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runway report: DvF, DKNY, Versus, Opening Ceremony& more...
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A GLOBAL FASHION MARKETPLACE THAT CONNECTS WOMEN’S APPAREL AND ACCESSORY DESIGNERS WITH WORLDWIDE RETAILERS
SEPT 14.15.16 2014 THE JAVITS . NYC ENKSHOWS.COM/COTERIE REGISTER / enkregistrations.com, buyer@enkshows.com FOLLOW US / ENKInternational @ enkshows SHOP / shopthefloor.com
S
/ S 2015
MEMORY LANE!
With Diane von Furstenberg We hear you start your day on a very positive note. My first e-mail I write every day is something that doesn’t benefit me. Sometimes I introduce two people who should meet. It takes very little effort, but for that other person, it might be lifechanging. Your memoir, The Woman I Wanted to Be, is coming out next month. It’s very honest. I’ve never gone to therapy, and I wrote Candice Swanepoel it with my blood. Tell us about your new creative director, Michael Herz! I met him because I asked him to put together my exhibition in L.A., and he did such an amazing job.
SEEING GREEN!
With Allison Williams
Barry Diller ood: on DVF’s M
your daily dose dvf
SCENE
Paris Hilton
Clair Danes Allison Williams
MAJOR BACKSTORY! With Michael Herz, DVF’s new creative director When and how did you and Diane first meet? A long time ago. I was sitting on a park bench in London and Diane von Furstenberg was walking past, so I say hello. She sat down next to me and we chatted and said, “If you’re ever in New York, give me a call.” A few years later, I was leaving my job at Bally and my agents set us up to meet. She called me a few days later and asked me to do the exhibition at L.A. County Museum of Art, and I did it. She is so inquisitive with anyone who’s creative and intellectual of every generation. She’s really encouraging. Diane asked me the other day, “You’re not stressed? You’re not normal!”
Retouched By an Angel!
What if…Lori Goldstein and Virginie Mouzat switched coifs?
FA S H I O N W E E K D A I L Y. C O M
WALK AND TALK!
“Happy as nine clams!”
Model selfies
How do you know Diane? I met her through my parents at a work function with my dad years ago. I’m constantly drawn to her. I find her so powerful and compelling, and she gives the best advice. What’s happening with Peter Pan? We’re just doing preliminary stuff like flying, singing, and physical training.
Harley Viera-Newton
☛ What happens when two icons have shows on the same day? Star power galore. First up was Diane von Furstenberg, who filled her runway at Spring Studios with top du top models (Naomi Campbell, Lily Donaldson, and Candice Swanepoel) and brilliant clothes from new creative director, Michael Herz. Major bonus: a Whoopi sighting! ☛ Anthony Vaccarello showed his Versus Versace collection on a mirrored runway. Afterward, the crowd (think Nicki Minaj and Rihanna) moved upstairs for an after-party. A performance by St. Vincent and a few thwarted attempts ( you know who you are!) to go home with the Versace pillows used as décor capped off the evening.
ras: Nacho Figue
eping “I’m just here ke ny! pa m my wife co too.” Though I love it,
With Lily Donaldson
Where are you living these days? I’m living in New York, but I’m always on a plane. What did you do this summer? I was in the South of France for a little bit and then I went to Berlin, which was really cool. People are like, “Berlin, really?” and I say, “Yes, Berlin, really.” I love it there. I went to the lakes, and it was so relaxing. What was the last amazing date you went on? I don’t really date. The last date that I did go on was in Madrid where I saw the Goya paintings in the Prado museum. Are you a TV watcher? I don’t have a television, but I’ve just gotten into Game of Thrones on Netflix.
Nina Dobrev Naomi Campbell
NAILING IT! With Rachel Zoe
What do you think about the Anthony Vaccarello collab for Versus? It’s very exciting! Between that and Donatella being in New York, it’s amazing. She doesn’t come that often, and I love seeing her. What would surprised people about you? That I’m very domestic, and I love to cook and bake and do all of that. What were you like as a teenager? Quintessential in every respect. What did you wear? I don’t know. It was the ’80s, so I try and block it out. But I wore Fiorucci! Any fashion trends you would like to see just die? I’m really happy with fashion right now. Oh, you know what? The long pointy nails. I’m not into those.
Versus Versace
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the
front row Editor in Chief, CEO
Brandusa Niro Guillaume Bruneau Creative Director
Luxe Fix
The Daily’s luxury media lounge
Over the weekend, The Daily hosted an exclusive lounge at the Park Hyatt New York featuring a pop-up presentation from The Outnet’s private label Iris & Ink, where guests were invited to preorder items from the collection. Many of the U.S. and international editors stopped by between shows for some much needed pampering and post-runway mingling. There were guitar lessons by Gibson, hydration care of Evian, and massages by Exhale Spa. Plus, snacks by Barnana and Brownie Brittle, makeup and grooming by Gotham Beauty Lounge, drinks by GT Kombucha, Vita Coco, Voga wines, and Rekorderlig Cider, and a special Patrick McMullan photo booth for their enjoyment.
Christopher Tennant Executive Editor
Eddie Roche Deputy Editor
Managing Editor Tangie Silva Features Editor Alexandra Ilyashov Fashion News Editor Paige Reddinger Contributing Editors Ashley Baker, Sarah Horne Grose Writer/Reporter Dena Silver Art Director Teresa Platt Contributing Photographer Giorgio Niro Contributing Photo Editor Jessica Athanasiou-Piork Contributing Copy Editor Joseph Manghise Imaging Director George Maier Contributing Imaging Assistant Mihai Simion President, Publisher Paul Turcotte Account Director Chloe Worden Events & Corporate Partnerships Director Jessica Fafara Marketing Manager Kelly Carr Publishing Coordinator Piero Bellizzi Digital Director Daniel Chivu Manufacturing Operations Michael Esposito Amy Taylor
To advertise, call (212) 467-5785 Or e-mail: turcotte@dailyfrontrow.com getty images the official photo agency of The daily front row
DAILY FRONT ROW, INC. The Daily Front Row is a Daily Front Row Inc. publication. Copyright 2014. All rights reserved. Reproduction without permission is strictly prohibited. Requests for reprints must be submitted in writing to: The Daily, Attn: Tangie Silva, 135 West 50th Street, 4th Floor, New York, NY 10020.
On the cover: A look from the launch of Polo for Women
FA S H I O N W E E K D A I L Y. C O M
marco savila (5); patrickmcmullan.com (2)
LIVE NOW AT NY FASHION WEEK
YOUR FRONT ROW SEAT Join Joe Zee, Editor-in-Chief
Sept 9 | 10am-1pm & 6-9pm ET
Live from NY Fashion Week
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OPENING CEREMON
Bu zz
Y
Fix
FULLY FEARLESS! With Alexa Chung Do you get stage fright? No, I just play a heightened version of myself and it works out okay. Are you pissed you weren’t called to be in OC’s play? Extremely! [Laughs] Which role would you have wanted? I don’t have a dream role because I don’t have any acting aspirations, really.
Opening Ceremony
Dree Hemingway
ALL NERVES! With Bruce Weber Thoughts on the show, please! I love being backstage! I’m sort of backstage all the time, so it was fun to be backstage at a fashion show. Would you say yes to a designer if you were asked to be in a Fashion Week production? I’m not a good actor. That’s why I’m a photographer! Do you just get nervous when the spotlight’s on you? No, I’m just a really, really bad actor. I’d just hate it if I had to be onstage. I’d want to hide!
SCENE
Leave it to Opening Ceremony to eschew the runway entirely and present its Spring ’15 collection with a play, 100% Lost Cotton, co-written by Spike Jonze and Jonah Hill (and directed by Jonze at—where else?—the Metropolitan Opera House). Elle Fanning played a naive young mod; Dree Hemingway did the It Girl thing; and John Cameron Mitchell and Catherine Keener worked it as Humberto Leon and Carol Lim, respectively. Other actors: Karlie Kloss as herself; Rashida Jones as Teen Vogue’s Lisa Love; Bobby Cannavale as Brian Phillips; and Alia Shawkat as the casting/fitting assistant. What you need to know: The collection was inspired by the summer of 1991.
THE DAILY WONDERS… What was the last amazing date you went on? Brendan Fallis: Hannah [Bronfman] and I just did a trip to Big Sur and watched the sun set from the Post Ranch Inn. I don’t understand why more people in America don’t talk about Big Sur. It’s breathtaking! Robin Givhan: I like to think if I had date that was that notable, I’d be married.
Virginia Smith: I went on a date on Friday night with my husband for his birthday, to Tamarind. Perez Hilton: I did go on a fun date to that cheesy ice bar, Minus5°, and we ended up naked in my bed. Nicola Formichetti: A date? Oh, I had a date with my friend’s mom. It was so sweet—we went to a Japanese green tea place.
Waris Ahluwalia: Last night, but I’m not talking about it. Kyle Anderson: Well, I’m married, so it would have to be off the record. Helena Christensen: I went on a great date last night in the East Village to one of the Momofuku restaurants. We ordered probably everything on the menu and ate it all!
VIVA ITALIA! With Nicola Formichetti at Hood by Air How’s the Diesel gig going? Great. I always used to wear my vintage jeans, but now I wear Diesel jeans because I can design them how I like. We’re going to do a surprise fashion show for next season. Do you spend a lot of time in Italy now? Two weeks every month. Do you have any favorite Italian food? No, I try to stay away from Italian food because of carbs! Carbs! But it’s Italy! I know, but I’m trying to keep fit. And all they have there is carbs and bread and wine. So I eat leaves and vegetables only!
HUNGRY FOR FASHION?
Tonight, Bon Appétit is hosting an intimate supper at The Spotted Pig with Pamela Love as part deux of the glossy’s Feast or Fashion bashes this season. On the menu: April Bloomfield’s kitchen wizardry and Love’s latest baubles. On the guest list: Julia Restoin Roitfeld, Mara Hoffman, Audrey Gelman, Susie Bubble, and Langley Fox Hemingway. Et vous?
MEMORY LANE! With Helena Christensen at Edun
What were you like growing up? I was kind of quiet and shy, at first, but then my mom sent me to all these theater lessons. Were you nervous when you first started modeling? Yeah, in a very sweaty kind of way. Do you have any advice for new models in the biz? Walk the way you walk, and just be you. It’s literally just up and down [the runway].
Oh, Marissa! For Marissa Webb’s Spring/Summer 2015 runway show, Maybelline New York’s Global Makeup Artist Yadim focused on “a springtime smoky eye that anyone can wear.” To get the look, he used Master Kajal in Black Onyx, close to the lash line. Lips were layered, with Baby Lips in Quenched as a base, followed by a touch of FIT! me Concealer for a nude effect.
FA S H I O N W E E K D A I L Y. C O M
BFANYC.COM (12); Julieta Cervantes (3); GETTY IMAGES (2); PATRICKMCMULLAN.COM ALL OTHERS COURTESY
25 YEARS OF GLAMOUR
runway
Spring 2015
DVF New designer, a new look to remember. Major gingham moment at DVF, rendered in some splendid little dresses, along with a wide array of wide-leg pants, pleated skirts, babydoll frocks, and crop tops. Subtle Brigitte Bardot hair topped off the ’60s vibe.
rebecca
taylor It was a paradise of pastels chez Rebecca Taylor, and her romantic, cinematic vibe was a welcome moment in an otherwise angsty week. Bright appliquĂŠ florals and flowy lavender skirts are destined for summery breezes. Straight-up pretty. Who can argue with that?
FA S H I O N W E E K D A I L Y. C O M
firstview
runway
Spring 2015
versace/
versus A match made in heaven. Anthony Vaccarello does a provocative, barely there mini like the best of them, and when he’s working the Versace vibe, complete with dangerously short hemlines, Grecian motifs, and Medusa medallions, he truly shines.
the victoria
beckham Militaristic minimalism. Victoria dug into the trenches, finding victory in chic outerwear in versatile shades of nude and black. Thank goodness her precision and perfectionism this time allowed for a more figure-forgiving silhouette. The pops of pink florals and psychedelic stripes also added some energy to the austerity.
FA S H I O N W E E K D A I L Y. C O M
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runway
dkny She’s gone graphic. Short dresses over calf-length skirts, paired with platform sneakers, oozed street cred, while daring color combos added a mega dose of youthful energy. Not like Donna needs any extra!
Spring
2015
beauty
trend
{Boyish Brows}
Yadim FOR maybelline new york
EDUN No, these prints are not of the leopard variety—they were actually inspired by Côte d’Ivoire kponyungo masks, which ward off evil spirits. And those fabulous medallion necklaces? A collaboration with Nigerian Tuareg jeweler, Moussa Albaka. As for the kimono-like tops and pants, we’ll be living in them come spring.
FA S H I O N W E E K D A I L Y. C O M
f i r s t v i e w ; i n s e t: s t e fa n i a c u r to
#BIZ WITH
STYLE “Through the Fashion program at Berkeley College, I have met knowledgeable professors who emphasize the skills needed to succeed. I have also had opportunities to connect with industry professionals. Now, I am ready to chase my dreams.�
Kaja Berg (left) Fashion Marketing and Management Student
Call 800-446-5400 ext. BFF, visit BerkeleyCollege.edu/Fashion or email info@BerkeleyCollege.edu
Find us @BerkeleyCollege and #BizWithStyle
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runway
Spring 2015
thakoon Anyone interested in a quick weekend away in some splendid Southeast Asian locale? We’ll book the flights. Never mind that Thakoon’s inspiration was the 1959 film Black Orpheus, which took place in Rio; a silky wine kimono dress and a pair of wide-leg pants were a spiffy nod to loungewear chic. Luxurious languor? Mais oui.
Derek
lam
Suede, suede, and yes, more suede. Thakoon swayed into the ’70s this season with patchwork skirts in lilac, brown, and periwinkle, a turquoise dress, and maroon bell pants. Dust off those Joni Mitchell records, and prepare yourselves for an extravagant bill at the cleaners.
FA S H I O N W E E K D A I L Y. C O M
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CHIC Launch
LA VIE EN
Tell us about the launch of Polo for Women. It’s a major new brand for us. It’s a huge opportunity for the company. What makes Polo for Women new and unexpected is that it’s not classic or preppy, but it’s very downtown, very urban, and incredibly hip. We wanted to create a brand that resonated with this new contemporary customer. How did you make that happen? We brought Bruce Weber to create the new ad campaign, which has an urban sensibility. We also created a fashion show that celebrated not only our fashion but New York City and the urban culture that has inspired this line of clothing. How did the idea for a 4-D fashion show in Central Park come about? We played with a lot of ideas and started exploring, and we came upon this technology that allows us to use water and mist as a natural projection screen. Ralph Lauren has always created cinematic advertising and stores that made you feel as though you were entering a new world, so we thought, “Why can’t we change the way people look at a fashion show?” Sometimes people travel to Dubai or to France or to India to experience new fashion, what if we could create an experience that brings that to you? So the idea of the first 4-D fashion show on the pond in Central Park felt completely groundbreaking and revolutionary. Tell us what went into producing the show! The models were digitally composed, but it’s not a film, it’s a 4-D digital composition, a whole other way of looking at people. The cool thing is that people didn’t know what to expect. We filmed the show in advance with giant green screens. Ultimately, when the show happened live, the entire city was projected behind them, with buildings and bridges being built, fish swimming, and people walking on water. It was pretty dramatic. Are you a tech guy yourself? Is this in your comfort zone or it is a learning experience? It’s definitely a learning experience. This is cutting-edge technology, so everybody FA S H I O N W E E K D A I L Y. C O M
LAUREN
For the launch of his new brand, Polo for Women, the always cinematic Ralph Lauren created a groundbreaking 4-D digital composition to make 48 models walk on water in Central Park. David Lauren, executive vice president of advertising, marketing, and communications, spills the high-tech secrets behind the event and explains how his team moved mountains to make a magical New York City night come to life. By Eddie Roche
is learning as we go. For us the excitement of being in the fashion industry is always trying to push the edge and try new things. Why did the show have to happen after 9 p.m.? So it could be completely dark? Yes. We had a lot of fun producing this show, but to make sure it would work we had to try it out in different environments, one of which was a golf course with a pond in New Jersey at midnight during a thunderstorm. The collection was completed before Labor Day. That must have been a nice feeling. Is that normal for you? No. With collections it usually comes to the 12th hour. But with this one we knew we had a special production, and we started on the process early. It’s literally hundreds of people in the Ralph Lauren company who have to get together and move mountains. So how do you make something like this happen in Central Park? The mayor has been incredibly cooperative. Because it was an homage to NYC I think they felt that this was a special project and would be celebrating our city with something that could then go viral on the Internet and lure potential tourists. I’m sure that when your dad started this company a show like this wasn’t even in his wildest dreams. I think that a fashion show is always a lot of stress because you have to push the boundaries. Growing up with Ralph Lauren as a man, I’ve always watched him stay focused and in many ways in the most pressured times he tends to be amazing. He always tells the story that after the first fashion show that he put on, close to 100 shows ago, he said, “I’m glad I don’t ever have to do this again. I don’t know if I could do that again.” A hundred shows later, I think it’s amazing how many stories he has to tell. What else sets a Ralph show apart? The small show, maybe less than 400 people. Most fashion shows in tents all around the world can have twice as many people, even more, but you can lose the intimacy that way. Ralph Lauren wants you to see the fabric, the details, to feel the intimacy of the
brand. As big as we are he keeps it very small, and qualitative, kind of like a Woody Allen film. What do you mean by that? It’s not about a giant production with a lot of fanfare; it’s about great craftsmanship, great products, and wants you to look at it closely. There’s no smoke and mirrors. Doing a 4-D show takes you to a new level because it’s a new way to see the clothes. Was the actual collection on hand in Central Park? No, we were going to do that but instead we gave every member of the press photos of all the looks as they left the show on their phones. That alone may be a change in how the industry looks at fashion. Our job is to experiment. We were one of the first brands to do so many things in technology; we were the first fashion brand to sell on mobile phones, that was groundbreaking. What are your other responsibilities in the company? You handle the ad campaigns? I’m very lucky to work with an amazing team of people on the advertising, the marketing, the communication, the website, and from that vantage point get involved with every division and every brand in the company. How many e-mails do you get a day? Hundreds, so don’t feel bad if I don’t get back to you. I think I’m pretty good at checking in and checking out. I really don’t like e-mails; I prefer talking to people. When someone sends me an email, I generally tend to call them back. If I respond through an e-mail, it’s a quick answer. What other things do we have to look forward to with the brand? We’re opening a restaurant in our Polo store, which is also exciting because you’ll be able not only to shop in the Ralph Lauren world but to dine as well. What will be on the menu? All-American food? That’s the spirit. We have a restaurant in Paris and a restaurant in Chicago, with burgers that come from my parent’s ranch in Colorado. My wife is a vegetarian, so I tend to be one most of the time, but once in a while I like to indulge in a steak.
“
One thing that makes Ralph Lauren so unique is the small show, maybe less than 400 people. Most fashion shows in tents all around the world can have twice as many people, even more, but you can lose the intimacy that way.”
Was it always in the cards for you to end up working for Ralph Lauren? No, it was not. I definitely was not interested in working at Ralph Lauren. It was really when I was close to 30 and I had stopped doing Swing magazine, and my father was interested in opening a media company and developing technology and new ways of reaching customers. Nearly 15 years later, I’m still here. Talk to me a little bit about the Ralph Lauren Foundation. We started up a Cancer Center in Harlem that deals with underserved cancer patients. And we just recently started one with Prince William in England. We had been involved in so many amazing projects around the world where we feel we are helping to make a difference. And Ralph Lauren himself gets involved in these projects—he paints the schools, he talks to the patients, he takes it very seriously. How often are you in touch with your dad? Every day? Yes, we work together all the time; it’s a family spirit here. We like to encourage that and attract people who want to be part of that, and it starts with Ralph Lauren and it goes through to every person here. Many people have been here for 30 or 40 years, so we now have a legacy award for them. It’s quite staggering to see the amount of people who have dedicated their entire life to this brand. What did you do for fun this summer? I took a couple of days off. I love to sit and play guitar, I read, do sports, live a healthy, happy life. I’ve been very lucky to have it. all photos courtesy
CHIC Icon
KING
ARTHUR Legendary lensman Arthur Elgort pulled fashion photography out of the studio and into the streets, where it’s stayed ever since. Looking back on his singular career, he talks Anna, Ansel, and his new pal, Joe Zee. BY CHRISTOPHER TENNANT photography by giorgio niro
You’ve published a number of books over the years. What’s the idea behind your latest one? It’s my whole career, really. It goes back over 40 years. There are pictures in there from when I first began photography, and I’m still doing it. Isn’t that something? How did you get into photography? I started out as a painter. I was a good painter, but not a great painter. I was working as a waiter at Freddie’s 411 and my nails were dirty all the time. They’d say, “Why are your nails dirty?” And I’d say, “Because I’m FA S H I O N W E E K D A I L Y. C O M
painting all the time.” I did the best I could to clean them, but you could still see the paint. And then I got a Polaroid camera. I liked that better because I could do girls with that, and that was more fun than just painting by myself all the time. I was lonely. I was in school at Hunter College, and there were only three or four boys in my class. The rest were all girls! So you’d go down to the cafeteria and you’d have your pick of models. That’s how I started practicing. So it was initially to pick up chicks? No, no, no. I mean, that part wasn’t bad. I certainly didn’t mind it. But I
“
I used to like to pick the girls, but sometimes they’d say, ‘Can you shoot this girl even though you don’t like her?’ And I’d say, ‘Bring her on and I’ll figure her out.’
still had my waiter’s job so I could make money. I had a box of the tips and I’d save up so I could buy cameras. What gave you the idea to start shooting fashion? I don’t know. It seemed like a good idea, I guess. Maybe because I thought there was more money in it and I didn’t want to be a waiter for the rest of my life. Do you remember your first gig? Yes, it was with Clive Barnes, who was a writer about ballet, and I was interested in ballet. That’s where I began. I shot the dancers and then had a show at Carnegie Hall. They kinda liked me, and they saw my prints and said, “Could we put ’em on the wall?” I said, sure, and then I went home and printed them. That was my first show. I must have been 25. I was still making a lot of money as a waiter, though. What kind of place was Freddy’s 411? It was sort of a gay restaurant, and I got the job because I knew somebody at another job and they sent me there. I remember when I called I could hear the voice on the phone and the guy said, “Helloooo! Come down so we can look you over.” The guy was very nice. He liked straight guys as waiters ’cause he didn’t want trouble with the clientele. I remember the famous person who used to come in all the time was Mel Brooks, who would come in with his wife [Anne Bancroft], the actress. It was on Bleecker Street, near where Marc Jacobs is now. How did you get from Carnegie Hall to Vogue? I met this girl who didn’t have anything to do, and she took my pictures around and showed them to certain people. All of a sudden I got jobs! Who was your first big client? I started with Mademoiselle. Roger Schoening was the art director and right away he gave me a job—twelve pages and a cover. That’s where I began, and where I felt I belonged. You were cocky. Yeah, a little bit. After Mademoiselle, I worked for British Vogue, then Italian Vogue. I didn’t work for American Vogue until later. What was it like to work with European magazines back then? It was very easy. You picked the models. I would get a ticket for three weeks at a time and go to Italy and England. At the time there weren’t that many photographers doing street work. They were doing it in the studio more with f lashes. I was always outside. There was Saul Leiter and one or two others, but they didn’t like to work too much. I was hungrier at the time. So you get your big break. Then what happens? It stayed more or less the same. That’s why the book is so important, because my work has never changed that much, except sometimes the editor changes it a little. Grace Coddington, for example, she likes full body and likes the scenery. There’s another one who likes to crop all the time, so I just remember that, which isn’t too hard. Why do you think you’ve had such a long career? I was lucky. And fast, also. I don’t waste time. I also got along with everybody. A lot of people I knew didn’t get along with anybody. They were a pain in the neck. I used to like to pick the girls, but sometimes they’d say, “Can you shoot this girl even though you don’t like her?” And I’d say, “Bring her on and I’ll figure her out!” What’s been the biggest change since you started shooting? They give you less time, that’s for sure. So if you’re fast, that’s good. Everybody’s gotta go, go, go. They gotta get a plane or something like that. Nowadays there’s more people, but we usually don’t need them. There’s
a nail person and a hair person and all these other people. The only thing good about it is that I can sleep longer. We’re lucky if the model’s ready by noon! Who’s your favorite young photographer? I don’t know what’s young anymore. I like Steven Meisel. How old is he? Fifties? So he’s young. And he’s good. I think he’s the best one around right now. Your son, Ansel, has had quite the year. What’s it been like to see him become a celebrity? It’s been great. He always wanted to be a star since I can remember. I wasn’t sure it was gonna happen. Was he around on set? Oh, yeah. He’s in all my books, as is his brother, Warren. They’re the boys that Grace liked because I didn’t have to bring anything to the shoot but me. They’d stay in my room, or close to my room, and they knew what to do. She’d ask Ansel, “What would you like to do for this next shot?” And he’d say, “I’d like to take a cup of tea, please.” That’s why he’s so good at film. He’s used to it. He’s also a good singer and a good dancer. Maybe I’ll see him tonight because we’re going to Bill Cunningham’s thing at the 92nd Street Y. Have you been going to a lot of screenings? A little bit. Not too much. Ansel doesn’t make me go; my wife does. We have to go to Toronto because he’s in a new film that opens there. I’d like to not go but my wife says, “You have to—that’s your son!” Do his fans ever e-mail you? They try to, but I’m not allowed to talk to them. Sometimes they come over—the models—and Ansel will be here and he’ll say, “Dad, I wanna meet that model.” They’re the same age. He’s got the hookup. It’s true. But it works both ways. I have to be nice to him because he gets me jobs, too! Who knows? It might even win an Academy Award. You seen The Fault in Our Stars? I haven’t yet, no. Most people haven’t, but I’ll tell you the truth: It’s a good movie. I’d say that even if I didn’t have to. Your daughter, Sophie, just got married. How was the wedding? Perfect. Ansel sang a song. He has a beautiful voice. He doesn’t think about it, he just does. He went to LaGuardia [High School], and he was the star in all the plays. Who are you shooting for these days, by the way? I just started working for Joe Zee. That’s a new magazine, Yahoo Style. So now all of a sudden Joe Zee has me doing a lot of things. I don’t know why, but Anna [Wintour] is sick of me. I look at the magazine and think, I could beat this easily. Maybe she thinks I did too much? I don’t know. Maybe I’ll write her a letter. Maybe she’ll read this in The Daily. Maybe! Would you like Anna to call you? Yeah, you should include that in the article. Maybe she feels I’m too old? I don’t know, so I stay out of it and do Joe Zee’s stuff instead. You don’t want to work with somebody who doesn’t want you, ya know? I have a feeling she’ll be back. Probably. Whether I’ll be back is another question. Who knows, though, right? all photos courtesy
CHIC Shape
LINGERIE WITH
LEGS
As Wolford prepares to celebrate 65 years of creating the world’s hautest hosiery, marketing maestra Martina Brown explains how the Austrian megabrand stays so many steps ahead, season after season. BY PAIGE REDDINGER What’s the history behind Wolford? We are celebrating our 65th anniversary next year, and we were founded in 1950 on Lake Constance in Austria. We started as a tight producer, which we still are, so we are a leading manufacturer globally of luxury tights. We also offer high-quality lingerie and luxury bodywear. We were a private company, but in 1996 we went public. How has Wolford maintained its rep as the ultimate luxury hosier? When it comes to luxury hosiery, I will be bold enough to say that we do not have a competitor, and I can also tell you why—because we have very innovative and strong product development in-house. We are very conscious of quality. We work ourselves to modify our machines our way, and that’s why we know there’s no real competition out there. There’s innovation and craftsmanship combined in a very specific way. It also comes down to our yarns, because our research development department is sourcing the most innovative yarns. We have very good relationships with suppliers in Japan, and so we are always updated on the latest developments in yarns. We work closely with global developers of the finest yarns, and both our technology and craftsmanship, based primarily in our headquarters in Bregenz, Austria, are unique to any other manufacturers in the world. Does Wolford hosiery rip less often than other kinds of hosiery? What I can say is that they are of extremely high quality. The climate control in our factory ensures that quality on knitting and coloring. Our legwear is less prone to run, because of our proprietary secrets throughout the manufacturing process from yarn selection to knitting and finishing. But you have to know when it comes to hose, they are fragile and there is a limit to their durability the finer the fabric. But compared to other brands, our hosiery usually lasts longer. Our customers always come back to us, because in the end they say it’s worth the price, because the quality and the look, of course, is very luxurious. What type of woman is buying Wolford? When it comes to hosiery it can basically be everyone, because lingerie is an accessory that you add to your outfit, so you can cover every price level. As long as you pay attention to the legs and you want them to look sophisticated, then you will come to Wolford, and since we price the tights at $20 or in some cases $25, in the end everyone can afford it. It’s just a question of whether it works for you. The core part of our business is the basic tights, and they go with every outfit. It’s mostly professional women and usually they have a
high academic degree, but we also know from online that we have other younger customers. Overall, the classic Wolford customer is confident, empowered, and not afraid to express subtle sexuality. Tell us about some of your recent collaborations. We also develop product with some fashion houses. In the past, we have done Gucci, Missoni, Zac Posen, Kenzo, Valentino, Emilio Pucci, Vivienne Westwood, and Lagerfeld Gallery. What’s your biggest seller? The best-selling items are the opaques in winter and the sheers in summer, as well as our pieces with shaping and contouring and our popular bodysuits. Do you see a lot of ups and downs as trends come and go? We do feel a certain fashion dependence. Sometimes they’re in fashion and sometimes they’re not. Sometimes it’s about the opaque ones and sometimes it’s about the shiny ones. And there are still some circumstances where you wouldn’t go somewhere with bare legs. There’s a certain continuity of women who wear tights. But when there are trends like leggings, then business really climbs. How many stores do you have worldwide? We now have 121 boutiques, 32 shop-in-shops, and 26 factory outlets. How do you envision the future of Wolford? We would like to focus on our strengths, which is not only legwear but lingerie and bodywear. At the moment we want to come up with innovative, functional, second-skin products that give you what you need to kind of shape your silhouette. We have developed shape-control lingerie, which has sold very well. The plan is definitely to grow, but by keeping our core values. How often do women buy tights with patterns? The market for patterns is limited. The market is up to 5 percent, but that’s the maximum value. But for us, we stand for something more special, and we have cool, exotic styles in patterns. They’re very high-priced fashion pieces. If you wear them, people’s eyes gravitate to your legs and stay there. But it’s still the opaques that drive the business. And lastly, what’s your highest price point? The highest is $490, and they are available only through a wait list [pictured opposite page, top left]. The design is what makes them so expensive, because they are hand-sewn with small metal pieces on the tights. You are paying not only for the design and the craftsmanship, but for the production. Each pair is sewn by hand in limited quantities, and they sell very, very fast.
all photos courtesy
CHIC Quartet
FA S H I O N W E E K D A I L Y. C O M
Family circle
Marie Claire’s Zanna Roberts Rassi and Milk Studios’ Mazdack Rassi are one of the industry’s most beloved power couples, and now with the addition of their twin girls, Rumi and Juno, they’re packing an even more fashionable punch. The Daily dropped by their Chelsea abode for an early look at the next generation. BY EDDIE ROCHE PHOTOGRAPHY BY GIORGIO NIRO How old are the girls? Mazdack Rassi: Almost five months! Congrats to you both! How has parenting changed you? Zanna Roberts Rassi: We’re more efficient! Rassi and I spend even more time together, because when you’ve got two babies, it’s impossible to manage on your own. We’re working just as much. Mazdack: But we cut out the bulls**t, because we care about our time a lot more. Everything we do, we really think about. We used to go out so much—there were so many dinners—and now, we’re more edited. How are you sleeping? Zanna: We’re kind of cheating the system—the girls are sleeping through the night all due to our amazing live-in nanny, Karen. Mazdack: You can’t mess around when you have twins! Things are very organized and efficient, military-style. You know when they say, “Take all the help that you can get!”? That’s the greatest advice. How did you pick the girls’ names? Zanna: Rumi was named after the Persian poet. We had a Rumi poem read at our wedding and Rassi is Persian. Juno is named after the Roman goddess. She’s the goddess of all gods and the protector of the Empire. Juno is also a character in Star Wars and the name of a NASA spaceship, so that’s how I sold that to Rassi. We liked other names, like Matilda, but she just didn’t fit a very girly name. I would have loved a traditional name like Alice, but she just wasn’t. It also had to fit with Rumi, which is such a strong name. They both have incredibly lofty names to live up to. No pressure, girls! Twins are their own thing! Zanna: Just this morning I was saying I never thought I had that much love to give. It’s unbounding. They’re hysterical and so different already. Rassi can explain this better than me! Mazdack: They aren’t identical; they’re paternal. It’s exactly like having two sisters at once. Rumi is just a baby; Juno is super serious and looks at us like she’s thinking about college already. She wants to know how we’re doing financially, and that we’re okay. Do we have a roof? Do we have a car? Zanna: She judges us! Mazdack: They are just starting to acknowledge each other and figuring out, “Is this competition? Is this friendly? Or is that myself in the mirror?” How else has life changed? Zanna: The amount of stuff we need! I remember the first trip to Baby “R” Us—we were buying four of everything because we have a place in the country, too. My wardrobe now pales in comparison to theirs.
Mazdack: So many wonderful people send us gifts. We’re still getting them from our dear friends in the business. The girls look very cute in their Dolce & Gabbana dresses… Mazdack: They came from a dear friend of our family, Lewis Katz, who passed away recently. He was a mentor and my best friend’s father. Zanna: The girls are going to keep those dresses forever. What are their other favorite brands? Zanna: The baby Burberry stuff! Mommy’s addicted to a website called Mini X Style. It’s like Net-A-Porter for kids. Mazdack: The baby Armani stuff is unbelievable, but they also wear a lot of Baby Gap. Are they ready for their first Fashion Week? Mazdack: We timed it so we had them right after last Fashion Week. Zanna: If that was the case, I wouldn’t have been so sick around this time last year. I couldn’t tell anybody I was pregnant, and I was going from New York to London and then to the Emmy Awards [practically] vomiting on Tom Ford’s feet while I was interviewing him. It was the worst. How did you lose the baby weight? Zanna: I breast-fed twins all day, every day for three weeks. I sat on our sofa and breast-fed hour after hour after hour, watching Sex and the City reruns. What’s your role at Marie Claire now? Zanna: I’m freelance and on contract as senior fashion editor, but I’m also the E! news fashion correspondent. My Fashion Week will be chaotic. I’m going to London to shoot for Fashion Police right after New York. How’s the Oscars red carpet? Zanna: I love it! Doing the awards ceremony is so much fun. We’re there for two days and all get rooms in the same hotel— it’s like Camp Oscars. To be a part of something so iconic, I can’t believe I’m so lucky to be there. It’s a dream come true. What’s new with MADE this season? Mazdack: It’s our fifth year, so our 10th season. We have lots of great designers—a big one is Public School, which people are dying to get into—and the usual crew like Peter Som and Cushnie et Ochs. There are lots of CFDA Award nominations from our crew, so we’re really proud. We don’t really look at them as fashion designers—they’re artists who also touch music and photography—so we think of it as more of a cultural celebration than a fashion week. The other day, someone called MADE “the establishment,” which kind of freaked us out. We were supposedly the downtown kids! Will we see the girls at MADE? Mazdack: MADE is all about the next generation.
CHIC Sheet
NETWORK NEWS Fusing fashion, travel, and CBS star power, Watch! has been quietly redefining what an entertainment mag can be. EIC Jeremy Murphy and his aide-de-camp, director of photography Christopher Ross, took us out to Bar Pleiades at the Surrey hotel to give us the lowdown. BY EDDIE ROCHE PHOTOGRAPHY BY GIORGIO NIRO How did you two meet? Jeremy Murphy: Chris was working with Annie Leibowitz, and through a mutual acquaintance, we were introduced. He came in, interviewed, and we gave him the challenge of a lifetime. We were taking one of our actresses, Eva LaRue, to Paris Fashion Week in 2008. His hazing was that he had to produce the shoot. Christopher Ross: I had to get them into all the shows. They gave me the wish list. If anything went poorly on this, it was all on me, and it went really well. What’s your background? Christopher: I went to Rhode Island School of Design with a major in painting. Unless you’re a trust fund kid, you can’t really be a painter in New York when you graduate. So, I worked at Lucky magazine in their photo department. It was a newbie type of thing for me because I felt like more of an artist, but I started getting really into it. After Lucky I went freelance for Annie and Details before eventually meeting Jeremy. You’ve booked some incredible photographers for Watch! Christopher: We’ve had shoots with Patrick Demarchelier—I think he likes working with us. We don’t get in his way and let him have a two-hour lunch. He’s just such a nice guy. We’ve also have worked with Ellen von Unwerth, who was so fast, creative, and so dialed into her assistants. I was blown away. Eventually Jeremy asked me if I wanted to do my own shoot for Watch! Was that scary? Christopher: Absolutely. I was a little hesitant at first—my job had always been producer. Why does a TV-centric magazine want to dabble in fashion? Jeremy: It gives us something completely different that no other entertainment magazine is doing. It gives us something exclusive and rarefied and glamorous. It’s easier to get top talent when you’ve got a great photographer. We shot at Cipriani in Venice and the Four Seasons in Florence. We’ve been really lucky. If we shoot with the right photographer, a lot of doors open. Christopher: Jeremy has so many contacts at some of the best hotels around the world, and they love him. Word gets around that we’re a well-oiled machine. Jeremy: I started as a travel writer and I know all the publicists at every hotel in the world. When we started at the magazine, nobody knew who we were, but I used those relationships to help get us in the door. We have our pick of the litter right now. Where have you been off to lately? Christopher: One of the big shoots we recently did was in Tuscany at Castiglion del Bosco with Christine Baranski. Jeremy: Massimo Ferragamo owns it, and they extended an invitation to us. It’s like a village. I would say it’s almost a six-star hotel. Christopher: It’s insane. Even the faucets were perfect. If you were going to FA S H I O N W E E K D A I L Y. C O M
renovate a house, you’d be really upset if you hadn’t seen this place. There were acres and acres of vineyards. What’s it like shooting actors? Christopher: They love being themselves. Christine was fabulous. She was such a pro. She’s old-school glamorous. She was up for anything. The only shot she was a little nervous about was when we put her at the end of an infinity pool. Jeremy: Anybody would be! Chris is also very easygoing and open to feedback, so actors love him. Of all the actors he’s shot, Christine is so comfortable in front of the camera, and she’s got a body that you wouldn’t believe. She’s like a teenager! Christopher: She’s such a happy woman, and that shines through. Is it easy to get the actors do these shoots around the world? Jeremy: It’s not as easy as you’d think. The actors are normally shooting the shows from mid-July through mid-April. We have a very small window with them. There are a lot of elements that come together from airlines to stylists. The stars have to align. What’s your circulation? Jeremy: 200,000. We’re very lucky. It’s also a major promotional tool. We license our photos through Corbis, and our video gets on Entertainment Tonight. We’re like a content incubator for other divisions. There are many purposes for the magazine. You also have some really impressive writers working with you! Jeremy: Hud Morgan, Kate Betts, Loren Chidoni, and Michael Musto, to name a few. What photographers would you like to bring into the fold? Jeremy: David Sims, Mario Testino, I’d love to work with Ellen again. What CBS actors would you still like to work with? Jeremy: Julianna Margulies! We’d love to shoot her. Téa Leoni, Ashton Kutcher. Christopher: Alan Cumming is another one. How receptive is the fashion world when it comes to providing clothes? Jeremy: It depends on your stylist. It’s all relationship-based. If your stylist can get into the showroom, you can get anything you want. There’s no reason our magazine would be in the realm of Vogue or Harper’s Bazaar—we’re not a fashion magazine— but we’re incredibly fortunate that we have people like Chris Campbell who work on our shoots and play on that level. What’s next for you guys? Jeremy: We have our 10-year anniversary coming up. We did something in Monte Carlo that’s coming up. We took LL Cool J to Paris! We have a lot of fun stuff coming. Who has the most frequent-flier miles now? Jeremy: I’m going to say me! Christopher: I’m a close second. Who deals with jet lag better? Christopher: Me! I’m younger!
firstVIEW
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Luna washed-silk T-shirt all photos courtesy
CHIC Dreams Tavi Gevinson’s turn in This Is Our Youth has some of you experiencing FOMO. The Daily wondered: Which onstage role would you love to tackle?
“I want to be the princess from Frozen.” —Dani Stahl
“Nellie Forbush in South Pacific. Or Eliza Doolittle in My Fair Lady. I’d take any part!” —Lynn Yaeger
“Annie, cause I’d love my hair to be red and curly. I’ve already got the freckles.” —Leandra Medine
“Little Orphan Annie!” —Lubov Azria
“Annie! Because I like the songs she sings.” —Fiona Byrne
“The woman in Kinky Boots who is in love with the main guy would be really fun to play.” —Giovanna Randall
s e i ab B Y A W D A O BR “Rum Tum Tugger from Cats.” —J. Errico
“Auntie Mame, absolutely. My mother always made me watch those classic movies and between the clothes and the parties, that was all I wanted. It’s like working in the fashion world.” —Anne Slowey
“I’m a really good dancer, so I’d love to be the piano teacher in Billy Elliot. He was the only man in the ballet studio who was kind of chubby and borderline homeless but was still a fabulous dancer.”—Mickey Boardman FA S H I O N W E E K D A I L Y. C O M
“Roxie Hart in Chicago.” —Nicole Miller
“Gene Kelly’s character in Singing in the Rain. I practiced it as a kid.” —Elettra Wiedemann B FA N YC . C O M