “Uptown Girl” music video, and her role in National Lampoon’s Vacation.
Brinkley began modeling in the early 1970s after being discovered in Paris. Her career has spanned more than five decades.
Yes. She appeared in the Sports Illustrated Swimsuit Issue and was featured on the cover for three consecutive years: 1979, 1980, and 1981.
She has said she wants to embrace certain wrinkles and not overdo cosmetic procedures. She focuses on sunblock, a vegetarian diet, regular exercise, and an adventurous attitude.
Yes. In addition to runway appearances, she has launched her own skincare, eyewear, and other product lines, and she remains a recognizable presence in fashion and beauty.
Her biggest achievements include three consecutive Sports Illustrated Swimsuit covers, a 25-year CoverGirl contract, over 500 magazine covers, a Broadway debut in Chicago, and a successful business portfolio.
Brinkley has three children: Alexa Ray Joel (with Billy Joel), Jack Brinkley-Cook, and Sailor Brinkley Cook.
In addition to her modeling work, Brinkley is an animal rights activist focused on protecting wild horses. She continues to make select public appearances and work on her various business ventures.
Brinkley remains influential because of her career longevity, her recognizable name, her cross-generational appeal, and her willingness to speak positively about aging in an industry that has historically prioritized youth.
Christie Brinkley’s return to the runway at New York Fashion Week was more than a nostalgic moment, though the “Uptown Girl” soundtrack certainly invited that interpretation. It was a statement about career longevity, confidence, and the value of experience.