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![Naomi Osaka does not need anyone to like her clothes.
After her US Open run ended in a straight-sets loss to Elena Rybakina, a familiar wave of comments arrived: the outfits were too much, the walk-ons were a fashion show, she should just play tennis. Osaka answered the way she usually does, plainly, on her own platform, and without apology.
“You know… idgaf if you don’t like me,” she wrote. “I don’t mind being the first to do something and getting trashed for it. This happened when I talked about mental health and for some reason it’s happening with my clothes lol. I’m literally Haitian it’s in my blood to be this way, as long as the people after me have an easier path it’s worth it.”
Osaka, whose father Leonard François is from Jacmel, Haiti, and whose mother is Japanese, has spent 2026 treating Grand Slam walk-ons like a second language. At the Australian Open she arrived in a jellyfish-inspired look. At Roland Garros she layered gold sequins, trains, & jackets over her playing dress. At Wimbledon she walked out in a white kimono nodding to Kill Bill, then later wore a Haiti national team jersey after the country returned to the World Cup. In New York she paid tribute to Allen Iverson, hooded robe, newspaper clippings from her own career, cornrows, headband, then played in black basketball-style kit.
The comparison to 2021 is not throwaway. When she skipped press at the French Open and later withdrew, citing mental health, the reaction was swift and often cruel. She kept going. Years later the conversation around athletes and mental health is different because she and others refused to stay quiet. She is applying the same logic to what she wears.
Tennis still has an unspoken uniform, clean, traditional, not too loud. Osaka keeps breaking it in public. That bothers people who think the court should look a certain way. It also opens space for younger players who want to bring their whole self, culture, hair, history, humor, onto the biggest stages without waiting for permission.
She is not asking for everyone to get it. She does not do it for the people who will never understand. She does it for the ones who look like her.
#lunionsuite #haitianamerican]()
![Naomi Osaka does not need anyone to like her clothes.
After her US Open run ended in a straight-sets loss to Elena Rybakina, a familiar wave of comments arrived: the outfits were too much, the walk-ons were a fashion show, she should just play tennis. Osaka answered the way she usually does, plainly, on her own platform, and without apology.
“You know… idgaf if you don’t like me,” she wrote. “I don’t mind being the first to do something and getting trashed for it. This happened when I talked about mental health and for some reason it’s happening with my clothes lol. I’m literally Haitian it’s in my blood to be this way, as long as the people after me have an easier path it’s worth it.”
Osaka, whose father Leonard François is from Jacmel, Haiti, and whose mother is Japanese, has spent 2026 treating Grand Slam walk-ons like a second language. At the Australian Open she arrived in a jellyfish-inspired look. At Roland Garros she layered gold sequins, trains, & jackets over her playing dress. At Wimbledon she walked out in a white kimono nodding to Kill Bill, then later wore a Haiti national team jersey after the country returned to the World Cup. In New York she paid tribute to Allen Iverson, hooded robe, newspaper clippings from her own career, cornrows, headband, then played in black basketball-style kit.
The comparison to 2021 is not throwaway. When she skipped press at the French Open and later withdrew, citing mental health, the reaction was swift and often cruel. She kept going. Years later the conversation around athletes and mental health is different because she and others refused to stay quiet. She is applying the same logic to what she wears.
Tennis still has an unspoken uniform, clean, traditional, not too loud. Osaka keeps breaking it in public. That bothers people who think the court should look a certain way. It also opens space for younger players who want to bring their whole self, culture, hair, history, humor, onto the biggest stages without waiting for permission.
She is not asking for everyone to get it. She does not do it for the people who will never understand. She does it for the ones who look like her.
#lunionsuite #haitianamerican]()
![Naomi Osaka does not need anyone to like her clothes.
After her US Open run ended in a straight-sets loss to Elena Rybakina, a familiar wave of comments arrived: the outfits were too much, the walk-ons were a fashion show, she should just play tennis. Osaka answered the way she usually does, plainly, on her own platform, and without apology.
“You know… idgaf if you don’t like me,” she wrote. “I don’t mind being the first to do something and getting trashed for it. This happened when I talked about mental health and for some reason it’s happening with my clothes lol. I’m literally Haitian it’s in my blood to be this way, as long as the people after me have an easier path it’s worth it.”
Osaka, whose father Leonard François is from Jacmel, Haiti, and whose mother is Japanese, has spent 2026 treating Grand Slam walk-ons like a second language. At the Australian Open she arrived in a jellyfish-inspired look. At Roland Garros she layered gold sequins, trains, & jackets over her playing dress. At Wimbledon she walked out in a white kimono nodding to Kill Bill, then later wore a Haiti national team jersey after the country returned to the World Cup. In New York she paid tribute to Allen Iverson, hooded robe, newspaper clippings from her own career, cornrows, headband, then played in black basketball-style kit.
The comparison to 2021 is not throwaway. When she skipped press at the French Open and later withdrew, citing mental health, the reaction was swift and often cruel. She kept going. Years later the conversation around athletes and mental health is different because she and others refused to stay quiet. She is applying the same logic to what she wears.
Tennis still has an unspoken uniform, clean, traditional, not too loud. Osaka keeps breaking it in public. That bothers people who think the court should look a certain way. It also opens space for younger players who want to bring their whole self, culture, hair, history, humor, onto the biggest stages without waiting for permission.
She is not asking for everyone to get it. She does not do it for the people who will never understand. She does it for the ones who look like her.
#lunionsuite #haitianamerican]()
![After a video of shackled deportees set to a Haitian song sparked fury across the community, Homeland Security’s official account is back, this time telling Haitian doctors and lawyers that $3,000 is “an entrepreneur’s dream.”
They heard the community. They saw the reaction. Then they posted again.
On Tuesday, the official Department of Homeland Security account addressed Haitian doctors, lawyers, scholars, and engineers by name and told them to “imagine what you could do with $3000 in Haiti.” It called the stipend “an entrepreneur’s dream,” linked the CBP Home self-deportation page, and quoted a New York Times headline about deportees arriving in Cap-Haïtien broke and stranded.
That is not a policy explainer. That is a punchline built on other people’s ruin. Less than two weeks earlier, the same agency posted a video of Black men in shackles and waist chains being walked onto a deportation flight. The footage was set to a Haitian song. On-screen text read: “Temporary Meant Temporary. Leave Now.” Community leaders called it reprehensible and dehumanizing. Pastors said they could not sleep. Families recognized the message immediately: this is how we will treat you, and we will film it.
Every time Haitians object, to the end of TPS, to weekly flights into a country the State Department still warns Americans not to visit, to children on those planes, to people landing with government sweatpants and almost no cash, the official account answers with another taunt. $2,600. Then $3,000. “Closing time.” “Leave now.” “Entrepreneur’s dream.” The more the community names the humiliation, the more the messaging leans into it.
That is the pattern. Not a one-off post. A strategy.
The Times reporting DHS chose to quote is not satire. Deportees have been arriving in Cap-Haïtien weekly. Some say valuables vanished in transit. Haitian authorities have been giving adults the equivalent of about $80. People who worked in hospitals, drove, taught, and paid taxes in the United States are marooned in a city many of them do not know, with no safe way home. DHS looked at that and wrote a joke about starting a business.
#lunionsuite #haitianamerican]()
![After a video of shackled deportees set to a Haitian song sparked fury across the community, Homeland Security’s official account is back, this time telling Haitian doctors and lawyers that $3,000 is “an entrepreneur’s dream.”
They heard the community. They saw the reaction. Then they posted again.
On Tuesday, the official Department of Homeland Security account addressed Haitian doctors, lawyers, scholars, and engineers by name and told them to “imagine what you could do with $3000 in Haiti.” It called the stipend “an entrepreneur’s dream,” linked the CBP Home self-deportation page, and quoted a New York Times headline about deportees arriving in Cap-Haïtien broke and stranded.
That is not a policy explainer. That is a punchline built on other people’s ruin. Less than two weeks earlier, the same agency posted a video of Black men in shackles and waist chains being walked onto a deportation flight. The footage was set to a Haitian song. On-screen text read: “Temporary Meant Temporary. Leave Now.” Community leaders called it reprehensible and dehumanizing. Pastors said they could not sleep. Families recognized the message immediately: this is how we will treat you, and we will film it.
Every time Haitians object, to the end of TPS, to weekly flights into a country the State Department still warns Americans not to visit, to children on those planes, to people landing with government sweatpants and almost no cash, the official account answers with another taunt. $2,600. Then $3,000. “Closing time.” “Leave now.” “Entrepreneur’s dream.” The more the community names the humiliation, the more the messaging leans into it.
That is the pattern. Not a one-off post. A strategy.
The Times reporting DHS chose to quote is not satire. Deportees have been arriving in Cap-Haïtien weekly. Some say valuables vanished in transit. Haitian authorities have been giving adults the equivalent of about $80. People who worked in hospitals, drove, taught, and paid taxes in the United States are marooned in a city many of them do not know, with no safe way home. DHS looked at that and wrote a joke about starting a business.
#lunionsuite #haitianamerican]()
![Miss World 2026 closed September 5 in Nha Trang, Vietnam, with the Dominican Republic’s Joheirry Mola taking the crown.
Haiti left with something the scoreboard does not measure: a first from Jérémie, a purpose-driven project recognized on the world stage, and a month of representation that put Haitian women at the center of the conversation.
Marie Kemlyne Lestalie Félix, 25, is the first woman from Jérémie to hold the Miss World Haiti title. She did not advance into the official Top 40 on coronation night. What Miss World itself highlighted was her place among the six Beauty With a Purpose finalists for the Americas and Caribbean, alongside Belize, French Guiana, Guatemala, Paraguay, and Venezuela. Belize’s Faith Edgar won the continental BWAP title and used that fast-track into the Top 40. Félix’s work still stood in that regional final six.
Her project, Inspire-Toi d’Elles (“Inspire Yourself from Them”), founded in 2023, is built on a simple idea: Haitian women and girls need living examples, not slogans. Through monthly gatherings, mentoring conversations, writing workshops, and visibility for women already building careers and businesses, the initiative has brought more than 150 women and girls into the same room with mentors. The line she carried through the competition “Si elles l’ont fait, nous pouvons aussi” was the heart of her pitch. On the Head-to-Head stage in Vietnam she spoke plainly about being judged for her appearance, her skin, her origins, and limited resources, and about building the space she once needed as a girl from a communal section.
She used the month in Vietnam the way Miss World is meant to be used: fashion, culture, and community as one package. She walked the opening and Top Model events, including the Vietnam Beauty Fashion Fest, and carried Haitian identity into a competition that too often notices Haiti only when the headlines are about crisis.
A crown is one night. What she brought home is the work, the first for Jérémie, and a reminder that representation is already an accomplishment.
📸 @missworld @mariekemlynefelix
#lunionsuite #haitianamerican]()
![Miss World 2026 closed September 5 in Nha Trang, Vietnam, with the Dominican Republic’s Joheirry Mola taking the crown.
Haiti left with something the scoreboard does not measure: a first from Jérémie, a purpose-driven project recognized on the world stage, and a month of representation that put Haitian women at the center of the conversation.
Marie Kemlyne Lestalie Félix, 25, is the first woman from Jérémie to hold the Miss World Haiti title. She did not advance into the official Top 40 on coronation night. What Miss World itself highlighted was her place among the six Beauty With a Purpose finalists for the Americas and Caribbean, alongside Belize, French Guiana, Guatemala, Paraguay, and Venezuela. Belize’s Faith Edgar won the continental BWAP title and used that fast-track into the Top 40. Félix’s work still stood in that regional final six.
Her project, Inspire-Toi d’Elles (“Inspire Yourself from Them”), founded in 2023, is built on a simple idea: Haitian women and girls need living examples, not slogans. Through monthly gatherings, mentoring conversations, writing workshops, and visibility for women already building careers and businesses, the initiative has brought more than 150 women and girls into the same room with mentors. The line she carried through the competition “Si elles l’ont fait, nous pouvons aussi” was the heart of her pitch. On the Head-to-Head stage in Vietnam she spoke plainly about being judged for her appearance, her skin, her origins, and limited resources, and about building the space she once needed as a girl from a communal section.
She used the month in Vietnam the way Miss World is meant to be used: fashion, culture, and community as one package. She walked the opening and Top Model events, including the Vietnam Beauty Fashion Fest, and carried Haitian identity into a competition that too often notices Haiti only when the headlines are about crisis.
A crown is one night. What she brought home is the work, the first for Jérémie, and a reminder that representation is already an accomplishment.
📸 @missworld @mariekemlynefelix
#lunionsuite #haitianamerican]()
![Miss World 2026 closed September 5 in Nha Trang, Vietnam, with the Dominican Republic’s Joheirry Mola taking the crown.
Haiti left with something the scoreboard does not measure: a first from Jérémie, a purpose-driven project recognized on the world stage, and a month of representation that put Haitian women at the center of the conversation.
Marie Kemlyne Lestalie Félix, 25, is the first woman from Jérémie to hold the Miss World Haiti title. She did not advance into the official Top 40 on coronation night. What Miss World itself highlighted was her place among the six Beauty With a Purpose finalists for the Americas and Caribbean, alongside Belize, French Guiana, Guatemala, Paraguay, and Venezuela. Belize’s Faith Edgar won the continental BWAP title and used that fast-track into the Top 40. Félix’s work still stood in that regional final six.
Her project, Inspire-Toi d’Elles (“Inspire Yourself from Them”), founded in 2023, is built on a simple idea: Haitian women and girls need living examples, not slogans. Through monthly gatherings, mentoring conversations, writing workshops, and visibility for women already building careers and businesses, the initiative has brought more than 150 women and girls into the same room with mentors. The line she carried through the competition “Si elles l’ont fait, nous pouvons aussi” was the heart of her pitch. On the Head-to-Head stage in Vietnam she spoke plainly about being judged for her appearance, her skin, her origins, and limited resources, and about building the space she once needed as a girl from a communal section.
She used the month in Vietnam the way Miss World is meant to be used: fashion, culture, and community as one package. She walked the opening and Top Model events, including the Vietnam Beauty Fashion Fest, and carried Haitian identity into a competition that too often notices Haiti only when the headlines are about crisis.
A crown is one night. What she brought home is the work, the first for Jérémie, and a reminder that representation is already an accomplishment.
📸 @missworld @mariekemlynefelix
#lunionsuite #haitianamerican]()
![Miss World 2026 closed September 5 in Nha Trang, Vietnam, with the Dominican Republic’s Joheirry Mola taking the crown.
Haiti left with something the scoreboard does not measure: a first from Jérémie, a purpose-driven project recognized on the world stage, and a month of representation that put Haitian women at the center of the conversation.
Marie Kemlyne Lestalie Félix, 25, is the first woman from Jérémie to hold the Miss World Haiti title. She did not advance into the official Top 40 on coronation night. What Miss World itself highlighted was her place among the six Beauty With a Purpose finalists for the Americas and Caribbean, alongside Belize, French Guiana, Guatemala, Paraguay, and Venezuela. Belize’s Faith Edgar won the continental BWAP title and used that fast-track into the Top 40. Félix’s work still stood in that regional final six.
Her project, Inspire-Toi d’Elles (“Inspire Yourself from Them”), founded in 2023, is built on a simple idea: Haitian women and girls need living examples, not slogans. Through monthly gatherings, mentoring conversations, writing workshops, and visibility for women already building careers and businesses, the initiative has brought more than 150 women and girls into the same room with mentors. The line she carried through the competition “Si elles l’ont fait, nous pouvons aussi” was the heart of her pitch. On the Head-to-Head stage in Vietnam she spoke plainly about being judged for her appearance, her skin, her origins, and limited resources, and about building the space she once needed as a girl from a communal section.
She used the month in Vietnam the way Miss World is meant to be used: fashion, culture, and community as one package. She walked the opening and Top Model events, including the Vietnam Beauty Fashion Fest, and carried Haitian identity into a competition that too often notices Haiti only when the headlines are about crisis.
A crown is one night. What she brought home is the work, the first for Jérémie, and a reminder that representation is already an accomplishment.
📸 @missworld @mariekemlynefelix
#lunionsuite #haitianamerican]()
![Authorities in the Turks and Caicos Islands intercepted an overcrowded vessel carrying 207 migrants, including Haitian nationals, early Monday, September 7, as it attempted to reach the British overseas territory. Officials said the passengers were brought ashore safely and transferred to immigration authorities for processing.
The operation followed another interception on September 2, when the Royal Turks and Caicos Islands Police Force stopped a vessel carrying 171 migrants near Northwest Point, Providenciales. Police said coastal radar detected the boat before it could make landfall. Marine Branch officers escorted the passengers to South Dock and handed them over to the Turks and Caicos Islands Border Force.
A third vessel was stopped near the Bahamas on September 3. The Royal Bahamas Defence Force reported finding 146 Haitian migrants 111 men, 30 women, two boys and three girls aboard a 45-foot boat about 17 miles northeast of Great Inagua. The passengers were taken to Matthew Town for processing. Together, the three operations account for 524 migrants intercepted in the region since September 2.
Turks and Caicos police had already reported approximately 1,075 migrants intercepted aboard eight vessels in 2026 before Monday’s operation. Authorities have not yet released a detailed breakdown of the 207 passengers or announced their next steps.
The latest intercepts come as Haitians continue attempting dangerous maritime crossings amid insecurity, economic hardship and limited opportunities at home. Regional forces have repeatedly warned that overloaded boats remain a serious risk to life at sea, even as they report that recent groups were brought ashore without reported casualties.
#lunionsuite #haitianamerican #haitian]()
![Homeland Security Secretary Markwayne Mullin said Friday that immigration agents have arrested 380 people in Springfield, the Ohio city that became a national symbol of the fight over Haitian Temporary Protected Status.
The figure comes from Mullin himself, speaking Sept. 4 during a visit with local law enforcement in Warren County. He said enforcement would continue and that ICE would keep using ankle monitors on people who lost TPS, describing the devices as a way to make sure they appear for court. “TPS is just that, it’s temporary. It was never designed to be permanent,” Mullin said.
City and local estimates put Springfield’s Haitian population at 10,000 to 15,000, a mix of TPS holders, U.S. citizens, and people with other status not a single legal category. Mayor Rob Rue has described those residents as neighbors, coworkers, taxpayers, and parents. Springfield was already a national target. In 2024, then-candidate Donald Trump claimed Haitian residents were eating pets. City officials said the claim was false. Bomb threats followed. The community never fully left the political spotlight.
Mullin has urged people to leave on their own, saying Haiti “needs you,” and has advertised a government stipend and return flight for self-deportation. Advocates say that offer collides with conditions on the ground. The State Department still lists Haiti at Level 4: Do Not Travel, citing kidnapping, crime, civil unrest, and limited health care.
The human cost of the enforcement push landed last week. Pierre Damas Bel, 20, a Springfield High School graduate who had just started classes at Wright State University, died Aug. 31 after walking into westbound traffic on Interstate 70 and being struck by a tanker truck. His family says he called that morning in distress over bullying tied to an ICE ankle monitor issued after TPS ended, a device that, they say, also blocked him from a soccer path and from receiving an ROTC uniform.
Mullin called the death “an unfortunate situation” and said Bel was not in ICE custody and that the agency was “not responsible.” ICE has said Bel entered the United States legally and was on an alternatives-to-detention program. #lunionsuite]()
![Naomi Osaka’s US Open Run Ends in the Fourth Round Against Elena Rybakina. The two-time champion’s bid for a fifth Grand Slam title falls short as she battles an Achilles injury against the No. 2 seed.
Naomi Osaka’s 2026 US Open came to a close on Monday, as No. 2 seed Elena Rybakina beat her in straight sets, 6-1, 6-4, in the fourth round at Arthur Ashe Stadium.
Rybakina, the reigning Australian Open champion and a former Wimbledon winner, was the far sharper player throughout, jumping out to a commanding first set before holding off a slightly more competitive push from Osaka in the second.
For Osaka, the loss ends a tournament that had shown real signs of progress. She opened with a straight-sets win over Anastasia Zakharova, followed it with a comeback victory over Kateřina Siniaková, and then ground out a three-set battle against Belgium’s Elise Mertens, 6-3, 3-6, 7-5, to reach the fourth round. Throughout the back half of the tournament, she was also managing a nagging Achilles injury, which she acknowledged played a role in Monday’s defeat.
The result extends Osaka’s wait for a fifth major title. She hasn’t lifted a Grand Slam trophy since the 2021 Australian Open, before stepping away from the tour and giving birth to her daughter, Shai. Since her return, she’s put together encouraging results including a US Open semifinal and a Wimbledon quarterfinal but 2026 has been a season in which she has yet to advance past the quarterfinal stage of a major.
Speaking after the match, Osaka reflected on how motherhood has reshaped her perspective on the sport, framing the loss less as a crushing setback and more as part of a longer process. She said there was a lot of life packed into the years since her last title, and that the wait has felt both long and short as a result.
With the 2026 US Open behind her, attention now turns to how Osaka closes out the season and how she’ll build toward the 2027 majors, particularly whether the Achilles issue that flared up in New York needs meaningful recovery time before her next tournament.
#lunionsuite #haitianamerican #haitian]()
![Naomi Osaka’s US Open Run Ends in the Fourth Round Against Elena Rybakina. The two-time champion’s bid for a fifth Grand Slam title falls short as she battles an Achilles injury against the No. 2 seed.
Naomi Osaka’s 2026 US Open came to a close on Monday, as No. 2 seed Elena Rybakina beat her in straight sets, 6-1, 6-4, in the fourth round at Arthur Ashe Stadium.
Rybakina, the reigning Australian Open champion and a former Wimbledon winner, was the far sharper player throughout, jumping out to a commanding first set before holding off a slightly more competitive push from Osaka in the second.
For Osaka, the loss ends a tournament that had shown real signs of progress. She opened with a straight-sets win over Anastasia Zakharova, followed it with a comeback victory over Kateřina Siniaková, and then ground out a three-set battle against Belgium’s Elise Mertens, 6-3, 3-6, 7-5, to reach the fourth round. Throughout the back half of the tournament, she was also managing a nagging Achilles injury, which she acknowledged played a role in Monday’s defeat.
The result extends Osaka’s wait for a fifth major title. She hasn’t lifted a Grand Slam trophy since the 2021 Australian Open, before stepping away from the tour and giving birth to her daughter, Shai. Since her return, she’s put together encouraging results including a US Open semifinal and a Wimbledon quarterfinal but 2026 has been a season in which she has yet to advance past the quarterfinal stage of a major.
Speaking after the match, Osaka reflected on how motherhood has reshaped her perspective on the sport, framing the loss less as a crushing setback and more as part of a longer process. She said there was a lot of life packed into the years since her last title, and that the wait has felt both long and short as a result.
With the 2026 US Open behind her, attention now turns to how Osaka closes out the season and how she’ll build toward the 2027 majors, particularly whether the Achilles issue that flared up in New York needs meaningful recovery time before her next tournament.
#lunionsuite #haitianamerican #haitian]()
![Naomi Osaka’s US Open Run Ends in the Fourth Round Against Elena Rybakina. The two-time champion’s bid for a fifth Grand Slam title falls short as she battles an Achilles injury against the No. 2 seed.
Naomi Osaka’s 2026 US Open came to a close on Monday, as No. 2 seed Elena Rybakina beat her in straight sets, 6-1, 6-4, in the fourth round at Arthur Ashe Stadium.
Rybakina, the reigning Australian Open champion and a former Wimbledon winner, was the far sharper player throughout, jumping out to a commanding first set before holding off a slightly more competitive push from Osaka in the second.
For Osaka, the loss ends a tournament that had shown real signs of progress. She opened with a straight-sets win over Anastasia Zakharova, followed it with a comeback victory over Kateřina Siniaková, and then ground out a three-set battle against Belgium’s Elise Mertens, 6-3, 3-6, 7-5, to reach the fourth round. Throughout the back half of the tournament, she was also managing a nagging Achilles injury, which she acknowledged played a role in Monday’s defeat.
The result extends Osaka’s wait for a fifth major title. She hasn’t lifted a Grand Slam trophy since the 2021 Australian Open, before stepping away from the tour and giving birth to her daughter, Shai. Since her return, she’s put together encouraging results including a US Open semifinal and a Wimbledon quarterfinal but 2026 has been a season in which she has yet to advance past the quarterfinal stage of a major.
Speaking after the match, Osaka reflected on how motherhood has reshaped her perspective on the sport, framing the loss less as a crushing setback and more as part of a longer process. She said there was a lot of life packed into the years since her last title, and that the wait has felt both long and short as a result.
With the 2026 US Open behind her, attention now turns to how Osaka closes out the season and how she’ll build toward the 2027 majors, particularly whether the Achilles issue that flared up in New York needs meaningful recovery time before her next tournament.
#lunionsuite #haitianamerican #haitian]()
![Naomi Osaka’s US Open Run Ends in the Fourth Round Against Elena Rybakina. The two-time champion’s bid for a fifth Grand Slam title falls short as she battles an Achilles injury against the No. 2 seed.
Naomi Osaka’s 2026 US Open came to a close on Monday, as No. 2 seed Elena Rybakina beat her in straight sets, 6-1, 6-4, in the fourth round at Arthur Ashe Stadium.
Rybakina, the reigning Australian Open champion and a former Wimbledon winner, was the far sharper player throughout, jumping out to a commanding first set before holding off a slightly more competitive push from Osaka in the second.
For Osaka, the loss ends a tournament that had shown real signs of progress. She opened with a straight-sets win over Anastasia Zakharova, followed it with a comeback victory over Kateřina Siniaková, and then ground out a three-set battle against Belgium’s Elise Mertens, 6-3, 3-6, 7-5, to reach the fourth round. Throughout the back half of the tournament, she was also managing a nagging Achilles injury, which she acknowledged played a role in Monday’s defeat.
The result extends Osaka’s wait for a fifth major title. She hasn’t lifted a Grand Slam trophy since the 2021 Australian Open, before stepping away from the tour and giving birth to her daughter, Shai. Since her return, she’s put together encouraging results including a US Open semifinal and a Wimbledon quarterfinal but 2026 has been a season in which she has yet to advance past the quarterfinal stage of a major.
Speaking after the match, Osaka reflected on how motherhood has reshaped her perspective on the sport, framing the loss less as a crushing setback and more as part of a longer process. She said there was a lot of life packed into the years since her last title, and that the wait has felt both long and short as a result.
With the 2026 US Open behind her, attention now turns to how Osaka closes out the season and how she’ll build toward the 2027 majors, particularly whether the Achilles issue that flared up in New York needs meaningful recovery time before her next tournament.
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian]()
![A bill introduced in the Dominican Republic's Chamber of Deputies is stirring national debate before it's even reached a floor vote: a proposal to make Haitian creole a mandatory subject in schools across the country, alongside English & French.
The measure was submitted August 31 by Julio César Beltré Méndez, a deputy from Azua representing the ruling Modern Revolutionary Party (PRM). If passed, it would apply to every public, private, and mixed-management school authorized by the Ministry of Education (Minerd) from primary through secondary levels and notably would not be restricted to border provinces or to students with Haitian family ties. Under the bill, Creole instruction would become a nationwide requirement, not a regional accommodation.
Beltré frames the proposal around the two countries' shared geography and deep interdependence. In the bill's reasoning, he points to the historical, commercial, cultural and migratory ties between the Dominican Republic and Haiti nations that share the island of Hispaniola and argues that Creole fluency could strengthen communication, ease border-area cooperation, and support commerce between the two.
He's also cited that the presence of Haitian workers across Dominican agriculture, construction, households and other sectors. In his view, language barriers in those daily interactions are a practical problem worth addressing through the school system not a distraction from it. Speaking about the initiative, Beltré pushed back on critics who've dismissed it outright, arguing the real question isn't why Dominicans who already speak Spanish should learn Creole.
The proposal has already run into resistance at the highest level. In an interview published September 7, Beltré revealed that President Luis Abinader told him directly that he disagreed with the bill despite Beltré belonging to Abinader's own party. Beltré described the measure as his personal initiative, not an administration position, and said he still believes the country needs a serious, responsible discussion about its linguistic and migratory realities, given how often Dominicans and Haitians interact across the economy.
#lunionsuite #haitianamerican]()
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8 hours ago
Naomi Osaka does not need anyone to like her clothes.
After her US Open run ended in a straight-sets loss to Elena Rybakina, a familiar wave of comments arrived: the outfits were too much, the walk-ons were a fashion show, she should just play tennis. Osaka answered the way she usually does, plainly, on her own platform, and without apology.
“You know… idgaf if you don’t like me,” she wrote. “I don’t mind being the first to do something and getting trashed for it. This happened when I talked about mental health and for some reason it’s happening with my clothes lol. I’m literally Haitian it’s in my blood to be this way, as long as the people after me have an easier path it’s worth it.”
Osaka, whose father Leonard François is from Jacmel, Haiti, and whose mother is Japanese, has spent 2026 treating Grand Slam walk-ons like a second language. At the Australian Open she arrived in a jellyfish-inspired look. At Roland Garros she layered gold sequins, trains, & jackets over her playing dress. At Wimbledon she walked out in a white kimono nodding to Kill Bill, then later wore a Haiti national team jersey after the country returned to the World Cup. In New York she paid tribute to Allen Iverson, hooded robe, newspaper clippings from her own career, cornrows, headband, then played in black basketball-style kit.
The comparison to 2021 is not throwaway. When she skipped press at the French Open and later withdrew, citing mental health, the reaction was swift and often cruel. She kept going. Years later the conversation around athletes and mental health is different because she and others refused to stay quiet. She is applying the same logic to what she wears.
Tennis still has an unspoken uniform, clean, traditional, not too loud. Osaka keeps breaking it in public. That bothers people who think the court should look a certain way. It also opens space for younger players who want to bring their whole self, culture, hair, history, humor, onto the biggest stages without waiting for permission.
She is not asking for everyone to get it. She does not do it for the people who will never understand. She does it for the ones who look like her.
#lunionsuite #haitianamerican
1 day ago
Soca king Machel Montano paused the party long enough to speak directly to Haitian fans.
In a clip circulating from a recent live show, the Trinidad and Tobago star is onstage in a Statue of Liberty tank, mic in hand, working the crowd under purple lights. Then he switches gears. He calls out Haiti, talks about love, and works through Kreyol as the audience rides with him.
The moment fits how Montano has been talking about the region this year. In interviews around his documentary Like Ah Boss: Journey of a Soca King and the Encore tour, he has argued that soca’s next chapter is Caribbean unity Haiti and Cuba included because the music already shares a pulse. Onstage, that idea becomes simpler: greet the people in the room.
Montano has spent four decades turning carnival stages into meeting places from Madison Square Garden as a child opener to Road March records and packed U.S. dates. This clip is short. What travels is the gesture: Haiti named, Creole attempted, love said out loud, and the show kept moving.
🎥 @RumAndMusic
#lunionsuite #haitianamerican #haitian #culture #caribbean
1 day ago
After a video of shackled deportees set to a Haitian song sparked fury across the community, Homeland Security’s official account is back, this time telling Haitian doctors and lawyers that $3,000 is “an entrepreneur’s dream.”
They heard the community. They saw the reaction. Then they posted again.
On Tuesday, the official Department of Homeland Security account addressed Haitian doctors, lawyers, scholars, and engineers by name and told them to “imagine what you could do with $3000 in Haiti.” It called the stipend “an entrepreneur’s dream,” linked the CBP Home self-deportation page, and quoted a New York Times headline about deportees arriving in Cap-Haïtien broke and stranded.
That is not a policy explainer. That is a punchline built on other people’s ruin. Less than two weeks earlier, the same agency posted a video of Black men in shackles and waist chains being walked onto a deportation flight. The footage was set to a Haitian song. On-screen text read: “Temporary Meant Temporary. Leave Now.” Community leaders called it reprehensible and dehumanizing. Pastors said they could not sleep. Families recognized the message immediately: this is how we will treat you, and we will film it.
Every time Haitians object, to the end of TPS, to weekly flights into a country the State Department still warns Americans not to visit, to children on those planes, to people landing with government sweatpants and almost no cash, the official account answers with another taunt. $2,600. Then $3,000. “Closing time.” “Leave now.” “Entrepreneur’s dream.” The more the community names the humiliation, the more the messaging leans into it.
That is the pattern. Not a one-off post. A strategy.
The Times reporting DHS chose to quote is not satire. Deportees have been arriving in Cap-Haïtien weekly. Some say valuables vanished in transit. Haitian authorities have been giving adults the equivalent of about $80. People who worked in hospitals, drove, taught, and paid taxes in the United States are marooned in a city many of them do not know, with no safe way home. DHS looked at that and wrote a joke about starting a business.
#lunionsuite #haitianamerican
2 days ago
Miss World 2026 closed September 5 in Nha Trang, Vietnam, with the Dominican Republic’s Joheirry Mola taking the crown.
Haiti left with something the scoreboard does not measure: a first from Jérémie, a purpose-driven project recognized on the world stage, and a month of representation that put Haitian women at the center of the conversation.
Marie Kemlyne Lestalie Félix, 25, is the first woman from Jérémie to hold the Miss World Haiti title. She did not advance into the official Top 40 on coronation night. What Miss World itself highlighted was her place among the six Beauty With a Purpose finalists for the Americas and Caribbean, alongside Belize, French Guiana, Guatemala, Paraguay, and Venezuela. Belize’s Faith Edgar won the continental BWAP title and used that fast-track into the Top 40. Félix’s work still stood in that regional final six.
Her project, Inspire-Toi d’Elles (“Inspire Yourself from Them”), founded in 2023, is built on a simple idea: Haitian women and girls need living examples, not slogans. Through monthly gatherings, mentoring conversations, writing workshops, and visibility for women already building careers and businesses, the initiative has brought more than 150 women and girls into the same room with mentors. The line she carried through the competition “Si elles l’ont fait, nous pouvons aussi” was the heart of her pitch. On the Head-to-Head stage in Vietnam she spoke plainly about being judged for her appearance, her skin, her origins, and limited resources, and about building the space she once needed as a girl from a communal section.
She used the month in Vietnam the way Miss World is meant to be used: fashion, culture, and community as one package. She walked the opening and Top Model events, including the Vietnam Beauty Fashion Fest, and carried Haitian identity into a competition that too often notices Haiti only when the headlines are about crisis.
A crown is one night. What she brought home is the work, the first for Jérémie, and a reminder that representation is already an accomplishment.
📸 @missworld @mariekemlynefelix
#lunionsuite #haitianamerican
2 days ago
Authorities in the Turks and Caicos Islands intercepted an overcrowded vessel carrying 207 migrants, including Haitian nationals, early Monday, September 7, as it attempted to reach the British overseas territory. Officials said the passengers were brought ashore safely and transferred to immigration authorities for processing.
The operation followed another interception on September 2, when the Royal Turks and Caicos Islands Police Force stopped a vessel carrying 171 migrants near Northwest Point, Providenciales. Police said coastal radar detected the boat before it could make landfall. Marine Branch officers escorted the passengers to South Dock and handed them over to the Turks and Caicos Islands Border Force.
A third vessel was stopped near the Bahamas on September 3. The Royal Bahamas Defence Force reported finding 146 Haitian migrants 111 men, 30 women, two boys and three girls aboard a 45-foot boat about 17 miles northeast of Great Inagua. The passengers were taken to Matthew Town for processing. Together, the three operations account for 524 migrants intercepted in the region since September 2.
Turks and Caicos police had already reported approximately 1,075 migrants intercepted aboard eight vessels in 2026 before Monday’s operation. Authorities have not yet released a detailed breakdown of the 207 passengers or announced their next steps.
The latest intercepts come as Haitians continue attempting dangerous maritime crossings amid insecurity, economic hardship and limited opportunities at home. Regional forces have repeatedly warned that overloaded boats remain a serious risk to life at sea, even as they report that recent groups were brought ashore without reported casualties.
#lunionsuite #haitianamerican #haitian
2 days ago
Homeland Security Secretary Markwayne Mullin said Friday that immigration agents have arrested 380 people in Springfield, the Ohio city that became a national symbol of the fight over Haitian Temporary Protected Status.
The figure comes from Mullin himself, speaking Sept. 4 during a visit with local law enforcement in Warren County. He said enforcement would continue and that ICE would keep using ankle monitors on people who lost TPS, describing the devices as a way to make sure they appear for court. “TPS is just that, it’s temporary. It was never designed to be permanent,” Mullin said.
City and local estimates put Springfield’s Haitian population at 10,000 to 15,000, a mix of TPS holders, U.S. citizens, and people with other status not a single legal category. Mayor Rob Rue has described those residents as neighbors, coworkers, taxpayers, and parents. Springfield was already a national target. In 2024, then-candidate Donald Trump claimed Haitian residents were eating pets. City officials said the claim was false. Bomb threats followed. The community never fully left the political spotlight.
Mullin has urged people to leave on their own, saying Haiti “needs you,” and has advertised a government stipend and return flight for self-deportation. Advocates say that offer collides with conditions on the ground. The State Department still lists Haiti at Level 4: Do Not Travel, citing kidnapping, crime, civil unrest, and limited health care.
The human cost of the enforcement push landed last week. Pierre Damas Bel, 20, a Springfield High School graduate who had just started classes at Wright State University, died Aug. 31 after walking into westbound traffic on Interstate 70 and being struck by a tanker truck. His family says he called that morning in distress over bullying tied to an ICE ankle monitor issued after TPS ended, a device that, they say, also blocked him from a soccer path and from receiving an ROTC uniform.
Mullin called the death “an unfortunate situation” and said Bel was not in ICE custody and that the agency was “not responsible.” ICE has said Bel entered the United States legally and was on an alternatives-to-detention program. #lunionsuite
2 days ago
Naomi Osaka’s US Open Run Ends in the Fourth Round Against Elena Rybakina. The two-time champion’s bid for a fifth Grand Slam title falls short as she battles an Achilles injury against the No. 2 seed.
Naomi Osaka’s 2026 US Open came to a close on Monday, as No. 2 seed Elena Rybakina beat her in straight sets, 6-1, 6-4, in the fourth round at Arthur Ashe Stadium.
Rybakina, the reigning Australian Open champion and a former Wimbledon winner, was the far sharper player throughout, jumping out to a commanding first set before holding off a slightly more competitive push from Osaka in the second.
For Osaka, the loss ends a tournament that had shown real signs of progress. She opened with a straight-sets win over Anastasia Zakharova, followed it with a comeback victory over Kateřina Siniaková, and then ground out a three-set battle against Belgium’s Elise Mertens, 6-3, 3-6, 7-5, to reach the fourth round. Throughout the back half of the tournament, she was also managing a nagging Achilles injury, which she acknowledged played a role in Monday’s defeat.
The result extends Osaka’s wait for a fifth major title. She hasn’t lifted a Grand Slam trophy since the 2021 Australian Open, before stepping away from the tour and giving birth to her daughter, Shai. Since her return, she’s put together encouraging results including a US Open semifinal and a Wimbledon quarterfinal but 2026 has been a season in which she has yet to advance past the quarterfinal stage of a major.
Speaking after the match, Osaka reflected on how motherhood has reshaped her perspective on the sport, framing the loss less as a crushing setback and more as part of a longer process. She said there was a lot of life packed into the years since her last title, and that the wait has felt both long and short as a result.
With the 2026 US Open behind her, attention now turns to how Osaka closes out the season and how she’ll build toward the 2027 majors, particularly whether the Achilles issue that flared up in New York needs meaningful recovery time before her next tournament.
#lunionsuite #haitianamerican #haitian
2 days ago
Haitian-Japanese superstar @NaomiOsaka did not walk onto a tennis court this week so much as she staged an entrance. Stylist Law Roach built the sequence. Nike stayed underneath. Three houses, Thom Browne, Monse, and KidSuper, delivered the last three looks of her 2026 US Open.
The white look was ceremony. Custom Thom Browne in white silk gazar: a structured jacket covered in small embroidered tennis rackets, stacked belts wrapping the torso, and a long mesh train that opened down the front and dragged behind her across the hard court. White visor. Silver Nike kit visible at the hem. Blue Yonex bag on one shoulder.
It took the oldest tennis uniform, all white, and stretched it until it became sculpture. The train did the work. Every step announced that the walk-on was the first point of the match.
The next look dropped volume and went for proportion. Monse cut a gray piece that sat between a tailored jacket and a hoodie, vented back, Nike swoosh high between the shoulders, hood dropped. Under it, wide gray Nike fleece pants with a buttoned side track that read like sweats that had been to a fitting.
From behind, the silhouette was almost architectural: oversized top, column of fabric to the floor, racket bag at her feet. It was the quietest of the three and the most New York, boardroom fabric meeting locker-room ease, no train required.
The last look belonged to Brooklyn. KidSuper, the label of Colm Dillane, sent a floor-length cloak printed with city fragments, lettering, portraits, and old service-sign type, finished with a heavy faux-fur collar. Osaka wore it open over a silver Nike tank and skirt, white headband in place, walking out of the tunnel with the coat hanging off one shoulder like a second skyline.
She later said she felt “really swaggy” in it, and that it embodied New York. That was the assignment. Where Thom Browne gave her ritual and Monse gave her structure, KidSuper gave her the city stitched onto her back.
📸 @thombrowne @luxurylaw @kidsuper
#lunionsuite #haitianamerican #haitian
2 days ago
A bill introduced in the Dominican Republic's Chamber of Deputies is stirring national debate before it's even reached a floor vote: a proposal to make Haitian creole a mandatory subject in schools across the country, alongside English & French.
The measure was submitted August 31 by Julio César Beltré Méndez, a deputy from Azua representing the ruling Modern Revolutionary Party (PRM). If passed, it would apply to every public, private, and mixed-management school authorized by the Ministry of Education (Minerd) from primary through secondary levels and notably would not be restricted to border provinces or to students with Haitian family ties. Under the bill, Creole instruction would become a nationwide requirement, not a regional accommodation.
Beltré frames the proposal around the two countries' shared geography and deep interdependence. In the bill's reasoning, he points to the historical, commercial, cultural and migratory ties between the Dominican Republic and Haiti nations that share the island of Hispaniola and argues that Creole fluency could strengthen communication, ease border-area cooperation, and support commerce between the two.
He's also cited that the presence of Haitian workers across Dominican agriculture, construction, households and other sectors. In his view, language barriers in those daily interactions are a practical problem worth addressing through the school system not a distraction from it. Speaking about the initiative, Beltré pushed back on critics who've dismissed it outright, arguing the real question isn't why Dominicans who already speak Spanish should learn Creole.
The proposal has already run into resistance at the highest level. In an interview published September 7, Beltré revealed that President Luis Abinader told him directly that he disagreed with the bill despite Beltré belonging to Abinader's own party. Beltré described the measure as his personal initiative, not an administration position, and said he still believes the country needs a serious, responsible discussion about its linguistic and migratory realities, given how often Dominicans and Haitians interact across the economy.
#lunionsuite #haitianamerican
2 days ago
Haitian flags, music and culture are filling Eastern Parkway in Brooklyn today as members of New York’s Haitian community join thousands of Caribbean revelers for the annual West Indian American Day Parade.
The 59th annual celebration returned Monday, September 7, bringing Caribbean communities together for one of New York City’s biggest Labor Day traditions. The parade travels along Eastern Parkway through Brooklyn, with music, elaborate costumes, dancing, food and flags representing nations across the Caribbean.
For Haitians, this year’s celebration carries a deeper meaning.
AP reports that Haitian participants are using the Parkway to celebrate their heritage at a time when the community is dealing with concerns over immigration enforcement and changes affecting Haitians living in the United States. Still, organizers say showing up and representing Haiti remains important.
Among this year’s Haitian participants is Lespri Ayiti, whose presentation highlights Haitian history through hand-painted costumes inspired by figures including Jean-Jacques Dessalines. Haitian sounds including Kompa and Raboday are also part of the celebration, bringing a piece of Haiti to the streets of Brooklyn.
Not every familiar Haitian group is on the Parkway this year. T-Vice, TonyMix and SakPase Nation are absent from the 2026 parade following a dispute with organizers over participation rules.
But Haiti’s presence remains visible.
For many in the diaspora, Labor Day on Eastern Parkway is more than a party. It’s a chance to carry Haiti with them, celebrate where they come from and make sure the culture continues to be seen, heard and represented. 🇭🇹
🎥: @stichiz | princessrose / TikTok
#lunionsuite #haitianamerican
3 days ago
A major chapter has come to an end for Les Grenadiers.
Veteran Haitian defender Ricardo Adé has announced his retirement from international football, ending his time with Haiti’s national team after a career that included the country’s historic return to the FIFA World Cup.
Adé shared his decision in a farewell message Sunday, thanking Haitian supporters, coaches, staff members and his teammates for standing beside him throughout his journey with Les Grenadiers.
“Thank you for the love and support,” Adé wrote in Haitian Creole, before thanking his coaches, staff and teammates for the battles they fought together.
Born in Saint-Marc on May 21, 1990, Adé became an important presence in Haiti’s defense and represented the country through multiple international campaigns. He was also part of the squad that helped Haiti qualify for the 2026 FIFA World Cup, ending a 52-year absence from the tournament.
At 36, Adé finally had the opportunity to represent Haiti on football’s biggest stage. He started and played the full 90 minutes in all three of Haiti’s World Cup matches, facing Scotland, Brazil and Morocco.
His retirement announcement applies to the Haiti national team. Adé has not announced his retirement from club football. He continues to play professionally for LDU Quito in Ecuador, where records show he has remained active during the 2026 season.
For @adericardo4 , the farewell closes an international career that ended with a moment generations of Haitian players had waited decades to experience: wearing Haiti’s colors at the World Cup.
#lunionsuite #haitianamerican
3 days ago