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FEBRUARY 10, 2017






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Prada, $591

Sara and Erin Foster Jane Keltner de Valle and Lara Meiland Shaw

Ainia, $225

THE DAILY X THE OUTNET HOW TO LOOK #prettyinfluential Sara and Erin Foster are interviewing chicsters about style for their Daily x THE OUTNET video series, “Pretty Influential,” all week long. Loving the look of the SoCal sisters? These pieces will do the trick…



FIT’s Couture Council kicked off chic week with a luncheon at Avra Madison Estiatorio. “So many different things,” said WES GORDON, who is not showing this season, when asked about his upcoming projects. “Back to your lunch question—no, I never lunch.”


Colby Jordan Mugrabi Wes Gordon

With Charlotte McKinney at the GUESS showroom

So you’re an actress now! I’ve done like seven movies! I told Paul [Marciano] that I don’t really model anymore, but I still really love Guess, so I’ll do campaigns for him. Can’t wait for Baywatch. Were you a lifeguard growing up? I lived in Florida, but I never had the dedication.


RETOUCHED BY AN ANGEL! What if…Peter Marino and Stefano Tonchi switched looks?


With Carlos Serrao, whose new exhibition, “Hu: The Spectrum of Being,” is installed at Samsung 837

What sparked this collaboration with Samsung? Originally, they approached me because I had done some pieces that are similar to what I created for them. I do a lot of sports and fashion work, but it’s always involved movement, the body mechanics or the path a model or athlete would take. They wanted me to come up with something that would demonstrate that, but, of course, the catch was that it had to be automated and it had to work on a phone. That was Francisco Lachowski


Rachelle Hruska MacPherson and Meredith Melling

really the technical challenge. What was the concept behind the installation? It’s about trying to demonstrate different biomechanics of each person’s body, whether it be an old dude with limited mobility or a dancer. This allowed everyone from every walk of life to just come through and show how they move. What technology was used? It was pretty straightforward. I wanted the experience to be more analog. There was a lot of talk in the beginning about using multiple cameras, and then it would go through software and the software would stitch it together, but there was something about that that didn’t make it user-organic. The stuff in there is pretty much what you would find in any photo studio or fashion shoot, but in a hidden way. We used a mix of LED light that you would see on a music stage performance that is programmable to change color. Those ran through the color spectrum and the strobe. The camera itself is the Galaxy and that does not work like a regular DSLR that you would normally use for this, so we had to trick it for it to do long exposures to make this technique work. Why is the installation called “Hu”? Hu is a color, so essentially the idea is going through all walks of life and all different people—races, skin tone, etc. What are your thoughts on how people are interacting with the work and the space? I was pretty stoked to go and visit. I went to watch people on the down-low. I was so worried the whole system was going to fail because some people would just come in and pull down their pants or not get it. I was expecting a lot of confusion, but I was really pleasantly surprised.

With Colby Jordan Mugrabi

How’s the honeymoon phase? Tico and I been traveling, literally, since September. We went to Africa and Japan for our honeymoon, and then to Europe a few times. I’m just happy to be home. You had 600 guests at your wedding. Done with the thank-you notes? I’m still working on them! What’s happening with your fashion blog, Minnie Muse? I’m relaunching it with a new focus on history with art, fashion, design, and architecture.

BABY TALK! With Nicky Hilton

Your daughter, Lily, is adorable. How’s motherhood? I love it. It’s so much fun. The only annoying part is getting up at 5 a.m. every day. So your sleep habits have changed? Big time. What do you typically eat for lunch? Something hearty—a big salad or pasta. I can’t do a light salad or smoothie. I’m not one of those girls. You recently took a jewelry course at FIT. Did you enjoy? Yes! You’re never too old to stop learning.

l e a n d r o j u s t e n f o r b fa ; g e t t y i m a g e s ( 4 ) ; r a m o n a r o s a l e s ( 2 )

Alexander Wang, $112

Brett Heyman and Chloe Malle



©2017 Maybe be elline LLC.

Brandusa Niro

Editor in Chief, CEO

HOPE, C’EST TOI? Who knew that Hope Hicks was a onetime model? Trump’s communications director graced the cover of Cecily von Ziegesar’s 2005 novel, The It Girl.


Just because Natalia Vodianova has two kids with Antoine Arnault doesn’t mean that she’s an LVMH exclusive—the supe just announced that she will front H&M’s Conscious Collection campaign. In the ads, she wears a dress made from recycled plastic waste.

The Daily Wonders…


With Hilary Rhoda, co-host of The daily x lifewtr's party

What inspires you most these days? The best ideas come into my head when I’m working out! It seems to be when my mind is most productive! What songs get you energized before walking a runway show? The usual poppy songs always do the trick! Who are your fashion icons? Anyone with a little attitude. What’s your secret to staying motivated to work out and stay healthy during your busy schedule? I just don’t even give myself the option of not doing it. It’s a part of my schedule every day, even if that means having to wake up before 5 a.m.!

Which top male model accidentally peed on someone’s head? Honey, that’s what happens when you relieve yourself off the balcony at the Top of the Standard!

…and Wonders…

Which newly installed editrix is planning to clean house? Rumor has it that she’s preparing for major layoffs at her title while interviewing potential new deputies.


Who knew that newly confirmed Secretary of Education Betsy DeVos is the sister-in-law of Pamella Roland president and designer Pamella DeVos? Their respective husbands, brothers Dick and Daniel, were raised in one of Michigan’s most prominent families. Pamella DeVos

Betsy DeVos


Papyrus is returning for its 10th consecutive season as official greeting card sponsor of NYFW: The Shows. Accordingly, the brand is hosting The Café by Papyrus, and also featuring a collection of Andy Warhol’s pop art in the center of Skylight Clarkson. Pop by for coffee or a LIFEWTR and send a gratis note to your friends, both near and far-flung, while you chow on Maria Sharapova’s Sugarpova candies.

SHOE OF THE DAILY Sport-luxe gets glam in Stuart Weitzman’s Décor sneakers. Choose from sumptuous suede, nubuc, and chic washed nappa; these skater-inspired staples are finished with a contrasting white rubber sole and are distinguished with a luxe pearl- and gemencrusted vamp. Contrast the razzle-dazzle and pair with tailored trousers and a motorcycle jacket. $445,


Talk about the ultimate in “couture” beauty! This trifecta of concealers, highlighters, and color correctors allows you to mask any uneven spots by simply choosing the palette that suits your skin tone. Neutralize dark circles, redness, and more by applying the corresponding shades to create a camouflage effect. Then finish with a light layer of foundation and you’re ready for the front row. Think of it as your own airbrushing kit! BEAUTY MUST: MAYBELLINE NEW YORK Facestudio Master Camo Color Correcting Kit ($12.99),

Mark Tevis Publisher

Executive Sales Director Stephen Savage Account Manager Cristina Graham Director of Marketing & Special Events Alex Dickerson Digital Director Daniel Chivu Publishing Manager Carey Cassidy Manufacturing Operations Michael Esposito, Amy Taylor

getty images the official photo agency of The daily front row


The Daily Front Row is a Daily Front Row Inc. publication. Copyright 2017. All rights reserved. Reproduction without permission is strictly prohibited. Requests for reprints must be submitted in writing to: The Daily, Attn: Tangie Silva, 250 West 57th Street, Ste. 301, New York, NY 10107.

On the cover: Francisco Lachowski and Carlos Garciavelez, photographed by Ramona Rosales. Grooming by Claudia Lake/contactnyc.

camo shop

Zimmermann Spring 2016

Natalia Vodianova

Deputy Editor Eddie Roche Executive Editor Ashley Baker Managing Editor Tangie Silva Design Director Jill Serra Wilde Fashion Editor Paige Reddinger Senior Editor Kristen Heinzinger Associate Editor Sydney Sadick Art Director Magdalena Long Designer Sean Talbot Contributing Photo Editor Hannah Turner-Harts Contributing Photographer Giorgio Niro Contributing Copy Editor Joseph Manghise Imaging Specialists RJ Hamilton, George Maier

PRO TIP: Mix and match shades to best replicate your natural skin tone.

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32. 888 Madison Avenue n 7 pm ralph lauren 32

5. The Russian Tea Room 150 W. 57th Street n 11 am kate spade new york

27. 3560 Broadway n 8 pm alexander wang 6. The Plaza Hotel Grand Ballroom 768 Fifth Avenue n 4 pm christian siriano 26

20. Metropolitan West 639 W. 46th Street n 11 am zimmermann





26. 888 Lexington Avenue n 2 pm marc jacobs Marc jacobs

2. SIR Stage 37 508 W. 37th Street n 8 pm la perla n 8 pm narciso rodriguez

23. Sean Kelly Gallery 475 10th Avenue n 4 pm diane von furstenberg


10. Pier59 59 Chelsea Piers n 11 am delpozo n 3 pm yeezy


4. The St. Regis 2 E. 55th Street n 5 pm jason wu

13. The DiMenna Center for Classical Music 450 W. 37th Street n 4 pm self-portrait 2


13 25

22. New York Public Library 476 Fifth Avenue n 9 pm philipp plein 22


12 28


28. Cedar Lake 547 W. 26th Street n 7 pm thakoon

11. ArtBeam 540 W. 21st Street n 6 pm milly

11 9

25. 205 W. 39th Street n 10 am calvin klein

12. Skylight Modern 537 W. 27th Street n 2 pm tibi n 2 pm zadig + voltaire

16. Hammerstein Ballroom 311 W. 34th Street n 3 pm moncler grenoble

9. The Refectory 180 10th Avenue n 2 pm gabriela hearst 14. Milk Studios 450 W. 15th Street, Ground Floor n 11 am public school


19 15


19. 60 10th Avenue n 8 pm rag & bone



21. Gilded Lily 408 W. 15th Street n 9 pm baja east

15. Highline Stages 441 W. 14th Street n 1 pm alice + olivia


30. Loring Place n 12 pm lela rose


Here to guide you through New York Fashion Week is our handy map of shows. Your Uber awaits! Surge pricing may apply. BY KRISTEN HEINZINGER FA S H I O N W E E K D A I L Y. C O M

Landing in LA-LA Land



24. 25 Little W. 12th Street n 10 am carolina herrera 8. The Whitney Museum of American Art 99 Gansevoort Street n 9 am tory burch

31. 572 Washington Street n 1 pm proenza schouler




29. 100 Sixth Avenue n 1 pm sally lapointe 18

1. Skylight Clarkson Square 550 Washington Street n 10 am nicholas k n 11 am desigual n 2 pm brock collection n 5 pm noon by noor n 6 pm adam selman n 3 pm cushnie et ochs n 4 pm chromat n 6 pm nicole miller n 7 pm jeremy scott n 12 pm creatures of the wind n 3 pm dion lee n 5 pm jonathan simkhai n 12 pm tome n 1 pm gypsy sport n 7 pm prabal gurung n 11 am rosie assoulin n 6:30 pm monse/oscar de la renta n 10 am badgley mischka n 11 am naeem khan n 2 pm dennis basso n 9 pm the blonds n 1 pm bibhu mohapatra n 4 pm anna sui n 5 pm marchesa

rachel comey Tommy Hilfiger rebecca Minkoff Rachel Zoe NICOLE MILLER

oscar de la renta



3 7

18. 13-17 Laight Street, Third Floor n 7 pm zac posen

3. Pearl River Mart 477 Broadway, Second Floor n 12 pm tanya taylor


getty images ( 2 0 ) ; patrickmcm u llan . c o m ( 4 ) ; firstview ( 3 ) ; c o u rtesy

7. Spring Studios 50 Varick Street n 1:30 pm j.crew n 10 am: lacoste n 8 pm: altuzarra n 3 pm 3.1 phillip lim n 10 am michael kors


17. 4 World Trade Center, 68th Floor n 6 pm brandon maxwell


T Thursday, February 9 F Friday, February 10 S Saturday, February 11 S Sunday, February 12 M Monday, February 13 T Tuesday, February 14 W Wednesday, February 15 T Thursday, February 16



WINNER TAKES ALL Francisco Lachowski



g r o o m i n g b y c l a u d i a l a k e /c o n ta c t n yC


The chicsters have spoken: After an intense competition garnering thousands of online votes, Carlos Garciavelez is the winner of The Daily x Samsung’s Up Next contest, which featured an inside look at the creative processes of nine emerging menswear designers. Meet the architect-turned-Harvardprodigy-turned-designer of Garciavelez!

Congrats on the cover! What were you doing when you found out you won Up Next? I was at home keeping my eye on my e-mails. I was super excited to find out I had won, and tried to go to bed right after…since we had an early call time for the cover shoot the next morning! What was it like shooting with mod Francisco “Chico” Lachowski? He’s a great guy—very accomplished for such a young age—and has such great energy! The shoot was so fun, more fun than most. Chico and I were laughing while trying to balance on the slippery floor. Any favorite looks from this collection? The rain jackets we selected for this shoot are my favorite. They encapsulate the overall story of the collection. How did you find yourself in fashion? I went to RISD, and I became an architect, but I was interested in fashion even then. I thought architecture was a good foundation. I practiced architecture for about three years. I went to grad school at Harvard, where I teach urban design. In the interim, I interned at McQueen, and that was when I decided that I wanted to push forward. I launched Garciavelez two years ago. Why did you want to launch your own label? I have this incredible possibility to teach and design at the same time. This season, I was able to work in tandem with the CFDA and Harvard on a project. That was the first time they all intertwined. It’s my day job, if you want to call it that. I’ve been doing this since I graduated. When did you officially switch gears? When I finished at Harvard, I got a fellowship and they funded my research. I flew all over the world,

meet the maker Carlos Garciavelez uses elements of architecture to create “constructed comfort” with his collections.

mostly in Latin America. The whole line came from this idea of exploration. It’s about the explorer, but we apply it to the every day. So in terms of clothing, the hoodie is an essential—you can sleep on the plane or you can dress it up. How does architecture inform your designs? In the construction details, like how things are layered and move. We started with more tailoring, and we’ve become more loose and comfortable. It began with the idea of this cultural nomad—a guy who works and wears the same clothes from morning to night. It revolves around flexibility and activity—everything has stretch.

Carlos Garciavelez

What was the design concept for the Fall ’17 collection? Every season, there’s an ephemeral quality. Last season, it was the idea of decay. For this collection, it was more about finding beauty, the idea of rebuilding. It’s inspired by Gordon Matta-Clark. He was an installation artist who would take pieces of existing buildings or infrastructure and cut through them, taking pieces out and out of context. So it’s a lot about geometry—we have prints, and it’s the first time they’ve become part of the set. What did building the set entail? Our set was built completely by hand using masking FA S H I O N W E E K D A I L Y. C O M


“THE WHOLE LINE CAME FROM THIS IDEA OF EXPLORATION. IT’S ABOUT THE EXPLORER, BUT WE APPLY IT TO THE EVERY DAY.” building an image Garciavelez’s Fall ’17 raincoats, sweatshirts, and prints are inspired by famed installation artist Gordon Matta-Clark.

tape, so it was a huge undertaking. The backdrop was 45 feet by 10 feet. I’m really pleased about the final product, and everyone seemed to love the collection. That’s always the best part! How did you use the Samsung tools during the presentation? I didn’t realize how fun all that gear is! We used it to make a time-lapse video of the set being assembled and got some really incredible shots with the Samsung 360 camera. Who are you designing for? Ideally, a creative person, but it’s more about the idea of the everyday guy who has a really intense workload and has to perform the whole day. We call it “constructed comfort.” What was on your inspiration board for Fall? We have Freaks and Geeks, the misunderstood, socially, but the creative. We also looked at Steve Jobs and this idea of a start-up in the garage. These ideas physically transcend into what they wear. Where to next? I’ll start working on the S/S18 Collection soon and prepare to teach my architecture course at Harvard next semester. I am also in the process of renovating my apartment. Soon will come the fun part— decorating! Lots of projects for spring and summer. Now that it’s all over, how will you celebrate? I’m going to the beach for a few days to recharge! I can’t wait to just lay in the sun and do nothing for a few days. The fashion roller coaster starts up again in a few weeks. ß


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Chico Magnet

From the country that brought us Gisele, Brazil’s latest export is Wilhelmina’s Francisco Lachowski. This 25-year-old has graced campaigns for Tommy Hilfiger and Balmain, enchants 1.6 million followers on IG, and was anointed’s Male Model of the Year (Readers’ Choice). Naturally, we sat him down for a background check! By Eddie Roche PHOTOGRAPHY BY Ramona ROSALES

What do you like to be called? If you’re from Brazil and your name is Francisco, your nickname will be Chico. There’s no way around it! I’ve been called Chico my entire life. It makes me feel welcome and warm. Chico it is! Would your younger self be shocked to see you now? Yes and no. If I start doing something, I really want to succeed. Once I got the chance to be a model, I FA S H I O N W E E K D A I L Y. C O M

knew I’d be able to reach the top. Everything started when my cousin designed fashion and she had a presentation. They needed people who looked like models, and there was some pay. I was 17 and had nothing to do, so I did it. A modeling agency ended up asking me to come over to the agency and they made me do classes, which seemed a little weird. After the courses, they told me about a modeling contest, which I ended up winning, and then I went to São Paulo for

another one, which I also won. I ended up on MTV Brazil. The next step was going to Paris. Soon after, you were shooting the Dior Homme campaign with Karl Lagerfeld. I didn’t really speak French or English at the time. I arrived early, and he showed up after a few hours. He took a few shots, and he found a model who spoke English who could translate for those of us who didn’t speak. But then he’d stop and go for tea for two hours. All props to him. What gig has been your favorite? The Balmain campaign was one of my favorites because it opened up a lot of doors. Steven Klein shot it, and he’s always such a nice guy. The Tommy Hilfiger campaign with Gigi Hadid was nice, because I didn’t realize I was shooting the campaign—I thought it was a lookbook. Of the top models that I’ve worked with, she was the nicest and so kind to everybody. Your wife, Jessiann Gravel Beland, is also a model. How did you meet? I was working in Japan for two months, and the models go out there at night. She was dating my roommate at the time, but she preferred me. Now, we’ve been together for three years with two kids. Are you enjoying your newfound fame? It’s funny, this fame I have. Ever since I started modeling, I’ve been getting a lot of attention from young girls. In my second season, they were waiting for me outside of shows. The same thing that happens to Lucky Blue Smith. I had a crazy fan page and YouTube channel and this and that. There were rumors that I was gay. It got out of control. I decided to control it myself on Instagram. I started showing my life and my girlfriend at the time. The award is a big deal. I know! Everybody looks to it for guidance. I won the Readers’ Choice award, and Jordan Barrett won the Industry’s Vote. I like him a lot. We met last year, and we do work together. He’s like my little son. I call him my child. He’s one of the most beautiful men I’ve ever seen in my life. What did you think of [designer] Carlos Garciavelez? His designs are super comfortable. I wanted to take some home. He’s really talented! Good luck to you. Thanks! You always need luck. ß a boy and his band Lachowski with Gigi Hadid for the Tommy Hilfiger holiday campaign and getting up close and personal with Riley Montana for Balmain eyewear.

g r o o m i n g b y c l a u d i a l a k e /c o n ta c t n yc ; c o u r t e s y



DOES BALENCIAGA BELONG On Madison? Hi, friends! My colleague Paige and I are (deliciously) seasoned fashion editors who have very conflicted feelings about Demna Gvasalia. On one hand, his runway shows for Balenciaga and Vetements make us smile. On the other, we find much of his stuff to be lightly reworked versions of things we never would have worn in the first place. So when he attempted a revival of the JNCO jeans we loathed on the raver dudes of our youth, we were compelled to investigate: Are these clothes a joke, or are they the hottest things to ever hit the streets of New York? PAIGE BY ASHLEY BAKER PHOTOGRAPHY BY WILLIAM JESS LAIRD



We tracked down damn-near-perfect replicas of the styles darling Demna holds dear:

Paige’s Look Dynasty-era polyester top, $55, Lycra leggings, $35,

Ashley’s Look North Face jacket, c. 1995, $39.99, Vintage Lulu Frost earrings, c. 2005, gift from designer JNCO jeans, c. 1997, $14.99, Sam Edelman shoes, $65, Plastic bag, recycled FA S H I O N W E E K D A I L Y. C O M

TO LUNCH! We hail a taxi outside our office and make haste to our favorite lunch spot, Fred’s at Barneys New York. Sashaying up Fifth Avenue, we’re ogled by tourists and stopped by a street-style photographer who goes by @vakkusociety (716 followers on IG!). “It’s sort of like Humans of New York meets Bill Cunningham,” he explains as we offer up our best Grace Hartzels. “You guys are going to be in my latest series—it’s called February Queens.” On the corner of 57th and Fifth, a handsome fortysomething in a dapper flannel suit (Brioni?) weighs in. “You ladies look amazing,” he declares, as if there was ever any doubt. Paige probably would have asked for his number if she wasn’t busy fielding several catcalls from amorous construction workers. At Barneys, the darling doorman welcomes us with, “Great outfits.” These are our people! We go unnoticed until we check in at Fred’s. “Is this for real?” asks the straight-talking maître d’, whom we later learn is named Tara. “What’s with the plastic bag? Is that your pocketbook?” I’m embarrassed, but only momentarily. “I’ve got to drop off some dry-cleaning,” I explain boldly, whipping out my Valextra wallet to not-so-subtly prove that I have the means to pay for my pizza. I turn around and notice André Leon Talley, cocooned in a maroon robe, holding court at a nearby banquette. I sense his approval, but maybe that’s just ego. “Right this way, girls,” says Tara, seating us at a prime table. “You made my day.” And then she sent gratis pommes frites.

TIME TO SHOP... Lotta, is that you?

After lunch, we make a pit stop on 8 to see whether Maison Mayle’s Spring collection has been delivered, and praise from the sales associates rains down gloriously. “That’s the look,” declares one gentleman, nodding approvingly. “Perfection!” adds another. Next, we brave the escalator to peruse—what else?—the latest Resort arrivals from Balenciaga. Upon encountering Demna’s version of my JNCOs, I smugly note that mine cost $760 less than the designer version and required zero tailoring. On the shoe floor, Paige ponders the merits of Balenciaga’s platform boots ($2,145), which are already sold out in her size. (I find a similar pair on upscalestripper .com for $81.95.) While the occasional shopper does a double take, the ultra-pro Barneys staff remains totally nonplussed. Just another perfect day at our favorite fashion emporium!

firstview (2); getty images (1)

BACK TO WORK! As we exit onto Madison Avenue and amble back to Daily HQ, our feelings of grandeur diminish. Tourists are gawking. Thirtysomethings-who-lunch stare disapprovingly. One even jumps up from her table at a sidewalk café to take our picture. “Where are you girls coming from?” she says, as if talking to little children. “Barneys,” I huff, as she shamelessly takes our picture. Does @bat_gio put up with this s**t? Back at work, I slide into my Altuzarra sheath, and I must admit I’m kind of missing my getup. There’s something joyful, empowering, and totally gonzo about Demna’s universe. Just imagine how divine we’d feel if we could buy the real stuff at Barneys instead of the designer impostors on eBay!



fearless factor

In the fashion business, there’s nothing more elusive than longevity, but Tibi’s Amy Smilovic has achieved exactly that. As she celebrates the brand’s 20th anniversary, Smilovic looks back on its salad days as a three-employee enterprise in Hong Kong—and reveals her vision for its future. By paige reddinger Before you launched the brand, you were working in advertising at Amex. How did that happen? My husband and I were both working there. He was transferred to Hong Kong, and I would have been reporting to him, so that was not going to happen! [Laughs] The move was a really exciting chance to do something on my own. How long did it take you to start your business after arriving in Asia? Three days. I’m not exaggerating. It was so fast, in fact, that John Stossel, who was at 20/20 at the time, did a story on barriers to starting and running businesses in different countries, comparing America, India, Paris, and Hong Kong, and I was their profile for Hong Kong to illustrate how fast an entrepreneur can set up business there. Hong Kong is known for its production capabilities. How was that useful to you? It was a huge advantage, and I wish I had known how FA S H I O N W E E K D A I L Y. C O M

much of an advantage it was at the time. In 1997, it was something like 30 percent of all clothing in America was made in China and now it’s almost 90 percent. When I launched, I had department stores say, “What if I asked you for 800 units in two weeks? Could you do that?” And I would say, “Of course! My factory would be so happy.” Without a design background, how did you know where to begin? Due to my background in advertising, I worked with many entrepreneurs, so I knew what was critical to starting a business. I knew that you made a product and then you had to sell that product for significantly more than what it cost to make, and that you use that margin to cover your expense base. But when I arrived in Hong Kong, I called a headhunting agency to find a factory. I wanted them to be able to speak English and be very patient with someone who doesn’t know what they’re

doing. They came back to me with these two young Chinese guys, Benny and Ivan, and they were totally entrepreneurial in spirit. The idea of working with a brand that wasn’t an Ann Taylor or a Walmart was really exciting to them. What happened next? I went to their office with these crappy little sketches and I thought we were going to have this big meeting and that we would memo each other and confirm and debate pricing. I walked in and they saw my drawings and they just said, “$10.” That was what it cost to make the sample. By Day 3, I had a sample line. On Day 5, I went to the American Women’s Association and I met a 23-year-old woman named Octavia [Hyland]. She was like, “What are you doing today?” And I said, “Oh, I started a company two days ago and I’m going to visit my sample maker.” She ended up coming with me, and we were talking about how there was no easy cotton clothing to wear in Hong Kong. We wanted to

getty images (3); all others courtesy

do something that had more Western fits. I figured I might as well start another company, so we designed two dresses, some pants, and a skirt, and we gave them to Benny and Ivan. What was your first big hurdle? We needed more boutique fabrics, so I called the Indonesian Consulate looking for factories on the island of Java, where all the printers were. We stayed at the Shangri-La in the middle of Jakarta, and we set up appointments with six printing mills. We were there in short shorts and T-shirts waiting for these mills to come, and no one showed up. Finally, by 6 p.m. this man and a woman in a burka walked in. She had been expecting two Chinese men from Hong Kong and was surprised that we were American women in shorts and T-shirts. Their printing factory was an hour away, so they invited us to come stay in one of their huts. And we went with these total strangers. Can you imagine? They put us in a little house on top of all these rice patties. We chose four different prints from their Ikat screens, and we designed some prints as well. But when the prints were delivered they were in five-yard rolls and some of them had chicken scratches, because they had been laid out in the fields to dry. We ordered 400 of each of the styles and stored the finished clothes in the kitchen cabinets and bathtubs at our house in Hong Kong. How did you start selling all the clothing? We trolled the expat bars looking for clients. There was a big Dutch and Australian community, and they couldn’t fit into anything made in Hong Kong, so we zoomed in on them. We had a party in my apartment, and we sold $12,000 worth of clothing. We took the remaining samples to the U.S. to show them to stores. Who in the U.S. was the first to see Tibi? Ann Watson at Neiman Marcus. She ended up picking up the line, and we got 13 other accounts. I went back to Hong Kong and shipped our first shipment—4,000 pieces of clothing—to my parents’ house in St. Simons Island, Georgia, in a container truck. What did your parents think? [Laughs] My mom was actually the assistant vice president at the local high school at the time, and at work she kept getting all these calls from Neiman Marcus and Saks Fifth Avenue. My old principal from high school was doing the accounting and teachers would do the packing on the weekend. Eventually we got proper employees. How did you end up landing Saks Fifth Avenue? Sarah Rutson was at Lane Crawford and had picked us up after reading an article in the South China

Morning Post—we had worked the PR angle right away. She told me that I should really be at the Coterie trade show. At Coterie, we picked up Saks right away because we had product ready to ship. What was your biggest learning curve? Saks eventually called wanting to return. They called my mom at the high school with an RA. That’s when Octavia was like, “Oh, this isn’t so fun anymore.” Then it was just me with the company. What happened? I sent out one shipment of dresses that had these cone boobs, like the Gaultier Madonna cone boobs, only it was not Gaultier and not Madonna. All the stores called wanting to return them. I remember crying so hard. I had to eat $20,000 worth of clothing at the time. My husband said to me, “You have to take the return. In the end it’s going to be about customer service, and hopefully in the future this will just be a blip on the screen and you can laugh about it.” And it was. [Laughs] How did you recover? Eventually we hired Linda Underwood, who was based out of New Orleans and went on the road to sell the collection. She was really the reason we were able to launch. She was all about relationships, so I had someone really finessing that. I didn’t even know to go to a showroom. In hindsight, it was great, because any of these showrooms would have dumped me right away. I could choose to manage these mishaps in a way that was good for me. That was critical. What do you consider your first big hit? I was designing my own prints and working with beautiful silks in China. Jeannine Braden from Fred Segal walked by our booth at Coterie and wanted to

to do something more authentic. What did you learn from that process? By 2010, brands were more visible to women in every country because of social media. I found that if you create something authentic, your woman will find you. You don’t have to be something to everyone, you just have to be something incredibly meaningful to someone. We have a huge following in the Middle East, London, Stockholm, Japan, and Russia. I had buyers telling me that if I wanted to be in the Middle East it had to have a diamond on it, or if I wanted to be in Japan, it had to have a cat on it. And they’re so wrong. Designers, do not listen to them! Your customer has a reason for coming to you. What was one of your aesthetic turning points? We did a collection for Spring 2012 that didn’t have one print in it. We thought we would let the fallout happen with Resort, because we felt like we could weather that storm a little better. All our core items today were in that collection. Then we brought in Elin Kling to help us style the next spring collection, so we could generate some buzz. We really haven’t looked back. Did you lose a lot of retailers? Tons, and rightly so. We were no longer right for some of them. But producing something real is so critical. It’s so critical to own your staples, but once they become an albatross around your neck, you have to cut them loose. What’s the plan for the next 20 years? The business will look totally different from today. I think we will have even more meaningful partnerships with fewer companies. I know that men’s will be in our future, but I don’t know when. I think handbags will be a larger part of our line. We will be much more global in scope. ß

FIVE THINGS YOU DON’T KNOW ABOUT ME! 1) I love stale Peeps, and gross candy in general 2) I’m good at whiffling. 3) I was voted “most humorous” in my high school class. 4) I painted the side of our house yellow when I was 8. My parents were unaware. 5) I had my first real job at age 10, and I haven't stopped working since.

buy all the skirts, but she wanted them in five different prints. I had rented an apartment on MacDougal Street, where there was a vintage store selling old scarves in a bin. There was something so gross and tacky about them, and I felt that if they were executed on really luxurious silk, it could be cool. I did about seven prints on the skirts, and my friend from Paris was like, “That’s so vulgar.” But that was kind of what I was going for. Bill Cunningham did a whole page on them. You eventually reinvented your brand entirely. By 2000, I had been back in New York and we were a full-on contemporary brand. We ended up getting very locked into prints. Around 2006 or 2007, people started to get hyper-focused. Stores were saying, “Oh, I don’t want sweaters from you anymore because if it’s cashmere we go to Autumn Cashmere,” and “I don’t want a T-shirt from you because I go to Velvet Tees.” Everyone started getting siloed, and I had to do printed dresses every season. It became such a slog because I had to design in a category that wasn’t really on-trend anymore. I wasn’t loving what I was doing. So I decided FA S H I O N W E E K D A I L Y. C O M


NEW BEGINNINGS While the see-now, buy-now model is on the minds of many fashion industry execs and shoppers, designer and Project Runway vet Daniel Vosovic has stepped away from his namesake clothing line to put a new concept in our heads. Introducing The Kit, a meticulously curated group of newshape essentials that can be styled in all kinds of intriguing ways. BY SYDNEY SADICK First things first: What’s the story behind your new project? I launched my own line in 2009, after Project Runway. It was around for five and a half years, and I started feeling very reactive to what stores would want me to make. I also felt like I was fighting against people who were just bigger machines than me. I’d see friends of mine go out of business and people who had been in the game for years floundering, making the same decisions I’m making, so I said to myself, “Why am I still doing this?” Two and a half years ago, I had a feeling in my stomach—you know, the feeling you get when you’re dating the wrong person, or when you’re at the job you know you shouldn’t be at any more. I woke up one morning three weeks away from my fashion show. Collections were being developed, my studio was full of people, and we were about to start casting. I turned around to my staff and I said, “Guys, we’re going to take a pause.” And they were like, “What?” I didn’t want to keep doing something I didn’t like. I grew a pair, and that gave me an FA S H I O N W E E K D A I L Y. C O M

opportunity to finally lift up my head and see where I’m going—the design-now, buy-now model, which is what The Kit is all about. What exactly does “design-now, buy-now” mean? It’s truly pivotal designing—I can go from an idea to production-ready garments in two weeks. I’ve always dressed chic, tomboyish, on-the-go girls—I don’t design for this imaginary woman who owns an art gallery, whoever the f**k that girl is. [Laughs] The Kit was born from one of my favorite fashion moments: Donna Karan’s seven easy pieces. The idea of starting simple felt very different from what was out there. No one else is doing designer-driven fast fashion. The Kit concept is less choosing, more choices. It starts with two silhouettes—The Emma and The Charlie— that you buy as a unit for $395 in a variety of prints. Eventually you’ll see a romper, a midi, a maxi…I have no minimums! So that enables you to really respond to what’s happening in culture. If Beyoncé launches a new music video and it’s

all about a yellow dress, I can capture that energy without ruining my schedule—I can slide in The Kit’s version and capture that. I can also work with editorial in a way that I haven’t been able to before. Who are your muses? The marginalized perspective that people have put on women is very frustrating to me, and I can see this as a designer, as a gay man, and as a man who has so many females in his life. I see how women nowadays are living, like, four lives in one. You commute, you work out during your lunch hour, you take meetings…. I see girls on the train carrying their tote bag, their purse, their gym bag…they’re bogged down. I wanted to try and offer a simple way of helping them. I’m not here to change anyone, but it’s my motivation to help create clothes that won’t get in the way of your life by creating pieces that don’t have snaps or zippers or other superfluous design elements. You’re working with Malcolm Carfrae on your marketing. How do you know him? Malcolm has been my mentor for four and a half


years through the CFDA Incubator program. He’s seen it all. He was at Calvin [Klein] when we first met, and he was my sounding board for many big decisions. I remember talking to him about The Kit, and you could see sparks in his eyes. He said, “Oh, my God, this is truly something different!” We’ve gotten to a place in our work relationship where he knows what model of press and marketing feels authentic to me. I love him. Do you think the see-now, buy-now model works for smaller brands? It’s not going to work. Nothing’s changing—the money, the work…it’s merely shifting, and it’s still a gamble. Direct-to-consumer is what will continue to live—new business models, like mine, that are adaptable. You were a finalist on Season 2 of   Project Runway. What was the most beneficial part of that experience? The visibility. Television continues to be the easiest way to go into people’s hearts because you’re at your most vulnerable. I didn’t have a “perspective” when I was on the show, but those real stories that have come out over the years of people saying, “You gave me the courage to come out to my parents” or “You gave me the courage to quit my horrible job” makes me like, “Wow, okay!” I was on the show four days after I graduated, so it was like a job for me. Do you still watch the show? I haven’t watched it in many, many years, but I hardly have time to watch TV. When I was on the show, my motivation was design, not to be famous. TV fame is fleeting. I was very happy to say I closed that book. It’s not why I studied for years in different countries and colleges and took different internships and apprenticeships. I remember the producers telling us at the time—the “magical elves”—that we had to start talking because as designers we were just working—we didn’t know what made good TV. We’d say, “But we don’t want you to make us look bad.” One producer said, “I’m here to tell a story!” so there was this huge trust jump. The show’s changed production companies and TV networks since then, but I’m still very good friends with those executive producers, because that trust was from the get-go. Even after 10 years, my boyfriend still hasn’t watched the final episode. He thinks I won! Just kidding. Would you do it over again? No, but I’m grateful that I did it. I’m not nostalgic in the least. I’ve explored a Facebook Live series with a partner, figuring out what that would look like. You and your partner, Kieran Mulcare, have been together for a decade. What’s your secret? We established the tone early on. Six months into our relationship, I said to him, “Kieran, you make me really happy.” He said, “That’s not my job.” I was initially taken aback by how he didn’t say, “Thank you!” or “You make me so happy!” But I’m very grateful that he set the tone that I’m the one responsible for my own happiness, and he is responsible for his. The third thing in that Venn diagram is for us to explore. Do you have plans to build a lifestyle brand? Yes, and I also think that term should evolve, because I don’t know what fashion designer is not part of a life. That speaks to me not designing for the imaginary woman. The Kit is just a few days old…what are you doing to celebrate it? My boyfriend keeps saying, “Don’t forget to celebrate the moment!” We opened a bottle of Dom Perignon at the office, but to be honest, while I’m tired, I love what I’m doing. I’m already onto the next four things. My celebration is planning what’s next. ß FA S H I O N W E E K D A I L Y. C O M



In the realm of swimwear, Australians and their beach-centric lifestyles have a hometown advantage. But over the past two decades, sisters Nicky and Simone Zimmermann have created a global fashion brand that extends far beyond their brilliant bikinis. As they prepare to open more stores in the U.S. and abroad, creative director Nicky Zimmermann explains why their romantic aesthetic is resonating. BY ASHLEY BAKER Between your flagship in Soho, permanent boutique in East Hampton, and now, a show on the New York calendar, Zimmermann is having a real New York moment. Simone and I have been coming to New York for the past 22 years, selling the collection and participating in what we need to do for our business. A long time ago, we decided that New York was going to be our home away from home. We created a fashion destination that’s similar to what we have in Sydney, where we have a head office and a permanent staff. It’s been a really natural fit for us. We’re always very keen to work where we want to be, and we felt very comfortable in New York. Our line has always been easily understood here. And you’re currently operating five stores in the United States? Yes, and we’re also opening in Miami, London, and FA S H I O N W E E K D A I L Y. C O M

the Meatpacking District this year. Zimmermann really started with retail stores. We love having that connection with our customer, and it’s very important for us to be able to show our collections in the way that we do in Australia. How many collections are you putting out? At the moment, we’re doing a Spring/Summer and a Fall/Winter ready-to wear collection, as well as Resort, Summer Swim, and Resort Swim. And then we do different special capsules; we work with Neta-Porter and Barneys New York on several of those. The only one that I don’t do is Pre-Fall—which we will probably start doing! Each collection has a story line—the starting point is never an easy trend. How do you create so many distinct points of view? I work with two separate teams in our design studio—

one for swimwear and swim clothing, one for readyto-wear. The swim definitely has the flavor of what we do in ready-to-wear, but there’s a more relaxed, resort feeling to it. I’m the one who’s mainly working across a couple of different things, quite often at the same time. At the moment I’m putting together a swim collection while I’m finishing up the full collection and the show, so I’m intensely doing fittings and working on putting all of that together. In the background, I’m allocating time to work on the swim collection, putting together our prints and embroideries while I’m developing all of the stories. It’s almost like a release to get out of one thing and get into another. I quite like it! What is your favorite challenge of designing swimwear? Trying to find something new that’s aesthetically pleasing and also fits and functions perfectly. Getting those three things into a swimsuit is our goal. We’re always trying to really bring newness and new technology to pieces while making them really Zimmermann. Swimwear is as naked as you get in public. We’re doing our best to really make people feel good. A lot of thought goes into every single piece— who will wear it, and what it’s doing for the collection? You’re known for your prints. I have two gorgeous young artists who work in the

studio, and we do every single print ourselves. When we conceive a collection, I work out the direction and the type of things that we want, and then the design team and I sit with these artists to talk about the feeling and the colors we’re thinking of. Then they look at a whole lot of different inspirations and put the artwork together. And then they work with myself and the designers—make the floral bigger or smaller, try these colors, add this stripe. It’s a collaborative process in the design room. There have been so many developments in fabric production and in materials over the course of your career. What have been some of the most prominent changes in the way you develop a collection? Because I love texture, the changes in what’s available to me now have been incredible. We can work with so much in terms of all the different types of base cloths, and the textures we can apply to the fabric—bonding, embroidery, surface decoration. When we started 25 years ago, particularly because we were in Australia, it was wool, it was cotton, it was silk. Polyester was always available, but it wasn’t what you wanted to use. Now, the polyesters are incredible, and it’s not even because they replicate silk. We have people who are specifically weaving our striped suiting and stripe-based fabrics. We have another group of people who specifically work with


“swimwear is as naked as you get in public. we’re doing our best to really make people feel good.”

growing very quickly, and that gives us confidence. What kind of world do you hope to create in a Zimmermann store? What do you want a woman to feel like when she walks inside? This is a silly word, but we want women to feel that the atmosphere is “friendly.” We always strive to be as helpful and welcoming as we can. It’s an Australian thing—we want people to be comfortable, particularly if they’re trying on swimwear! The stores have an optimistic feeling, fresh and light, and they don’t feel like any other store. What’s your concept for the Fall ’17 collection? When Zimmermann does Fall, we maintain that optimistic, fresh feeling. There’s a lot of light color, and that has always been really important to us. The collection is based on a nice memory of my grandmother, who’s long passed now. She was a young woman in the 1920s in Sydney; she lived in a beach area called Coogee, which is a couple of beaches along from Bondi. She had great stories about the life in those times, and how carefree and fun the women were. There was a big change going on; they were sort of free to be what they wanted to be. At University of Sydney, the women were on rowing teams, and playing tennis, and having businesses, and they were very much a part of nightlife. So the collection is derived from a bit of the ’20s life of a young woman going to University. There’s a mix of those collegiate stripes and sweaters, and then an Asian influence—silk pajamas and things. There’s a real mix of masculine and feminine, and that’s always a bit of a theme that really appeals to us. Have you ever thought about doing a home collection? Well…no! [Laughs] I absolutely love textiles, texture, print, colors, everything like that. To be honest, I’m


Freestanding Zimmermann stores around the world


Countries around the globe that carry Zimmermann


Multi-brand stores around the world


Zimmermann staffers


Swimsuits sold each year

extremely focused on what we do at the moment. We’re very, very interested in our product lines— there are so many other things I’m more interested in that will happen before that. Such as? Sunglasses! We’ve had many opportunities, but when we do them, I really want to do them right. ß

Nicky and Simone Zimmermann

us on weaving our checks. They can do anything. For people like me who just love making stuff, it’s getting more and more exciting. Zimmermann is able to do all this at a relatively friendly price point. How core is that to your mission? It’s 100 percent core. I know that some people would think what we do is expensive as well, so in the design room, we talk about how much we want people to see the love that we’re putting into it. We’re really trying to make each piece be worth the cost. When we’re doing fittings, that’s what we’re sitting there for hours contemplating, “Does this look like it’s worth what I know it’s going to cost?” Over the years, how have you seen what your clients want from you evolve? Rather than just repeating the things that have sold well previously, we’ve said, “You know what? We’re just going to do something new, and hopefully everyone will come with us.” And we’ve seen that yes, they definitely do. The Zimmermann girl is fashion-forward, and she wants to move. It’s our responsibility to do that as well. Particularly with our shows in New York, we’re showing clothes that look Zimmermann, but they’re coming from quite different directions, and with different detailing. Particularly in America, our customers are loving it. The sales are FA S H I O N W E E K D A I L Y. C O M


super agent

As the manager behind Nick Jonas, RJ King, and Ellar Coltrane, Wilhelmina’s Kendall Werts has become a goto guy for creating compelling narratives for both established and emerging talent. Turns out that Werts’s own life story is just as fascinating. BY ASHLEY BAKER Photography by WILLIAM jess LAIRD You specialize in helping artists tell their stories. We’d love to hear yours. I’m from downtown Detroit. My mother was around when I was a child, but she really didn’t take care of me. My grandparents did until I was 10, and then I went to go live with my aunt, who lived even farther downtown, but in a nice part of downtown. I went from being raised in a housing project to living down the street from the Mayor. What was your childhood like? Very happy. If you’re the right kind of poor—if that makes sense—you don’t see bills. You just see joy. What were you into as a kid? Fashion. It rescued me. My grandmother would turn on the soap operas, and we would watch them for hours and hours. When I was in high school, at one point, I watched nine of them. I’ve always liked narratives. Fashion and television were ways of escaping and living in a dream that wasn’t my own. What was the first fashion moment in your life that you remember? My grandparents would throw big dinners during the holidays. One woman used to come—I didn’t know she was a stripper; I just knew she was a little sexier than all the other girls. She showed up to dinner in a mink. I had never seen anyone with such refined taste in this way. What was your style like? Very basic. We had an amazing mall, but it was in the suburbs, where all the car people live. My style was very Tommy Hilfiger, Nautica, Polo, Chaps—then I found Armani Exchange when I took a bus to this mall called Somerset Collection. The next day, I went to school, and you would think I was wearing Chanel couture. In my mind, this was Armani—the Exchange had nothing to do with the situation. What was your school like? It was a magnet school, and you had to take a test to get in, and you started kicking out people left and right—you started with 400 and ended up with 85 people in my program. When did you first realize that you were a smart kid? Or when did someone else see that in you? People always saw something in me, but because I was so self-involved, I couldn’t see it in myself. When you have a situation where neither of your parents




getty images (6); shutterstock (1)

the client list Ellar Coltrane, Nick Jonas, Machine Gun Kelly, Hopper Penn, Avie Acosta, and Levi Dylan.

raises you, that comes with a bag of tricks, and you have a way to navigate through life. I always wanted to be the funny person—I was much more interested in being liked than being known as smart. What did you do after high school? I went to a university in Michigan for three semesters. There, I was like, “I’m gay. What does this mean?” And coming out in this way led me to drop out and transfer to a fashion school in Chicago. After that, I moved to New York with $75 and slept on my friend’s couch for eight months. I was not going to go back to Detroit; Chicago was not how I saw myself. I always tell people I represent that we have to carve out a plan, because I didn’t really have one. For a few years, I coasted, trying to survive. In New York, I started working at Pat Field’s. I went to my first club the night I moved here. I’m a good dancer, and I always knew that there was power in expressing that out at night. I had no money to buy drinks, so I danced and drank water. I didn’t know anyone in the city, but I met someone who worked with Pat, and I got a job. I was with Pat for about four months, and then I moved on to Banana Republic, and I was like, “I thought I was some club kid, and now I’m folding sweaters?” I did that for about a year, and then I moved to Hervé Léger. I worked there for two years, and I was the No. 1 salesperson in the company. I sold a dress for $25,000 over the phone. How so? The client was going through a divorce, and she was on her way to Teterboro to take a private plane to visit her shaman in California. She saw the dress in a window and wanted me to tell her how she would feel in it. I did, and after I hung up the phone, something clicked: I didn’t move to New York to say, “How may I help you?” I moved here because I’m really good. A friend of mine connected me with Supreme [Model Management], and for eight months I worked two jobs. How did you fully transition into agency life? I didn’t like the women side. I’m such a straight shooter that not everyone can take that, and I didn’t want to put a woman through what I felt could be the worst in me with a job. But I had no problems doing that with a man! [Laughs] David Bonnouvrier hired me at DNA, and my time there was a foundation. I

was an assistant, and I was watching the women’s board there, their eye, as well as watching Taylor Hendrich, who was my boss. The foundation was laid at DNA, but the house has been built at Wilhelmina. I remember so vividly walking up to Taylor and saying, “Taylor, I’ve been here for a year. I need more things to do.” And he was like, “I don’t need you to do anything. If you find a job, feel free to work on it. I don’t have to give you anything.” How did you proceed? We had this model, Andreja Pejic. Andreja had been in New York only one time, and I said to myself, “Wait a minute. Nobody had heard anything she’d had to say.” So I secured a page for her in New York magazine, and that turned into a huge feature, “The Prettiest Boy in the World.” I was quoted in it about four times. When the story came out, the calls started coming in for me—and I was the assistant! How has the modeling business evolved most drastically? Now, a boy in Arkansas can post a picture of himself and have the fascination of 2 million people. Everyone has to have a hook, a story. Print is amazing, but to get an immediate reaction, it may not be the way to go. Websites need as much material as possible, and we should be providing them with intelligent, witty content. What excites you more—finding a diamond in the rough, or poaching a client from someone else? I don’t like to poach clients, because I like loyalty. I like the adventure of going through the steps together, getting from point A to point Z. There is an art to stealing clients, but depending on how you steal them, the model always throws you under the bus. Reputation is very important to me, and I don’t want to have to convince you to leave your manager. I don’t have to convince you of anything. Why? Because I’m better than your manager. He knows it; I know it. The best way to do business is to carve out a niche, have everyone know what you do and how you do it, and you don’t have to steal anyone because everyone will want to be around you.

How did you evolve into the celebrity division? Taylor secured Nick Jonas for the agency. I was doing the bulk of the editorial work for the men’s division; occasionally I would come up with some PR stunt. The next one was Ellar Coltrane, who was coming off of Boyhood. I’ve always had a thing for actors and people who are telling stories. What I’m trying to do with the celebrity division is merge commerce with high taste. I just signed Miles Joris-Peyrafitte. He’s one of the youngest people to ever win an award at Sundance. He’s cool. He’s Saint Laurent. It’s not a one-trick pony now—there are so many ways to brand talent. Fashion is a great way to elevate someone’s brand. What’s special about Hopper Penn? He’s an innocent, and he wants to do it on his own terms. He has a very big heart; he can’t help who his parents are [Sean Penn and Robin Wright], but he’s the one going into Francine Maisler’s office and securing a role alongside Brad Pitt. He’s the one who’s taking acting classes. He doesn’t want to be someone’s kid; he wants to be his own person. What’s going on with Levi Dylan? He just walked the Chanel show. We got him about a year ago, and I did not know then how to make sense of what we were going to do with him. He’s also his own person. He’s very aware of where he comes from, and he wants to be around cool people. I don’t consider him a model. He’s starting acting now. He just shot for Fay; Terry [Richardson] shot him for CR; Karl Templer styled him for Interview. He’s having a moment that’s a different kind of moment. What makes a good agent? You have to be very strong—you’re constantly going back and forth on rates and numbers. Being aware the marketplace is key. Everyone wants to make money; we’re a business, first and foremost. Being a good agent means knowing how to sell your client. Taylor always told me there’s a big difference between a booker and an agent. A booker is like a

“Everyone has to have a hook, A story. Print is amazing, but to get an immediate reaction, it may not be the way to go.” DJ at Hot 97—you’ve got a request? I’ll put it on. I started off with a client once; the rate was $400 for a half day. By the end of our time working together, the model was earning $5,000 for a half a day. It’s about elevating your clients and knowing the PR angle. These models become more than clients—they’re part of your inner circle. You didn’t come to New York with a plan, but it seems like you sure as hell have one now. Where do you want to go from here? I want to be a producer—film, television. I want to be a person who connects people. My No. 1 goal is to be a very, very effective person. I want to be respected, connected, and existing in the world that I saw on television. ß FA S H I O N W E E K D A I L Y. C O M


If anyone needs some PRe-NYFW TLC, it’s Mark Anthony Green.



NEED GQ’s globe-trotting Style Guy averages a gazillion parties, interviews, and red-eye flights a month—and that’s before factoring his wild fashion week schedule into the mix. So your Daily sent him to City Wellness Collective, an oasis for all sorts of healing arts, to make sure he’s primed for peak performance.


“I physically use crystals, oils, and my hands, but I don’t really need the crystals and oils. They’re enhancers. I really just connect. I’ve read a lot of books, and I’ve had Reiki attunements from the master who worked on me, but the way that I heal is a little weird. I call it Reiki, and it sort of is, because I use the chakra system, but I kind of do my own things.”

Why crystals?

“Everything has an energy. We’re all just waves and particles. Crystals and oils have a certain energetic frequency, which helps people come to the frequency where they need to be.”

Fun fact!

“I went to MIT, and I worked at the CIA for 11 years. I have my master’s in math. And I’m a stand-up comic, so I also heal people through laughter.”


By ashley baker Photography by dan KEINAN

FEELING THE LOVE (Clockwise from top) Mark Anthony submits to the experts; entering a trance-like state during shamanic healing; Kristen Boyer at work; Michelle Keinan works through some tense areas; Jessica Brodkin invokes the crystals.

“ You have hard skin here.” —Michelle Keinan, regarding Mark Anthony’s feet

“ That’s Hedi Slimane’s fault.” —Mark Anthony Green


“I’m the only licensed practitioner of the Grinberg Method in New York. I look at the feet, so I don’t have to rely on people’s biased experiences of what’s going on. It often takes more inquiry to get to the root of something. A lot of the work I do is physical, so you don’t have to believe in anything—we make the change together.”

Fun fact!

Keinan worked as a marketing executive before transitioning into holistic medicine. She opened the City Wellness Collective in September 2016.


“Shamanism is basically the world’s oldest spiritual belief system. I work with a practice called soul retrieval. If someone experiences trauma, part of their soul can break away or get stuck. In shamanism, we can actually go back and get that part of the soul that left. I use drums and rattles to induce a trance-like state, and that allows me to communicate with ancestors, spirits, angels, and guides, and that creates visions.”

Fun fact! “I also do exorcisms, but we don’t talk about that a lot.”


“I integrate acupuncture with the language of Western medicine—I look pretty preppy, but I’m 40 percent hippie. Acupuncture is very flexible, which is one of the many reasons I appreciate it. You can treat acute conditions, as well as chronic conditions like high blood pressure, orthopedic issues, and high cholesterol. Immune support, fertility, anti-aging, and stress management also respond well to acupuncture.”

Fun fact!

“I’m covered by many insurance plans.”

Advanced Biostructural Correction THE HEALER: ERIC LEVINSON


“Mark Anthony got to try the postural work that I do, but I also do holistic health and nutrition, and that focuses on detox, nutrition, diet, and all that good stuff.”

Fun fact!

“I also do a form of neurofeedback that’s brand-new called brainnasium— it’s passive, so there’s nothing getting sent into your brain, but we read the brain waves, and you listen to tones that respond to your brain waves in real time and help to induce a higher alphatheta state, which is correlated to peak performance, calm, creativity, and focus.”

How were you feeling when you strolled in here, Mark Anthony? I was a lot more tense and stressed. I never really sit down to take inventory of how I feel. You just kind of keep working until there’s no more work. With all the Fashion Weeks back to back [yawns], it’s kind of a marathon. It’s easy to not notice stress. Of all the treatments you did, which did you respond to the most? Eric was pretty legendary. I know that my back is bad—I have a lot of pain and issues with it. He seemed to help my posture after like 10 minutes. Have you ever been healed by crystals before? No. That was surprising—I could definitely feel something happening. For a lot of this, you have to mentally accept and believe in certain general principles. I’m not sure that I really got to that point. I was least excited about the feet thing, but I think I felt that the most. And there was one [treatment]— it kind of reminds me of a fortune-teller… The shamanic healer? With the drums? Yeah. Super sweet; great voice. That self-reflection… if somebody doesn’t force me to do it, I won’t do it. Have you ever had acupuncture before? No. I gotta say, I was most excited about acupuncture. But there’s no such thing as a small enough needle. Even if you make a needle that is half the size of the needle that he put inside of me, I would still say that that needle is too big. You gotta get over that if you want to get into the acupuncture game. I walked in here not over that, but it was cool. What was your takeaway?

Um, the honest answer that you probably can’t use is I spent a lot of time thinking about the people who were working on me. They’re fascinating. Everybody is super weird and cool. I can use that. You’re a writer. Thinking about people is kind of what you do. I’ve always kind of held a stigma or phobia when it comes to holistic medicine and healings and wellness, because it just seemed impossible. A lot of it is mental—I believe something has changed, so now I will act differently. If you need someone to call out your power animals to raise your voice at work, then you need that. I have good editors and good friends who serve as my power animals. But it’s nice to self-reflect and to think about all this. As an artist as well as a writer and journalist, which of your sensibilities were especially attended this morning? The shamanic healing—her set-up was the dopest, aesthetically. She crushed it with the feather. Everybody, even the back untwister, Eric, was an artist, which was really cool. They really believe in what they’re doing, and that’s awesome. I’d rather take a super-passionate lady with a feather 99 percent of the time than a lethargic doctor who doesn’t really care. And I feel better. Now you’ve gotta maintain the zen. Zen is tough. I always look at zen as a gift, a victory or something—like it’s only achieved after everything is done. One thing I learned today is that everybody here looks at zen as a state of mind, a lifestyle. That’s what I’ve got to work toward. ß

ABOUT CITY WELLNESS COLLECTIVE: Located at 141 W. 28th Street, #301, in New York, this new home to more than 20 modalities of healing offers everything from talk therapy and integrative nutrition to colorpuncture and sound bath. Come for the healing, stay for the crazy-relaxing meditation room. More information at FA S H I O N W E E K D A I L Y. C O M


TOTALLY COMMITTED Perhaps you recognize his body from Equinox’s Commit to Something campaign, but do you really know the man behind the mirror? Inquiring eyes wanted to know! As a public service, The Daily spent a day stalking model and dreamboat Brian Shimansky. By EDDIE ROCHE Photography BY STEFANIA CURTO

Brian lives in Irvington, New York, with his fiancée, Brittany. He typically wakes between 5:30 and 8 a.m. and starts his day with a java recipe for the ages. “I do a coffee with grass-fed butter and some acrylic acid triglyceride with collagen protein and vanilla extract, and I’ll just whip that in the blender. I like to do a morning prayer and some writing. I think about everything I’m thankful for.” FA S H I O N W E E K D A I L Y. C O M

Wood man

We followed Brian to his “other job,” where he constructs tables and chairs. “I like disappearing into the work for a few hours and making a vision come alive,” he told us as he whittled away on his latest creation.

f i r s t v i e w ( 1 ) ; C O U RTES Y

RISE and shine

getting pampered “I haven’t had many days like that!” Brian says. Any trepidations about putting it all out there? “That’s part of the business!”

LEt’s Get physical! We tagged along with Brian to Equinox’s 897 Broadway location for his pre-show workout. “The agents always want us to fit a suit and look great in the sample stuff,” he says, “so I want to stay as close to that size as possible but also be able to shoot any underwear or bathing suit job and stay ready for that. My workout has a focus on intensity, flexibility, and core complexity.” Today, Brian boxed and did the TRX workout, which he followed with yoga and stretching.

and we’re off…

After his workout, Brian grabbed a Fashion Fuel (available exclusively during NYFW) consisting of cucumber, celery, lemon, and kale juices, plus activated charcoal. Next, he headed to Saint Stephen’s Church, where he was scheduled to close the Joseph Abboud show.

BACKSTAGE “It’s always a blast,” Brian says about walking the runway. “The audience is different; the stage is different. As simple as the runway looks, you get a rush out there. Backstage is my favorite part, because you see your buddies.”


Brian and his fiancée will be moving to Austin, Texas, later this year. “It feels like a big leap, but I’m stoked,” he says. “I absolutely love New York and everything that it’s brought me, and I have no plans on being a stranger. I’ll still be ready to roll.”



STREET WISE After starting his career at brands like Michael Kors and Calvin Klein, Kenneth Ning is merging fashion and tech with his eponymous collection. Backstory, please. I graduated from the Academy of Art University in San Francisco in 2007 and then came to New York and started interning right away at Michael Kors. Then I got a job at a private label for Macy’s called American Rag before I went to Calvin Klein, designing for its performance-wear line. I started my own line four years ago, but I’ve been in the industry for 10 years. I’ve always enjoyed the aspect of streetwear— throughout high school, I always mixed and matched outfits together.


Do Michael Kors’ or Calvin Klein’s aesthetic show up in your designs at all? There are definitely clean lines. I like pushing the boundaries of menswear by elevating the traditional silhouettes but still keeping a youthful aspect, distorting what men normally wear. I always have a conceptual point of view and start with a story behind the collection. I draw a lot of the details and inspiration, and I’m very direct about it. In a past collection, I made a Full Metal Jacket piece drawn directly by the movie—not to make it costume-like or anything, I just wanted the audience to be immersed in the battlefield. I’m really big on textile development. You actually have to go back and look at it.

What was the inspiration for Fall/ Winter 2017? Wall Street meets Main Street. I wanted to do a distortion of the everyday wear of Wall Street, and the uniform that Gordon Gekko wore in the movie Wall Street. Wall Street controls everything! There’s an artisanal aspect of draping, so some of the silhouettes and shoulders move all the way to the front to make it seem like you’re standing in an awkward position. Why did you decide to show your collection at Samsung 837? We wanted to create a space that looked like a Wall Street trading floor, so we gave Samsung an initial idea of animating fictional stock tickers onto a screen. They turned it into animation, and it was what we wanted to portray in the fashion show. What capabilities did the space enable you to have? We’re able to project on threestory screens, which is unheard of, production-wise, for an

emerging designer. Being able to utilize the technology and the expertise made everything come together really cohesively. There was also this really cool lighting effect that followed the movement of the models, creating a trail of light. Then we used their imaging capabilities to broadcast the show live on the screen, so not only the VIPs who were seated were immersed in the experience. What kind of guy do you design for? My crew! They understand what I’m trying to do. Young Paris is one. I look up to really well-dressed stars like A$AP Rocky. Do you plan to incorporate more tech into your design process going forward? Tech and fashion work well together, if they’re presented right. If it’s wrong, it becomes almost like a cliché. I feel like our tech integration will come through show production and presentation rather than an actual garment itself, because we want to still stick with reinterpreting the basics in our way and then immersing the audience into the actual fashion show through tech. ß

getty images (4); courtesy








Industry veteran Christopher Bevans is merging technology with the great outdoors in his new collection, DYNE. How long have you been a Fashion Week fixture? I worked backstage as a dresser at Bryant Park in the ’90s! I also worked for various designers and worked as an assistant stylist and tailor, so to finally do my own collection is really gratifying. How were you introduced to fashion? My grandmother was a seamstress in New York City. She had her own shop, so I was always around fabrics and patternmaking—and I could draw. I started working as an apprentice to a tailor in high school, where I learned about men’s suiting. I loved making stuff for my friends. When I was studying at FIT, I worked at Mood Fabrics. It was like being in a candy shop! How did you start your design career? After FIT, I went to work at Sean Jean with Maxwell [Osbourne] and Dao-Yi [Chow]—we’ve been friends ever since. They’ve helped me get plugged in with certain folks who help me get to where I need to go. We’re now in the same showroom! I was recruited by Nike in 2004, which was a big deal, because I’m also an athlete. I was a track-and-field guy, and I still play tennis regularly. Nike was a real learning experience for me—I feel like I got a master’s in design working there! But I’ve always aspired to do my own thing; it was just about waiting for the right opportunity. What’s the DYNE concept? Over the years, I’ve been trying to find a way to bring together my love of tailoring and nerdiness about textile design and fabrication with my love of sports and technology. I have a director’s fellowship at MIT’s media lab in Cambridge, [Massachusetts], so I get to see a lot of new technologies and advanced fabrics and textiles. One day I was in the hallway and I heard the word “DYNE” and I was like, “Man, that’s a cool brand name.” I started conceptualizing different athletic silhouettes in a tailored point of view with some amazing materials, and it really started to take.


What’s the tech component in your line? It’s called NFC: near field communication. The way Apple has Bluetooth, Android has NFC—it’s an antenna that’s embedded in your phone. I found a chip manufacturer that has chips the size of a nickel that stores data through the activation of your phone. Every one of the DYNE garments has these in them. I upload info on my brand, the fabric, myself, lookbooks, music that we’re listening to in our office. We’re finding ways to bridge the gap between the brand and consumer and helping the sales associates understand the brand since we sell in Japan, China, and Korea. You can activate the NFC on your phone, scan the garment, and learn everything about it and the brand. We’re finding it very helpful to grow sales. What’s the difference between what you’re doing with technology versus wearable tech? Wearable tech has the connotation of the Met Gala, when Zac Posen and Marchesa had dresses that had lights sewn through them, from LEDs to watts from IBM—shape-shifting garments and things of that nature. Even the Fitbit can be considered to be wearable tech. I don’t want to fall into that box, because we’re a sportswear brand. When you start going around the world with wearable tech, it becomes a hard road to climb. We encapsulate technology, but we are a luxury sportswear brand. Some of the wearable tech brands don’t even look wearable—they’re good art pieces. I didn’t want DYNE to fall into that bucket. I tried to use a different language. What was the inspiration for your F/W ’17 collection? I live in Portland, Oregon, so the outdoors is a big part of my daily life. I’ve lived here since 2004 when Nike recruited me. I went back east when I was creative director for the Billionaire Boys Club for Pharrell—

after leaving Nike—but my wife is from out here. We have a kid, and Grandma and Grandpa live here, so having the support makes things easier. My color story in the collection reflects the scenery, colors, trees, and mountains of Oregon. Everything about the construction of the clothes allows you to go outside and weather the environment while still being stylish. The street life influence was big for me, too. What opportunities did showing at Samsung 837 offer you? It was an amazing collaboration because our NFC chips only speak with Samsung or Android platforms. I don’t want to do traditional runway shows because I believe you have to get up close and personal with the garments. I put so much time into my fabrics, and then to have the technology implementation…it was a perfect backdrop to our first real showing. They were also just good people to work with and a lot of fun. To see my vision come to life on that big television screen and stage gave me the visual backdrop with the music provided by my friend Jeremy Ellis, who plays a certain technology himself. It was a great alignment for us. What’s your relationship with Kanye West? I brought Kanye to Nike. That’s how the Yeezys happened. I was at Roc-A-Fella Records and Rocawear in the early days, and I helped launch Kanye’s brand there. We just stayed friends. It opened up a lot of doors for me, too. I finally found a great business partner who believes in my vision and helps me source globally, and here we are today. How do you see your brand merging with tech even more down the line? I really want to continue down this road and keep closing the gap between your wireless device and your clothes—your outfit becoming more indicative of your everyday life. There are so many great technologies now. ß

photography by tom bender




ALEXA V. ALEXA How does Ms. Chung stack up against Amazon’s game-changing virtual assistant? BY ASHLEY BAKER



on Am eviews azon

illi 2.5 m


Alexa Chung

Clean lines, cerulean accents, thin layer of dust

Amazon’s Alexa



(November 5, 1983)

(June 23, 2015)



!?!?!? NEMESIS


Everyone who wants to talk to her about Amazon’s Alexa




Once made salted caramel chocolate brownies on a TV show called The Great Comic Relief Bake Off

Can run multiple timers at once, according to our design director Jill—great for complex recipes!



Tennessee Thomas

“My opinion is unless you are a cryptographer with the patience of a saint, you should run screaming in the other direction instead of buying this device. A potato would work better.” —Amazon user Thomas R.


Designs killer overalls for AG Jeans



Messy bob, statement eyes, artful ensemble



Ensures that Dad’s Wranglers arrive in time for Christmas



Dinner at Chiltern Firehouse with man candy Alexander Skarsgard


Ordering dim sum, firing up John Mayer on Spotify, making a mental note that you’re out of Charmin

shutterstock ( 9 ) ; getty images ( 4 ) ; patrickmcmullan . com ( 1 )

“Alexa does not stun n [sic] that dress.” — user @blodwen



Your lonely Aunt Zelda

NYFW: Up close is possible. Discover Fashion Week at Samsung 837 February 8 - 16 Samsung — a proud partner of the Council of Fashion Designers of America (CFDA)—reimagines the tradition of fashion week with a calendar of events for guests who crave more from the runway show. Discover trailblazing designers as they debut their latest collections and hear from influential personalities in the industry as they discuss the future of fashion. Go beyond the runway with one-of-a-kind storytelling at Samsung 837, where technology and culture collide.

837 Washington St NYC In the heart of the Meatpacking District Visit to RSVP for upcoming FW events.






© 2017 Samsung Electronics America, Inc. Samsung is a trademark of Samsung Electronics Co., Ltd. Use only in accordance with law. Other company and product names mentioned may be trademarks of their respective owners.

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bold moves

Tassel sunhat with detachable backpack straps ($168)

Ready to ditch your black overcoat? Pep up your wardrobe for Spring with rosy ready-to-wear and brightly hued accessories from James one-piece in gray ($540) Kate Spade New York.

Floral statement earrings ($128)

Rose tie-neck blouse ($258)

Madison Avenue atlas rose kay dress ($998)

Tassel statement earrings ($98) Broome Street rose denim shirt dress ($328)

Floral statement necklace ($248)


Denim Tinley cross-body bag ($248)

Available at FA S H I O N W E E K D A I L Y. C O M


Follow the latest red carpet, runway and glamour events across the globe .com




Cat Marnell Jane’s girl

Tiffany Trump Ivanka’s sis

Mary Tyler Moore Television icon

Lottie Oakley Publishing social

jim Nelson GQ giant

Eric Wilson InStyle-ish scribe

Brit Marling Indie actress

Andreja PeJiC Major model

Justin O’Shea Creative type

Conor McgregoR Fighting force

Dave Grohl Pensive rocker

Will Welch Cerebral editor


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We always thought you looked familiar!

Our professors shine in the classroom, but their experience extends far beyond those four walls. They’re industry professionals who work with some of the biggest names in fashion. They’re brand builders and thought leaders who come to us to share their expertise with the next generation of fashion innovators. We think BEYOND THE CLASSROOM to propel our students beyond their expectations.


Patti Jordan Lecturer, Visual Merchandising Paula Vasquez '18 Visual Merchandising

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