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FEBRUARY 12, 2018








THE BEGINNING Your journey to beautiful hair starts with Moroccanoil Treatment: the foundation for all hair care and styling.

Discover more at


Brandusa Niro

Editor in Chief, CEO

MILLY TK Wonder and Cipriana Quann


You named a bag in the collection after your son. What did he think of that? I don’t know that he actually knows. I have some good luck charms in my life: my mother, my three boys, and my three stepdaughters. Who inspired your collection? Lee Radziwill. I just love strong women. We didn’t want to reference her style and be so literal, so we thought about her botanicals. Do you know Lee? I do. She was meant to be here. It’s flu season—people are wearing masks! Are you sick? I’m good!

Linda Fargo

Sienna Miller and Julianne Moore


“Go and see Kings at The Public!” —Anna Wintour, offering a fellow show attendee her theater recommendation. You heard it here first!


Anyone hungry? Tory Burch got things going (semi) bright and (very) early at a former Food Emporium on the UES. The rosestrewn runway made for a major IG moment! • Milly’s Michelle Smith brought her famille and a ton of Insta stars to her show in the Village. • Nicole Miller took over Industria Studios; guests were greeted with programs and buttons that said HANDS OFF! and DON’T GRAB! • And! Garage launched Issue 14 with a party at the Gramercy Park Hotel that drew Tavi Gevinson, Mel Ottenberg, Rachel Zoe, and art world types.



What time do you typically wake up? In a perfect world, noon. I’m a night person—I go to bed at, like, 3 a.m.! What are you doing that late? I lay in bed, watch TV, and cuddle my boyfriend. Tory’s show venue used to be a supermarket—what’s on your shopping list? Fruit—raspberries, strawberries, watermelon—though it’s not really the season for that now, which I’m a little upset about. Anything naughty? Chips, Cheetos, candy, mac and cheese! I don’t think those are naughty. We should eat whatever we want.

OVERHEARD “These magazines that do what to wear when you’re 30, what to wear when you’re 40…nobody wants to read that. People want to dress the way they want to dress. I don’t want to retire my clothes.” —NICOLE MILLER, at her show at Industria

Mark Tevis

Chief Revenue Officer

“A bottle of Dom Perignon P2 I have been saving, my couch, and Summer House, Season 2!”

Luxury Account Director Betsy Jones Fashion Publishing Director Monica Forman Publishing Consultant Jill Carvajal Director of Marketing & Special Events Amanda Dilauro


Mason Grammer

SHOE OF THE DAILY Cowboy boots, reinterpreted: The EXPERT booties feature SW’s signature wide shaft and are designed to retain their shape. They stand out with feminine dresses and streamlined trousers. $655,

Your daughter, Mason, is walking in Nicole’s show! And she’s on hold for Dolce! She has perfect grades, and she’s a great soccer player. Her father, Kelsey [Grammer], couldn’t be more proud. Do you know Nicole Miller? Yes! Kelsey and I spent time with her in the Hamptons. She’s so real and gorgeous! You’ve mentioned your ex a few times—are you guys on good terms? We’re doing parallel parenting— I haven’t spoken to him in awhile, but we communicate through a second party.

“Moving Digital Director Daily HQ to a Daniel Chivu new location!” Publishing Associate CJ Obediente 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 2018. 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 Erin Wasson in Oscar de la Renta with Laura Kim and Fernando Garcia, photographed by William Jess Laird.

Rachel Zoe

Mark Guiducci and Dasha Zhukova




Tavi Gevinson Mel Ottenberg

Hamish Bowles

G E T T Y I M A G E S ( 7 ) ; B FA / M A D I S O N M C G AW ( 5 ) ; C O U R T E S Y G R E G K E S S L E R ( 3 ) ; C A R O L I N E F I S S ( 1 )


Deputy Editor Eddie Roche Executive Editor WHAT Ashley Baker ARE YOUR POST-NYFW Managing Editor POST-N ESCAPE Tangie Silva OR “Jet-setting with RECOVERY Creative Director my 4-year-old to Jill Serra Wilde PLANS? Miami. Straight to the beach!” Digital Director Charles Manning Associate Editor “Getting Sydney Sadick rid of the flu!” Contributing Editors Alexandra Ilyashov, Paige Reddinger Contributing Photo Editor “I’m going Hannah Turner-Harts to rural Utah to see Contributing Art Director my forest John Sheppard ranger “Sitting Contributing Designer boyfriend!” in a hot Eric Perry tub in the Contributing Photographers Catskills.” Giorgio Niro, William Jess Laird Contributing Copy Editor Joseph Manghise Imaging Specialists Neal Clayton, George Maier





©2018 Maybelline LLC.



WITH ELLA BALES Your hair is so fun!

It’s very Brigitte Bardot, but before she became problematic. Her looks back in the day are still iconic! How’s the cookie?

I’m sorry if I have chocolate on my teeth! An industry secret is that mini cookies are the fuel of models.


I recently started filming Star on Fox. We film in Atlanta! I’m also starting my own company with my best friend. We’re really into motorsports. We’re going to cater to people with vintage cars and build engines.


Alexander Wang’s ’s final (for now!) NYFW show was held in the still-empty (!) offices of 4 Times Square. Models dressed in the former offices of Vanity Fair. (Let’s remember Wang was once a closet intern at Vogue.) Also, trend alert—most of the mods wore banana clips in their hair. • Vision, you say? Well, Philipp Plein’s got it on light speed dial. The Daily’s newly anointed cover star took over the Brooklyn Navy Yard, and the evening began with a transformer greeting the crowd, faux snow, and a spaceship emblazoned with “PP.” We loved!

SPACE RACE! What do you think of this spaceship extravaganza?

We don’t expect anything less. This is what he does. I’m waiting to see if the spaceship drops on my head. He has a vision. This is certainly the most ambitious thing I’ve ever seen him do.

His music came out before I was born, but I loved his style.

We’re very digitally minded. There are a lot of changes going on in the magazine world now, and in a lot of ways it’s great. I can get this story up in less than an hour!



WITH MEGHAN ROCHE Can you tell us your first and last name on the record?

Download THE HOOCH APP ( for just $9.99/month), and after catching a show at Spring Studios, pop by the hip sub-subterranean lounge Handy Liquor Bar (527 Broome Street) to enjoy a gratis Tipsy Pear Cider, a delicious cocktail with spicy winter notes. Don’t forget to check out the Hooch app for activated restaurants, bars, and clubs near top shows!


There’s a spaceship in this show! Any desire?

Meghan. Roche. R-O-C-H-E. That’s my last name!

No. Shut up! Oh, my God! Nice to meet you. [Hugs Eddie Roche] Are you my uncle or my brother? Are you Irish?

I am! I was going to ask you the same thing. Maybe we’re related. I found my brother! Have you been to Ireland before?

No, but we’re going—we have relatives in County Cork!


There’s a lot talk about going to Mars, but I’ll let others try that first.

That’s where my family is from!

Remy Martin 1738, homemade pear cider, Bénédictine, autumn spices, fresh lemon, cinnamon, and brandysoaked pear

What are you up to these days?

I’m on Model Squad coming out on E!, which is previewing on February 12, and the full show comes out in June. I’m getting married soon. It’s been a long engagement!

How hard was it to convince you to dye your hair red for the show?

You’re wearing a David Bowie shirt! Favorite song?

What’s new at Vogue U.K.?

Space travel is going to be a lot easier, but really expensive. I’m good on Earth!


Everyone knows I had my first show in New York with Alexander Wang. When he asked me to dye it red, I thought, “No problem! Why not?”


Going into space is a hot topic these days. Thoughts?


We’re related. It’s done.



Nodding to the vibrant colors in Jason Wu’s FW18 collection, makeup artist Thomas de Kluyver for Maybelline New York created a fantastical take on the classic cat-eye, applying a thin layer of Master Precise Skinny Gel Pencil above the crease before adding a quick wing to the outer corner of each eye. BEAUTY MUST: MAYBELLINE NEW YORK Master Precise Skinny Gel Pencil in Defining Black, $7.99. FA S H I O N W E E K D A I L Y. C O M

PRO TIP: Complete the look with lightly filled-in brows.

BAUBLE OF THE DAILY Misahara’s Drina ring in 18k yellow memory gold, white diamonds, and rubies. $8,900,, (212) 371-7050 PROMOTION







©2018 Maybelline LLC.



Olympics, c’est quoi? The real excitement is happening on the runways of New York, where designers are trotting out notice-me clothes that are destined for attention.

ALEXANDER WANG Whether they’re dominating a boardroom or a boîte, Alexander Wang’s boss ladies are the sort that will make men quiver. We’re especially gaga for the exposed zippers, repurposed fanny packs, and sheer bodysuits. Flyaway oxfords, boudoir shorts, and cold-shoulder suiting— tough stuff!






There’s snow in outer space? It’s Plein’s world, chéris, and anything can happen. You will rock white fur boots in the slushy city uostibus streets. You Loresseq autes will wear a belted bodysuit doloribus sum inctati si to therendempor grocery store. aut You lanimporum will worship your new silver harumquia consequi reptas pants,est which remind you of pra expel magnisqui crumpled tinfoil. manatum is vollitatur autThis re eum on a mission, fugitat. and we’re just happyIhillesto to be onenis board! di dolore none eum quis dolorup tatist ex ea voluptius eos molupta doloris eos ventio elist,






Femme florals and soft plaids, toughened up with quilted leather jackets and satin bombers, led to another winner from a New York stalwart. On the outerwear front, embellished moto jackets and fur-trimmed parkas are destined for the city’s chicest streets.




Every gen needs its Narciso, and Carly Cushnie and Michelle Ochs have mastered the minimal-fuss, maximumchic fashion that, quite simply, make clotheshorses swoon. This season, the brand’s beloved body-con fare was offset with loosely draped silk offerings. Smart, sexy, and sublime!

G E T T Y I M A G E S ( 1 3 ) ; F I R S T V I E W. C O M ( 1 ) ; S H U T T E R S TO C K ; A L L OT H E R S C O U R T E S Y


On the first day of Fashion Week, designers embraced the “more is more” mantra. Cases in point: Jeremy Scott, Tom Ford, and Juicy Couture newbie Jamie Mizrahi.

BIBHU MOHAPATRA Citing the rapport between Great Expectations characters Miss Havisham and Estella, Bibhu Mohapatra sent out a rich mash-up of jewel-toned silk pieces, embroidered tulle dresses, and sumptuous furs. He also showed pieces from Sashi by Bibhu, his new collection of contemporary separates.


Southern comfort! Deborah Lloyd’s farewell collection for Kate Spade was shown at the Masonic Hall, and the Nashville-esque setting served these casually cool looks well. Easy favorites: a modest horse-print dress, a cropped-sleeve cow-print jacket, and a patchwork circle skirt in black leather. FA S H I O N W E E K D A I L Y. C O M





bvious first question: How, exactly, do you work together? Laura Kim: We work a lot over text messages! We bounce back and forth. We also include our team, so everyone knows what’s going on. We also make fun of each other…and fight! About… Kim: If he shows me something he likes, I’ll say, “Are you serious, Fernando?” Fernando Garcia: That’s it! That’s the extent of it! [Laughs] Are you always on the same page in terms of design? Kim: No, never. Garcia: We have different aesthetics, but we bring our points of view into each piece we create. That balance is what pushes the product to the best level possible. Oscar was always very much about having an open conversation about ideas, even when we were kids to him. We have the same mentality and trust in our team—we always hear what they want to do with each piece. That’s how we like to work! Do you remember your first encounter? Kim: I started working at the brand in 2003, and Fernando came in 2009. He had been my intern; I came to work late, as usual, and I saw a man purse on my desk. I said, “Who put this here?” Garcia: I didn’t know what to wear on my first day at a fashion brand. What did you wear? Garcia: A Prada man purse! Kim: It wasn’t Prada! [Laughs] He had a Blackberry. Who has a Blackberry? When did you become friends? Kim: Right away! Oscar was so good with people. He knew exactly who to hire, and who would work well together. He sometimes didn’t even want to look at your book—he could see right through you. Garcia: Oscar had good instincts about everything, and something told him that Laura and I were going to connect in every way. He liked having a small team, and he knew we had to like each other on a personal and professional level. What would he think of you two helming his company? Kim: He never wanted to OSCAR WINNERS Fernando Garcia, Erin Wasson, and Laura Kim, in the studio at Oscar de la Renta. retire, so I wonder! As a FA S H I O N W E E K D A I L Y. C O M


How did you meet Laura and Fernando? Unbeknownst to me, I met Laura when I was a younger model and coming in for fittings at Oscar. When the CFDA Awards came up last year, they asked me to come. What are you up to these days? I’ve quietly been working on my own brand of jewelry, Wasson Fine. My partner and I do everything from designing to sales to invoicing. It’s very much a grassroots business! I’m also doing art direction for Lucchese, a heritage boot brand based in Dallas. That was an opportunity that came from heaven. I’m from Texas and I collect cowboy boots, and to work in that capacity feels so correct. I’m also designing for a corduroy brand based in Sweden. I like to keep my plate ferociously full. It’s all a labor of love. I’ve always been an advocate of doing as many things as possible. I’m not just a face—I want to use my voice in every single capacity I can get my hands on. You’re now signed with The Society Management. Change is the only constant in life. The more you evolve, the more you have a desire for change. IMG was an extraordinary home for me and I’m proud of the journey taken, but as I made an executive decision to slow down and focus on other projects, perhaps other people were not thinking of me as a model and as something different. I knew I needed to find a new home for people to have a new conversation with me and allow me to be who I am right now. Do you pay attention to this new generation of models? I don’t think I can. It’s too much. I have a definite perspective on the evolution of the industry. I came into the industry pre–social media, pre–digital photography. Even going from film to digital photography changed the dynamic of being on a set. The immediacy is hard for me to comprehend. There’s not enough time for things to marinate. I don’t have Instagram on my phone! I have an account, but I couldn’t tell you how many followers I have.


creative person, it’s hard to think of your company being run by someone else. Garcia: I would imagine he would feel comfortable with it. In many ways, he raised us. What’s the greatest lesson you learned from him? Kim: He had fun every minute of his life. I try to keep that in my mind! Garcia: If you’re not going to bed thinking I’m the luckiest person alive, you’re not in the right business. Kim: There’s something about Dominican people— they’re always happy! Fernando, Oscar, one of my assistants…I appreciate that, because I’m kind of gloomy. Garcia: I wouldn’t call Laura gloomy. I’d call her more of a realist. It’s a good mix to have a realist and a dreamer mixed together. Kim: I bring him down to earth! [Laughs]

Garcia: I bring her up! [Laughs] Laura, are you still always tardy to the office? Kim: I arrive between 10 and 10:30 a.m. I’m bombarded with messages every morning. Garcia: She’s physically showing up at that time, but we start working at 6 a.m. It doesn’t feel like a normal day if my phone isn’t buzzing with 17 texts from Estelle, our head of embroideries. How do you divide your time between Oscar and Monse? Garcia: It changes, and thanks to the trust of our Monse CEO, Renee Prince Fillip, and our Oscar de la Renta CEO, Alex Bolen, we get the job done. One week, we might spend seven days at Oscar, and then the next week, we’re at Monse. Trust is key—if we didn’t have that, we wouldn’t be here. How do the Monse and Oscar girls differ? Garcia: The Monse girl is slightly unhinged. The Oscar girl is a little more polished. They are two different clienteles, but it’s fun to see them mixed up. Sometimes we see women wear a Monse top, and sometimes an Oscar skirt. It’s an interesting dynamic, and there is a thread since we design both lines. They blend in an ironic way.


NEXT ERA Highlights of Kim and Garcia’s fresh take on the house of de la Renta (left) and the latest Monse collection.

Monse has gained a huge celebrity following. Kim: We’re both friends with Nicki Minaj, but I’ll never forget when she said the brand’s name in her song, “Plain Jane” remix. I had the day off, was chilling on my couch, heard it and was like, “Whaaat!?” Garcia: We first met in her hotel room, and created an immediate bond. She talked about how Oscar invited her to her first fashion show, and she went with Anna Wintour. She’s become a good supporter and friend. As for other celebrities? I loved how Zoë Kravitz took the Oscar DNA to a new place that the house hadn’t seen before. We’re all about finding people who connect with the brand and take it somewhere unexpected. You took Sarah Jessica Parker to the Met Gala. Garcia: Thanks to our time with Oscar, we got to work with her a little bit. The second we started talking about Monse, she and her stylist, Erin Walsh, were two of the first people to knock on our door and say, “What can we do?” When you are working on Oscar, do you still have him in the back of your mind? Kim: There’s a clientele that we know well, and she comes back to Oscar, so thinking about him is just natural to us, because we did it for so long. Garcia: He was our school; his lessons are inside us. What can we expect from the Fall collections? Garcia: For Oscar, we’re exploring the idea of separates, more than ever. We started interesting takes on daywear, embroidery, and tailoring. Kim: We’re looking at the Elizabethan era—a lot of our prints came from that period. Why did you decide to forfeit a runway show for Monse in favor of a short film? Garcia: Monse is a new company, and with the newness in product must come newness in

communication. We pay as much attention to how we develop pre-collections as we do runway shows, and it has paid off tremendously for us. The market is telling us something: The pre-collection concept shoots get the job done. Kim: It’s not that we don’t enjoy runway shows, but we wanted to explore a different way of showing our work. What’s the story with the short? Garcia: It’s directed by Fabien Constant with music by Sebastien Perrin, and it stars our favorite Monse girl, Erin Wasson, who will be wearing the whole collection. The film takes place at Coney Island—the collection is very much inspired by that unhinged ’50s housewife look. A surprise guest narrates the story

BRAND AFICIONADOS Fans include Nicki Minaj, Zoë Kravitz, and Sarah Jessica Parker.

while Erin runs around the park. How did Erin enter your orbit? Garcia: She’s been one of our muses since the very beginning. She embodies the free-spirited woman that we would love to dress every day. Despite your imminent Fashion Week show, you seem very calm! Garcia: We’re waiting for samples to be finished. There’s no more time to add anything or spend any more money. We’re forced to sit tight! We were at your first Monse show; a lot has happened in a short period of time. Garcia: I loved that day! We’re just running with it. We keep our heads down, we keep working hard, and the business keeps growing and growing. We just have fun while we’re doing it! That show was so intimate and heartfelt compared to the size of the collections now. What can you tell us about the other that we’d be surprised to know? Garcia: Laura is an incredible cook! Kim: Every day is so dramatic with him! Once when we were at Oscar and working weekends, he told me he’s wasn’t coming in on Saturday, because he signed up to be an extra in a Jennifer Aniston movie. Are you kidding me? Garcia: That could have kicked off my acting career! But I had to cancel. Did you want to be an actor? Garcia: No, but I’m obsessed with the film industry. I wanted to see what it was like to be on a set. Do people think you’re married? Kim: A lot of people do, because we’re always together. We’re not! ß FA S H I O N W E E K D A I L Y. C O M


Diane von Furstenberg is once again eschewing tradition, this time when it comes to her latest ad campaign. The designer will be trickling out her Spring ’18 campaign, photographed by Oliver Hadlee Pearch, monthly. The first images were just unveiled, and the second and third “chapters” roll out in March and April, starring a diverse cast of mostly non-models. This unconventional approach is coupled with a new brand mantra, “In Charge.” Delphine Buchotte, chief marketing and digital officer, decodes the bold new MO.


Why do monthly drops for this ad campaign? We live in a time of information overload—there are so many things our consumer is exposed to daily. So we basically need to provide consistent, authentic, and attractive content. With our Fall 2017 campaign, we explored a digital-first approach; the main takeaway was that frequent, creative refreshes are essential. Because of the way consumer behavior is evolving, and because of big changes in the fashion industry, we thought it was time we take a little bit more risk and try a new approach. How do you think customers will react? At DVF, we say that we put the woman at the center of everything; it’s really the way that the brand is articulated. We’re paying attention to what our consumer is expecting and supplying her with content and product that will stick with her at the right moment, whether that’s a bikini in May, a winter coat in December, and, of course, great dresses all year round. Customers have specific expectations and behavior regarding their own calendars, not a fashion calendar. The DVF woman is in charge of her life, and that concept is important to us. She’s working, she’s celebrating, she’s relaxing with friends and family. When it comes to fashion, we say it has to inspire, and that’s true, but at DVF, the message has to resonate with the customer’s journey and her day-to-day; she has so many things


to do, and we want the clothes and the brand to help her go through this journey. Why did it feel like the right time to really rejigger the campaign rollout? Every day with my team, I try to put myself in the shoes of our customer. I’m always asking myself, as a real woman—would I find this interesting? Engaging? Emotional? If it speaks to you, resonates with you, if it’s something honest and authentic; it’s the kind of recipe that’s working today. The fashion industry is in a disruptive place right now, with see-now-buynow and Fashion Week changing, so I think it’s the perfect time to try a different formula. We’re doing a digital-first, social-first campaign, so we’re trying new formats, and mixing in how-to content. If you’re close to your consumers and their expectations, you have an opportunity to use your brand to serve them. Do you hope other brands will follow suit with this rollout model? I’ve never considered this; I was working at L’Oréal for the past 15 years, and coming from the beauty field, I know how this type of content can help the woman we want to serve. So this is my main inspiration. Is it going to be a model for other brands? I really don’t know. My first priority is that it’ll be helpful and successful for our customers first; that we can interest and engage them. Then if it’s something that can inspire others in the fashion industry, great!

What do the images reveal? We wanted to show this woman in different moments of her journey—it could be at work, relaxing with girlfriends, cuddling with her kids. When she’s working, she’s assertive and successful; when she’s at home, she can relax and focus on her little ones, and have a cheerful, shared moment with her family. The DVF woman can be many different women at the same time. In the casting, we have two professional models, alongside real women. For example, Roxane, the woman starring in our February campaign, you actually see her with her real child; she’s a real working woman, with a wonderful family and a great career at the same time. She’s embodying everything and sharing that with us in an authentic way. How did you come up with the March campaign? The March story is much more about celebrating; it’s a good moment, having fun, a nice time to go out, be together, and have fun in the city. It’s not only to celebrate with your friends, it’s to celebrate New York as a vibrant city as well. New York is really a city at the center of everything; in the East Village at night, you can feel this vibe. And what’s on tap for April’s ads? For me, this one completely embodies the brand mission; it’s cherishing diversity, togetherness, and inclusiveness. Different ages, different demographics; older women, women with children—we tried to

SHE’S IN CHARGE Imagery from the Diane von Furstenberg Spring 2018 ad campaign.

C O U R T E S Y D V F/ O L I V E R H A D L E E P E A R C H


show this diversity because we think that DVF is really a brand with purpose. Our purpose is to celebrate freedom, empower women, and inspire confidence. What compelled you to join DVF last year? First of all, I’m in love with New York! I used to live in New York with my husband, but we went back to Paris. And in the beginning of 2017, my husband had this opportunity to go back to New York; I was at L’Oréal Paris, and they offered me a role supervising

all consumer brands [in Paris]. It would’ve been a great opportunity for me, but at the same time, moving to New York, I just assumed I’d continue to work with L’Oréal. Then, I met Diane [von Furstenberg]. It really changed the curve of my life; I had a very strong connection with her. Coming from L’Oréal Paris, the brand’s [slogan] is “Because I’m worth it”—it’s all about confidence, and I truly embraced female empowerment. When I met Diane and I learned a little more about the DVF brand, I thought it would be such a natural fit for me. During my interviews at the brand, the question I was asked a lot was, “You know about beauty, but you don’t know about fashion—why do you think you’ll succeed in fashion without knowing anything about it?” My answer each time was to say, “You know what, when you’ve been working in beauty for 15 years, you learn a lot about women, and this exact same woman is buying fashion. So we have that common thread: women.”

Has that been true? Has your lengthy beauty career proven valuable? Mostly, it’s my digital-native culture that’s been most valuable. I was chief digital officer at L’Oréal, and I think that when you’re coming from that background, you’re willing to take risks. It’s a very trial-and-error type of culture. That’s something I have really deep in me, and I’m a natural risk taker. You can only improve if you put yourself at risk by trying something new—that’s not so natural for luxury fashion brands, because they have to cherish their heritage and assure certain consistencies for the consumer. With that in mind, I guess I shook the house a little bit. When it comes to consumer expectations, you want to surprise them. What do you have in the pipeline for 2018? Any fun projects on the horizon? Diane is a mentor for so many women, and the brand’s ambition is to support women in charge everywhere, to give them a voice, and to make this brand a platform for them to connect and share. We are a fashion brand that has become a women brand, so our main ambition is, really, to be a brand that is at the service of women. I think we’ll have a series of events, different kinds of activations to help give voices to unvoiced women; we’ll be celebrating International Women’s Day on March 8. We’re going to have a series of events in New York at our headquarters that are meaningful and are a place for women to connect, learn, and engage in conversation. ß FA S H I O N W E E K D A I L Y. C O M


WHO’S THE BASSO? With 35 years under his belt as a designer, Dennis Basso has become one of the legendary kings of New York Fashion Week. On the occasion of his anniversary, we convinced him to look back! BY EDDIE ROCHE PHOTOGRAPHY BY WILLIAM JESS LAIRD Can you believe it’s been 35 years? It seems like a lifetime ago, but it went by in a snap. It has been an amazing journey. I love the people I’ve met. The people at my show today were at my first fashion show in 1983. I’ve become friends with so many people along the way. I wouldn’t trade it for all the tea in China. Who were some of the women at your first show? My good friend Ivana Trump, my very close friend FA S H I O N W E E K D A I L Y. C O M

Leba Sedaka, Martha Kramer, another good friend, Nikki Haskell. Did you read Ivana’s book? I’m in the very first line of the book! She closed my show 25 years ago. Why have you stayed in the game for so long? If you love what you do, it’s not work, and I love what I do. I started off only doing furs, and then it evolved into ready-to-wear. I went from having a small

showroom on Seventh Avenue to a flagship store on Madison Avenue to Harrods in London! I’ve never lost sight of the goal. I’m happy to get up every day and do 9,000 different things. This is also my 25th year on QVC! It’s a wonderful juggle. You shoot QVC in Pennsylvania. How do you kill time on the way there? I used to take a nap or read. Now, if you’re busy looking at Instagram, two hours goes by in a snap! What was the toughest show you’ve ever done? My first show at The Regency in 1983 was easy, because we really didn’t know what we were doing. The good news is that we ended up with almost a full page in The New York Times with a glowing review by [the late] Angela Taylor. When Angela left, Bernadine Morris took over, and they were such good friends of Dennis Basso. Then I did my first very, very big show at The Pierre, and I felt like people were really watching. I was full of nerves. We were also giving a dinner at The Limelight that night. You had a dinner at The Limelight? After every fashion show for 20 years, we gave a big black tie dinner somewhere in every venue possible. That was the spot of the moment. We also did them at Studio 54, Palladium.… The next and most important show was when I became part of fashion week at Bryant Park. All of a sudden, I realized I was playing in

GLAM SQUAD Basso’s designs tend to include elaborate embellishments and masterful technique. Below: An early work.

D A N L E C C A /C O U R T E S Y D E N N I S B A S S O ( 3 ) ; G E T T Y I M A G E S ( 1 ) ; PAT R I C K M C M U L L A N . C O M ( 1 ) ; A L L OT H E R S C O U R T E S Y

“I’VE NEVER HAD A REVIEW THAT MADE ME WANT TO WALK OUT THE DOOR OF MY APARTMENT AND STAND IN THE TRAFFIC.” the big boys’ game. My personality is happy, and I’m also able to take the punch and keep going. There’s definitely a little bit of show business in me! There sure is! What do you mean by “take the punch?” If today isn’t a great day, tomorrow is going to be a better one. Have you ever been destroyed by a bad review? I’ve been very fortunate. I’ve never had a review that made me want to walk out the door of my apartment and stand in the traffic. If you are going on the ABC system, I’ve had lots of A+, a lot of A’s, and a few B+, but never below that. One of my favorite moments at your show was when Joan Rivers refused to sit front-row next to Joan Collins. That was funny. Joan [Rivers] said, “We don’t need two adult women of a certain age named Joan sitting next to each other. Let’s put a young girl between us.” That was pure Joan! We’ve never talked about models! Who are some of the favorite women you’ve worked with? We had the amazing Naomi Campbell in our campaigns for several years in a row. She has superstar energy. Coco Rocha is what happens when a model meets theatrics. Then we used the gorgeous Hilary Rhoda, a classic American beauty. On the runway, we use beautiful and interesting girls and not supermodels. But for my 20th anniversary, we had Diana Ross come down the runway. It was a magic moment. How do you stay so ageless? I like to surround myself with young people with great ideas. I’m very open. We have friends who range in age from 30 to 90. We socialize with everyone the same way. That’s what helped build the brand.

I don’t want to try to be young. I’m happy with who I am and embrace that. I want to look the best I possibly can for my age group. When people of a certain age try to dress like their sons or daughters, they look older! What would you tell yourself at 35 years old? Don’t be afraid of work! And be focused on loving what you’re doing. What do you consider to be some of your greatest achievements? Everything at Dennis Basso is made in the U.S.A.! We have a 30,000-square-feet operation in Long Island City. I see everything that is being made, and we can fine-tune pieces specifically for our customer. We’ve had great retail clients. After any show I have, you can come back to the store and review the collection and try things on. Another amazing thing that happened to me was receiving a doctorate from FIT in 2013. You can call me doctor now! Will you ever retire? What is that? My great friend Joan Rivers said, “People in show business and people in fashion don’t really retire. They just can’t get work.” I can’t imagine. I love this. I’m not exactly punching the clock at 9 a.m. and clocking out at 6 p.m. Have you been back to La Goulue since it reopened? I’ve already been half a dozen times! I loved it the first time around, and there’s nothing like going somewhere familiar. They put it back exactly as it was. The menu is divine—the cheese souffle, the tuna tartare, the steak frites…all the favorites are there, with the same team that we’ve always known. It’s a huge hit! It’s buzzing! There are lots of great places in New York, and I love the whole buffet. ß


Over the years, Dennis Basso has charmed an international coterie of chicsters. A few examples:

“Dennis Basso possesses the rare quality of making women look and feel beautiful. Whether enveloped in one of his sumptuous furs or swathed in a sparkly gown, his timeless approach to beauty and genuine love for women make him one of the most fabulous designers of all time.” —Tina Craig,

“The voice is signature, but so is the generosity, and anyone who has ever been to one of Dennis’s dinner parties knows the extent of it. You feel it at his shows, too. There are always a few surprise guests seated near the women who have been coming to Dennis Basso shows for years. And by the end of the show, everyone is friends, somehow. And you’re likely to see them again at one of Dennis’s great dinners. It’s about generosity and fun and enjoying all that there is to enjoy with Dennis, but at the root of it all, Dennis is also about loyalty and friendship. And everyone at the show or at a dinner is ultimately there because of that. And to maybe to try on a sable.” —Stellene Volandes, editor in chief, Town & Country FA S H I O N W E E K D A I L Y. C O M


ISTHAT ZARA!? Indeed, it is! Meet Zara Rahim, the digital guru who was named communications director at Vogue after an exciting career in politics. BY SYDNEY SADICK PHOTOGRAPHY BY WILLIAM JESS LAIRD

What was life like before fashion? When I was in college, I had no idea what I wanted to do. I always had an interest in social justice–type work, but I wasn’t sure how that would manifest. Sure enough, the world revealed itself to me in a “this is what you’re supposed to do” kind of way—in 2011, I got an e-mail saying, “Intern for a campaign!” It was Obama’s. I had voted for the first time in 2008, and I knocked on doors, volunteering for Obama. I started creating digital and social content for the campaign—writing blogs, interviewing people who would be affected by his policy. A few months later, I was hired full-time. That meant I’d need to leave school, which I did. It was the most important thing that’s happened to me. Why? Every single job I’ve had leading up to Vogue has traced back to either an Obama alumni or mentor. I’m really grateful for that. After being on the campaign for a while I went back to school, did a brief stint working for the mayor of Tampa, and then once I graduated, I went to work at the White House. No big deal! What was your role there? I was on the digital team, which was an imperative part of the administration—Obamacare was getting rolled out, and the Syria crisis was picking up. It was really amazing because A) I was working in the White House, which was out of control; and B) I worked a lot on taking the president’s policies and putting them on digital platforms like, Twitter, and Instagram—Obama was really the first president to utilize those platforms. It was incredible to see your campaign candidate, who you’ve worked so hard for, become president. After a brief time, I went to Uber, where a senior adviser to the president had also gone. I, along with a bunch of other Obama people, went there after the primaries in 2014. I worked on writing legislations for live sharing. Every day, when you get into an Uber it’s because people on my team worked really hard to lobby for it. FA S H I O N W E E K D A I L Y. C O M

What was the vibe like at Uber? I got my Silicon Valley time in. It was incredible, but Uber was a tough place to work. Everything you hear about the culture and the bro-iness was real. It doesn’t take away from the incredible people I worked with, but it was mentally straining. After two years, I got a call from my Obama colleagues that Hillary [Clinton] clinched the Democratic nomination and that they needed me to come back and work on the campaign. At that point, I was itching to get back into politics, so I dropped all my stuff in California and moved to NYC.

It must have been much more intense this time! I worked 16-hour days. Obviously, when you’re in fullblown general election mode, it’s a lot. We were up against a really unpredictable candidate. While you can apply everything you’ve learned in politics to an election, this was unlike anything any of us had ever seen before. Particularly being a spokesperson for Hillary, you want to promote and work on a proactive message, but we couldn’t because every day we were doing rapid response to whatever Trump said. It was an incredibly fascinating and trying time in my career.


Mentors in politics always tell you there’s going to be a time when you lose an election and it’s going to hurt like hell. I wish it wasn’t this one. Secondarily, this pain was unlike any other pain I think a lot of people in Democratic politics have felt before. It might have been the worst day of my life. Why was that the right time to transition from politics to fashion? I was connected with Hildy Kuryk, who was the communications director at Vogue and also an Obama alumni. I had no connection to Vogue at that point. When I was moving to New York, a good friend of mine told me to stay with her and said we’d get along great. When I moved to New York, I lived in her basement for two weeks. We became like glue— really close. We had the Obama connection, and we got to work on a Hillary fund-raiser that Vogue put on during the election. After the election ended, she asked me to come work with her at Vogue. I was like, I don’t know. I’m not sure if this is something I’d be good at, especially during the age of Trump. I was like, “Can I work in something like fashion?” One of my friends looked at me and said, “You have to do it. You don’t have a choice—there are so many girls who would die to have a seat at the table.” I took it on and worked as Hildy’s deputy for around six months and then was promoted to communications director. When Anna Wintour asks you if you’re ready to take something on, you say yes. It’s been really incredible. Very whirlwind, and I have no stable sense of home, but my career has always been first to me, only because I’ve manifested it in a way that my job has always had purpose. What does a typical day at Vogue look like? When I was first approached about the job, I had zero experience in fashion. I understood politics, grassroots activism, and tech. My tenure at Vogue started at a very intense time. It was February, when we were launching our March issue, which was the commencement of our 125th-anniversary celebration. We also were gearing up for the Met Gala, which the team had been working on for months before I arrived. I quickly remembered that I, like so many people in politics and tech, learn best when thrown to the sharks. My job consists of not only pitching stories about each of our issues, but also crisis management, drafting statements, working on all the incredible events from the Met Gala to the Tonys, working with our advertising team, preparing for speaking events with our editors.… Every day is different. I quickly realized that working at Vogue was much different than a campaign or a tech company, but it was also very much the same in so many ways. You have to be fast, decisive, thoughtful, and as close to perfect as possible. What was your first Met Gala like? It was a lot more like a campaign event than a lot of people would think. I only say that because it’s a lot of running around and getting people to the right place. How many people are on your team? It’s just myself and my assistant. It’ll be a threeperson team soon. How many inquiries do you get a day? Like a billion! [Laughs] I also get inquiries for all the international brands. I don’t handle them, but I receive the e-mails. We have a really good working relationship with the press. You’ve been a lot more communicative with the press than former communication directors at Vogue. Is that a strategy? I treat reporters as though they’re just normal people. I text them, I call their desks…when you treat them like they have an agenda, relationships can get tricky,

“WORKING FOR ANNA WINTOUR IS LIKE WORKING FOR ANY OTHER PRINCIPAL....THERE’S NO LIGHT DAY.YOU’RE NEVER NOT WORKING.” so I try not to do that. I try to get coffees and invite them into my space. I think I’m more trusting than a lot of other publicists are. Hopefully, it won’t bite me in the butt. Is it more intense at the Vogue offices or the White House? It’s the same. Working for Anna Wintour is like working for any other principal. She’s one of the most respected, well-known women in media. She has a very full schedule and has a lot of issues and causes she’s committed to. There’s no light day. You’re never not working. What’s your relationship with Anna like? Frankly, she’s the easiest person I’ve worked for. Here’s why: She means what she says and has very clear expectations. I find that inspiring. What have you learned from her? I have learned from her, and all of my deeply intelligent, thoughtful colleagues at Vogue that the most important thing you can have is a strong point HAPPY TRAILS Campaigning with Hillary Clinton; hitting the road in Florida.

of view. I respect that she always encourages you to say what you think, and to push back if you disagree. She’s clear about her vision and has an incredibly poignant point of view, and that’s something I respect so much about her. What are some of your most memorable experiences at Vogue over the past year? Watching Meryl Streep be interviewed by Anna Wintour for our December issue. Two women who are at the top of each of their respective industries talking about issues from politics to film to journalism was something I will always remember. Also, we hosted our first-ever conference this year called Forces of Fashion, which was absolutely incredible. There are four people in the industry who I’d absolutely really sweat about: Beyoncé, Rihanna, Oprah Winfrey, and Tom Hanks. Tom Hanks! That’s a funny one. If I met him I’d probably lose my mind. I don’t know why I love him so much. Anyway, Rihanna walks in, I’m keeping it together. She asked for the restroom. Someone accidentally took her into the public restroom, so she’s waiting in line with everyone and people are freaking out. I was like, “Ladies, no photos please, Rihanna’s just using the bathroom.” This girl opens the door and Rihanna’s standing there waiting to use the same stall! So she walks out and puts lotion all over her hands. I was like, “Rihanna, I’m going to take you to go meet Anna.” She freaks out because she has all this lotion on her hands. So she takes my hands and rubs lotion all over my hands. I’m looking at her beautiful hand tattoos, long nails, and rings, and inside, I was like, “OMG!” She was so sweet. Do you think you’ll stick to working in fashion? Growing up, fashion was an integral part of my identity—but it was a negative thing before it was a positive one. I struggled very much with how to represent myself. Like so many firstgeneration immigrant children, I wanted to prove how “American” I was. That meant a lot of running from the house to the car when I was wearing my salwar kameezs or saris because I didn’t want the neighborhood kids making fun of me. I wanted to wear Limited Too, Abercrombie & Fitch, and Roxy—I was a Florida girl! I also was aware of how hard my mother worked to make sure we were as polished in school as the rest of the kids. When I was finishing college and working on the campaign, I was surrounded by people who practiced, before anything, self-love. My clothing style shifted rapidly. I started to wear my activism on my sleeve. I started to love wearing Bengali clothes, and have integrated odes to my culture in my western wear. I believe Vogue is one of the best at providing platforms for designers from all over the world, and I love that. And as for it being a part of me forever, even if I venture back into politics one day, I will never underestimate or ignore the power of fashion and activism. ß FA S H I O N W E E K D A I L Y. C O M

CHASING AMY For the past decade, Amy Odell has been fashion media’s most prominent digital savant, growing brands like The Cut, Buzzfeed, and into bona fide forces of nature. Now a free agent, she’s primed to pursue her own big idea—but first, we asked her to share her insights. BY ASHLEY BAKER PHOTOGRAPHY BY WILLIAM JESS LAIRD

What were your big accomplishments at We made the brand relevant, not only on the Internet but also to its audience. We grew the audience tremendously, but the bigger impact we had is that we treated young women like the smart people they are. We had some of the best writers, reporters, and essayists in the business writing for us about issues of importance. Your uniques were the envy of the industry. When I left, we were at 30 to 36 million uniques every single month. But everyone’s distributing their content in so many different channels. Cosmo is incredibly strong on its website, but also on Facebook, on Snapchat—we reach another 25 to 30 million people a month. We had 13 million FA S H I O N W E E K D A I L Y. C O M

subscribers; we had over 10 million Facebook followers. When I started, it was a fraction of that. To be a successful media brand, you have to be diverse in the way you’re distributing your content. Reducing your brand story to uniques, even though I know that happens in the marketplace, is so old-fashioned, and the industry has to find a way to move on from that. What were your bosses tasking you to do with the brand? They wanted to grow it aggressively, which we did really quickly by changing the voice and giving women things they wanted to read. Toward the end of my time at Cosmo, I was noticing that the things that were performing well weren’t so simple as something about Kim Kardashian’s latest selfie. We had to do really great original content, whether it was an

amazing essay or a highly reported story. There’s so much competition, and Facebook has altered its news feed, so it’s harder to reach people there—the only chance you have of servicing is to offer something original and really good. Last year was such a hard one in our industry, and the way forward is going to be excellent, original content that will rise to the top. Everyone else will fall to the bottom. People think that young women want to read this simpering garbage, and they actually don’t. I don’t have to tell you that. What do you want to read? Not usually simpering garbage! But I do want to read about sex. How did the sex component of the brand figure into what you were doing? Sex and relationships are huge because it’s Cosmo, and that is the brand’s DNA, and that’s what really helped Helen Gurley Brown make it successful. She talked about things that nobody else was talking about. When I started, we made the sex content funny. We hired really hilarious writers to go off about millennial sex and relationships all day long. Their stuff performed so well because everybody wants to read about sex, and people share things that are funny. It’s not easy to be truly funny, and I’m really picky about that. The whole time I was there, I was really fussy about the writers I hired and the voice across all channels. That’s what really helped us—people felt like they could relate to us. “OMG, Gigi Hadid rocked a white T-shirt"—that was the opposite of what we were trying to do. How do brands really make money digitally? Direct sales, programmatic advertising, selling things to people, so e-commerce. If you can get people to pay for your content, sell your content! I could be wrong about this, but I feel like the brands that will have the strongest position are those for whose content you'll be willing to pay. Are millennials getting comfortable with that? It’s hard to get millennials to pay for content, because they’ve always gotten their music for free, they stream any show they want for free, they will find a way to get anything they want for free. Think about what you pay for—I pay for The New York Times; a lot of people pay for The Skimm. Those brands offer great, original content, and their paid offerings aren’t just verticals—they create audio, and a lot of different things. That opportunity is available, but probably because [some media brands] are so obsessed with their uniques, they’re trepidatious. I think they’re also afraid of moving away from “the machine”—if you’re covering the State of the Union,



for example, feeling like you need to post 20 things that night, and 10 things the next morning, just to keep your machine going. How many of those things are providing true value to your reader? Is print tenable in any way? A lot of people still read print—look at newsstand sales. Look at Vogue—I think the print property is so meaningful, because you’re shooting Serena Williams, and everyone wants to see that. It also makes sense online. If you’re investing in this print thing, what are you investing in? Are you investing in amazing features that will also do well online? Are you using it to get celebrities to do things for you online that they wouldn’t do without a print placement? The mistake that a lot of people are probably making is not thinking about the print magazine as being at the service of every other part of the brand. When it’s not the most-consumed part of any brand, that doesn’t make any sense. Probably you’ll see more integration between print and digital at the legacy media companies. I can’t imagine why they wouldn’t do that; why have two separate teams? But the Hearst model is very separate... I think they had to do that to give the sites the freedom they needed to grow and flourish. Give me your best insights about millennials and how they consume media. Millennials are very self-focused. They want to know about things that will affect their lives day-to-day, and if you’re not telling them how to live their life, they want something they can relate to. If they share on Facebook or text it to a friend, it says something about who they are. It’s such an exciting time to be a women’s brand in particular because there are so many things going on—the Harvey Weinstein story came out, the #MeToo movement, sexual harassment stories, and the upcoming midterm elections. You’ll see that millennial women will be really engaged in politics during this midterm year more than any other midterm year in decades. They don’t want to be 50 and be saddled with this debt from the tax bill, for example. Some of the most-shared stories on Cosmo before I left were about the tax plan being terrible. That would not have been the case when I started. Why did you leave Cosmo? Because I felt like I conquered it, and I’m really proud of the work I did there, and I’m ready for my next challenge. I want to find ways to learn new things.


THE VOICE Some examples of Odell’s work for

CHIC READS Odell’s first foray into nonfiction, which was published in 2015.

So what’s next for you? Another book? I’ll write another nonfiction book, and I’m pursuing a big idea. I never would have been able to do it at Cosmo, because Cosmo had 150 percent of my effort and attention. The pace of media these days is leading to a lot of burnout. How did you try to protect your team from feeling creatively depleted? I checked in with people all the time, and I tried to make sure that when they were on vacation, they were on vacation. I tried to encourage people to find time to do things that weren’t so news-focused— to take time to write a feature, or go to L.A. and interview someone. You have to break up the days so nobody feels like a robot. You don’t want people to lose their drive. What about you? What was your strategy? Managing a digital newsroom is difficult, because you have to manage the content and the people equally well. When I took vacation, I tried to stay off my phone, and I didn’t check e-mail. I tried not to do anything too intense on the weekend. And I had really clear priorities for myself. It’s easy, especially at a big company, to get distracted. Someone over here wants this from you; someone over there wants that—you have to remind yourself of the things you’ve set out to do this year, or this quarter. Does this help me achieve those goals, or is it a distraction? This is where a lot of digital properties get into trouble—they have a lot of priorities. Imagine having 15 priorities, versus two—are you going to do all 15 well, or are you going to do two well? Two. Which fashion brands do you think are doing things right, digitally? I like Vetements—I think they’re genius, especially on Instagram. I love their visuals—I’m sure everybody does—and they have such a singular vision. Tell us something we don’t know about you! People are shocked that I like to cook. I can cook from recipes, I can improvise…my specialty is ice cream. Everyone thinks that people who work in fashion don’t eat and cook; I eat and cook! ß

ALL IN A DAY’S WORK Odell speaking at Hearst Magazines’ MagFront in 2015; with Cosmopolitan CRO Donna Lagani (left) at the 2017 Ellie Awards; on the panel at Cosmo’s Fun Fearless Life conference in 2015.



INVESTOR RELATIONS As the heir to the fourth-generation Hong Kong–based Chow Tai Fook jewelry fortune, Adrian Cheng has been carving out his own path in the business world by staking his claim in some of fashion’s most-talked-about start-ups. And he’s just getting started! BY PAIGE REDDINGER


collaboration opportunities in our O2O [online-tooffline] strategy. You also invested in high-end rental companies like Armarium and Flont. Why do you think this is such an important new market? The future of luxury consumption belongs to millennials and Gen Zs, and I pay a lot of attention to that group. They don’t want to own things—they like to rent, which is a big paradigm shift. The idea of YOLO—you only live once—plays an important role here. From a business standpoint, I think Armarium and Flont have great synergy with DIGITAL FIRST Armarium is among the millennialfriendly startups in Cheng’s portfolio.


How was your family’s Chow Tai Fook Holdings empire born? My grandfather met and later married my grandmother when he was working at Chow Tai Fook, which was founded in 1929 by his father-in-law and has become the biggest jeweler in the world as we know it. Then, as Hong Kong was entering its explosive growth period in the 1970s, he also started New World Development, the conglomerate I’m now spearheading. I’ve ushered in the Artisanal Movement, a cultural vision and a new brand DNA for New World Development that celebrates craftsmanship, heritage, and culture in the age of machines. Was joining the family business always part of the plan? My personal goal was never to “join” the business; I look for ways to create value for the business. My family gave me a lot of freedom in what I wanted to pursue. With the blessings of my late grandfather and my father, I created the brand K11 in 2008 and introduced the museum-retail concept to the world. The first K11 opened in Hong Kong in 2009, followed by Shanghai in 2013 and Wuhan last year. What did you study at Harvard? I’ve always been fascinated by art, culture, history, and the humanities. I studied East Asian Studies, because I wanted to do something I really enjoy at school. I also went to Kyoto and spent a year learning about Japanese culture and performing arts. You recently made a sizable investment in Lauren Santo Domingo’s Moda Operandi. Why? It has a fascinating business model that answers the changing needs of the sophisticated millennials and Generation Z, who want things first, fast, and unique. Moda Operandi also adds depth to the C Ventures ecosystem I’m building, with lots of cross-platform

the C Ventures ecosystem and growth potential, especially in the millennial and Gen Z market. After all, they will account for 45 percent of global luxury spending by 2025. Both of these companies have some pretty steep competition in their respective genres. Do you see building these brands as a challenge? That is the interesting part—I think both companies can benefit a lot from my global network. I’ll give you an example: I also invested in DayDayCook, China’s biggest online cooking platform. Home cooking is exploding in China as millennials and Gen Zs are starting to form families, and there’s a new appreciation for food globally. So this has huge potential as a business. What I did then was to create a DayDayCook experiential zone at Shanghai K11, where our customers can sign up for classes, organize bespoke workshops, and try out the latest recipes and products. The future is about bridging offline and online, and the curation of a complete experience—K11 is all about that. What is the big idea behind C Ventures? I want to create a cultural ecosystem of brands that targets millennials and Gen Zs around the world. It’s more than just materials now. It's about the story, the personalization and the universe we create for them. That’s why I’m connecting fashion, creative media, and entertainment. What are the key factors you consider when taking on a new investment? There must be a sound business model in place that shows achievable and exponential growth, but the management team is also important. I look for teams that have a mix of expertise—ideally, at least one member with a proven track record of managing teams and driving businesses, and someone who has a disruptive mind-set. At the end of the day, a good idea needs a good execution plan. How will AI change the retail landscape? It will vastly enhance the experience of brickand-mortar retail. You may have virtual shopping assistants and tour guides. What is the future of digital media? Moving images will continue to be a powerful medium for storytelling. And moving forward, I think all brands must become media in some ways. That is, every brand must speak to its audience with information, knowledge, and unique stories to share. ß

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FORCES OF GOOD This month, Talbots is joining forces with O, The Oprah Magazine for the third time on a cheery capsule collection that’s got some majorly altruistic appeal—a portion of proceeds from the five-piece collab go to Dress for Success. Deborah Cavanagh, Talbots’ SVP of marketing, fills us in. BY ALEXANDRA ILYASHOV What’s exciting about teaming up with O Magazine? It’s our third year of collaborating with O, but the fourth year of our campaign to bring confidence, hope, and style to women with our Dress for Success partnership. Women care more than ever about how they can make a difference. To date, we’ve impacted over 60,000 women’s lives in the United States alone, and through the generosity of our customers and corporate and store associates, we’ve raised more than $3 million dollars cumulatively through our collaboration. Monetary donations are given by customers in our stores over a six-week period; our corporate and store associates give donations, and we hold fund-raising activities corporately. It’s exciting to know that every single dollar helps a woman get on her feet, land an interview or a job. And this time, Talbots is going to match every monetary contribution, up to $250,000—and we give back 30 percent of net proceeds from the capsule’s sales. Does the Talbots customer overlap with the O reader? We really could not have imagined a more perfect partner! We share the same purpose and values. I think that’s what differentiates it from so many other collaborations—we’re in it in a very authentic way, and we’re doing it for the right reasons. It’s not really driven by a commercial enterprise—it’s driven by a commitment to women. How did celebs like Busy Philipps and Connie Britton get involved? As we invite women to join us, be they high-profile celebrities, influencers, or regular women, it’s important that they are involved for the right reasons, and have a true passion for investment in the cause we’re championing. We need women to help amplify the message, to reach more women to join us in this cause. This year’s women are so enthusiastic and have big hearts—they’re really champions of what we’re doing with Dress for Success. Any personal favorite items in the latest capsule? I’m super excited about the capsule this year! You can wear these five pieces in a personal way, but they’re classic and fun. As women, we’re all particular about what we like, what silhouettes we want to wear, and Adam [Glassman] does such a great job with his team of balancing what’s relevant from a fashion standpoint, and what’s going to be relevant across different generations of readers and customers. We have some women who’ve been customers for 30 years, and then they introduce it to their daughters. We’re the most inclusive fashion company out there, in my opinion! My personal favorite is the cardigan—I love a good, deep-V cardigan, and the varsity striping is so great. The ladybug motif is done with wit and charm, and I love the significance of the motif—it’s synonymous with good luck, good fortune, and hope. Also, it just makes you smile! FA S H I O N W E E K D A I L Y. C O M

LUCKY LADIES (From top) Busy Philipps, Connie Britton, Yvette Nicole Brown and Sophia Bush in the Talbots and O, the Oprah Magazine’s Dress for Success capsule collection.

How is the latest capsule with Talbots different from the first two you did with the brand? This collection is our strongest yet. We learned from past years that our ladies enjoy novelty pieces that are both familiar and fresh, with the ability to pepper these unique pieces into their daily lives. Cardigan sweaters always perform well for us, so this season I decided to elongate the traditional cardigan and transform it into a “girlfriend” length. There’s also a nod to the sportif trend with a striped neckline and cuff details; it also features special details like little pearl buttons. Each piece can be easily mixed and matched within costumers’ preexisting wardrobes. What was the creative process like? One day, I was sitting in Oprah’s garden and saw a few ladybugs, and thought, “This is our new polka dot for our Talbots collection.” The process with the Talbots team is always fun. They know their woman so well and bring such insightful and indispensable knowledge about what she wants. They believe in a modern, classic style. I am constantly following trends for my column, “Love That!,” and use what I see in the market along with my gut to guide me through the creative process. I learned this from Valentino when he would do couture fittings with Oprah. If you put on a piece of clothing and you are not joyous in it, take it off and walk away from it. Why did ladybugs and the color red factor so prominently in this capsule? I began the design process thinking about all the Dress for Success members we’ve helped over the past few years, more than 60,000 women: who they are, the struggles they’ve overcome, and the bright futures they now have thanks to Dress for Success. The ladybug naturally came to mind—they’re a symbol of hope, luck, and prosperity, encouraging us to take action on our dreams—and their simple presence brings joy. The ladybug summons spring, and we were therefore inspired by their classic dots and beautiful shade of red. Children squeal with delight when a ladybug stumbles upon them, and I know our readers will feel the same way when they see this collection. ß



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Celebrating 10 years in NYC as we move Scarpetta to the NoMad district FEBRUARY 7TH, 2018 88 MADISON AVENUE (CORNER OF 29TH STREET AT THE JAMES NEW YORK - NOMAD)




5 3



Pops and Martha Stewart are besties




Pierce Brosnan

C B Ewan McGregor


Heather Locklear and Richie Sambora

D James Marsden

Keenen Ivory Wayans

G E T T Y I M A G E S ( 2 0 ) ; F I R S T V I E W ( 1 ) ; PAT R I C K M C M U L L A N . C O M ( 1 )



Her mom was once a Real Housewife!


Will these emerging runway stars be the next Hadids or Gerbers? We report, you decide… BY SYDNEY SADICK





H F Snoop Dogg

G Anna Nicole Smith

Jamie Foxx


Remember Mrs. Doubtfire?


Jude Law

Kelsey Grammer and Camille Grammer

ANSWERS: 1 (Cordell Broadus) F; 2 (Corinne Fox). H; 3 (Dannielynn Birkhead). G; 4 (Mason Grammer). C; 5 (Clara McGregor). B; 6 (Nala Wayans). E; 7 (Iris Law). J; 8 (Ava Sambora). I; 9 (Jack Marsden). D; 10 (Dylan Brosnan)

G E T T Y I M A G E S ( 2 0 ) ; F I R S T V I E W ( 1 ) ; PAT R I C K M C M U L L A N . C O M ( 1 )






very day is all we have.” Jim Shreve, president and CEO at Baccarat North America, considers this to be his personal motto. Ever since he joined the French company in 2016, the seasoned fashion vet and his team have set out to revamp the mind-set surrounding Baccarat’s exclusive product. Why not expand the definition of luxury living? “It really started in France with our CEO, Daniela Riccardi, who had this concept of everyday living and everyday luxury,” he explains. “She came up with a set of six glasses, which we call our everyday Baccarat set. In America, we’re thinking of these as similar to a beautiful handbag or watch—why are we not using our Baccarat in our home every day? The response we always get is that people think that they’re too expensive, or that they might break.” But Shreve brings up a good point: What are we so afraid of? “If you have nice stuff, don’t be afraid to use it. Our glasses bring joy and happiness. That’s their only purpose.” We’ll drink to that! $450,


Your career is everything to you, and the business of fashion is everything to us. At LIM, you’ll learn from the industry’s most powerful, successful, and influential players. You’ll get to know them—and they’ll get to know you. And you’ll have access to a vast network of movers and shakers to mentor, teach, guide, and inspire you. With your graduate degree from LIM, you can go anywhere you want to.


ERICA YOUNG ‘06 Director of Performance Digital Marketing Kenneth Cole Productions



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