FEBRUARY 13, 2017
KENDALL JEFFREY Delilah Nicole
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GIGI HADID OPENED JEREMY SCOTT’S SHOW WEARING VELVET TROUSERS PRINTED WITH THE FACE OF JESUS.
HUGGING IT OUT! With Stella Maxwell
How has your relationship with Jeremy grown? So organically! I’m super happy to collaborate and wear anything he’s designing. Every season, he brings it to new levels. As both our careers develop, it’s a perfect friendship. What did he tell you about this collection? [Barbara Palvin comes up to hug Stella] Hold the interview! Put on record that my best friend just came in!
V Magazine hosted a signing of V105 with Kendall Jenner and then a “friends and family” party at its office on Mercer Street. Kendall, Inez & Vinoodh, and Stephen Gan enjoyed a quality hang. • JEREMY SCOTT had an epic front row, thanks to the likes of KYLIE JENNER, BARBARA PALVIN, and DEBBIE HARRY. At the after-party at the New York Edition, MIA MORETTI, THE MISSHAPES, and SITA spun until the wee hours.
WALKING AND TALkING!
With Jeremy Scott
Nice seeing Gigi open the show! I launched her, don’t forget! So proud of her. Let’s talk about Stella Maxwell! She’s one of my babies whom I launched on day one. Stella loves to do her job. Like Linda Evangelista, she is so passionate about being a good model. She is magical. What’s the vibe for Fall ’17? I was thinking about iconography, and how we worship Elvis or Marilyn or Michael Jackson in the same way we worship Jesus. The show is over! How are you feeling? Like a man who got out of jail— free at last! #pretty influential Look We Love! Loving the NYFW style of Erin and Sara Foster, who are talking fashion (and more!) in their daily NYFW show, “Pretty Influential”? Get the look—and watch the show at THEOUTNET.COM.
TRUCK STOP! Amopé’s ShoeLove Fashion Truck is hitting Chic Week in a major way. Women who pop by will be able to try Amopé GelActiv insoles and inserts. Today, the truck will be on W. 33rd Street, between Eighth and Ninth avenues, from 11 a.m. to 7 p.m.!
Erin and Sara Foster
Opening Ceremony, $299
cushnie et ochs Fall 2017
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BEAUTY MUST: MAYBELLINE NEW YORK Color Sensational Inti-Matte Nudes in Almond Rose, ($7.99), maybelline.com
With Sebastian Faena, who co-hosted The Daily x LIFEWTR party
What inspires you most in your work these days? Music. In your photos, do you clearly show your inspiration or keep us guessing? In everything I do, there’s nothing to hide. Who motivates you most to push boundaries? I never know that answer—I wish I did, because it just keeps pushing.
Sergio Rossi, $523
For the Cushnie et Ochs show, Maybelline New York makeup artist Gato was inspired by the “more urban and casual” look of an ultra-chic sophisticate. Using Dream Cushion Foundation and Facestudio Master Strobing Liquid Illuminating Highlighter, Gato created a glowy complexion, which he then topped with a matte, pink nude lip color, courtesy of Color Sensational Inti-Matte Nudes.
FASHION’S MOST INSPIRED!
PRO TIP: Use several layers to create a pronounced pout.
With Joyce Siriano, mother of Christian Siriano
Was Christian a good student? If he could do what he wanted to do. I taught school for 40 years, so sometimes, I did his homework. He was so busy! My feeling about kids is that you have to help them find their passion, then you drive the car and tell them they are wonderful. I taught him to sew when he was, like, 7. He made an American Girl quilt! Who are you wearing today? A piece from his Lane Bryant collection and Payless shoes. Like all retired school teachers, I’m wearing Chico’s! Did you have to ask?
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Series 1 Art by MOMO / Craig & Karl / Jason Woodside
Â© 2017 LIFEWTR and THIRST INSPIRATION are trademarks.
Introducing LIFEWTR. Inspiration on the outside. Hydration on the inside. Discover our Series 1 artists at LIFEWTR.COM
With Cailli Beckerman What are you doing to stay calm these days? Online dating! How’s that going? Bad! What apps? Bumble, Tinder…they’re all terrible. But I actually got a breathing app called Calm. I haven’t used it yet, but I downloaded it, so I’m halfway there. My Apple watch also tells me to breathe like every hour!
TALKING SHOP! With Chelsea Clinton at Tanya Taylor
What are your Oscar picks? As a mom of two small children, I haven’t seen enough of the movies to have a well-informed opinion. We did have a snow day yesterday, but we didn’t watch any movies. How are you staying calm these days? I don’t think we have an option to stay calm these days.
Tanya TayloR showed a kimono-inspired collection at the now-vacant Pearl River Mart. • Jason Wu celebrated his 10th anniversary with dinner and a show at the St. Regis!
MISSING REEG! With Diane Kruger You and Jason are dear friends. How did you first meet? I requested a dress for Cannes, and he showed up and put it on me! We’re at the St. Regis. Do you miss Regis Philbin? [Laughs] I do miss Regis! Who doesn’t love the Reeg?
CALIFORNIA LOVE! With Anne Slowey
What’s new? A lot! I’m working on a novel that I pitched to my agent two years ago. The idea came to me in the middle of the night. I’m also working on a TV show. That’s very Hollywood of you! It’s a big deal. My kids are going to be too tall for a one-bedroom rent-stabilized apartment before they hit high school. L.A., here we come…in 10 years. If the book is good and we sell the script, maybe I’ll be able to move into a twobedroom apartment!
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IT TAKES TWO: SAMSUNG + THE CFDA
How are the two powerhouses working together to push fashion forward? Samsung’s Zach Overton explains…
How did Samsung become involved with the CFDA? I’ve been an admirer of the CFDA’s work for years, so when we launched Samsung 837, it felt like a natural fit. One of our goals is to leverage our technology as a facilitator to help designers and brands reach new audiences. We launched our partnership with the CFDA last spring, where we worked with them to select Platform 3 emerging designers who we then provided a platform to showcase their talent and collections. How do you see young brands embracing technology in exciting ways? We’ve only scratched the surface! Emerging brands are seeking technologically advanced spaces to help differentiate their shows and presentations, but they also want to directly integrate technology into their designs, like DYNE did this season. The Platform 3 designers we worked with this season utilized our Gear 360 camera to shoot in 360, Samsung Gear VR, TabPro S Tablet, Galaxy S7, and Level Headphones to create immersive content for their fans. For example, Kenneth Ning utilized 837’s digital installation, HU: The Spectrum of Being, where the models’ movements were captured using stroboscopic light that leaves an abstract shutter drag image. DYNE sees technology as a core part of its approach to fabric, fit, and function, and we were able to help realize that through our technology. Each piece in the collection is equipped with an interactive touchpoint tag and by utilizing NFC technology and Samsung devices, guests can learn where to buy the garment, the cost, materials used in making it, the inspiration behind the piece, and more. It was so exciting to see the models stationed around 837 with guests tapping their phones on the garments to learn about each piece—the true collision of fashion and technology! What are your thoughts on wearable tech and its evolution? Technology is integrated into nearly every part of our lives, and wearable technology makes our lives a little easier. I adore my Gear S2 Classic. It allows me to stay connected while still making a fashion statement that I can be proud to wear. Fashion and technology are more aligned now than ever. We aim to enhance the way people can enjoy the things they love, so we are definitely interested to see how wearable tech continues to evolve and become even more fashionable. FA S H I O N W E E K D A I L Y. C O M
Editor in Chief, CEO 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
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
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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: Jonathan Saunders and Grace Hartzel, photographed by Sasha Israel at the Diane von Furstenberg studio. Hair and makeup by Aeriel Payne.
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Alexander Wang #WangFest no more? Did we do something wrong? Nevertheless, guests arrived to a derelict theater in Harlem and were greeted by ceilinghigh stacks of kegs and ample cups of Peroni, and the crowd remained standing as models in noir party looks sashayed to the sounds of Migos. This season, Alexander Wang kept the eyes focused firmly on the clothes. A few exceptions aside, these body-con looks are destined for late nights at Paul’s Casablanca. As for the checked suiting and outerwear? Even party girls have to pay the rent. “Bad and Boujee,” indeed.
Alexander Wang’s No After Party tights ($125) are already sold out.
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f i r s t v i e w , r o m e e s t r i j d B A C K ST A G E B Y R Y A N L I U
Elvis! Michael Jackson! Marie Antoinette! Jesus on Gigi! If youâ€™re feeling starryeyed after that onslaught of iconography, well, that was kind of the point. For Fall '17, Jeremy Scott meditated on the notion of celebrity worship, an enduring preoccupation of American culture. Especially in-your-face looks included a sequined tank reading As Seen on TV and a purple ruffled sweat suit paired with oversized jewelry that proclaimed Las Vegas down the leg. Provocative? Yes. Desirable? That, too!
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Creatures of the Wind Highly bankable outerwear from Chicago’s finest. If you can spring for only one of these lovelies, we suggest the next-level silk number that’s printed with some sort of communal purification rite. If that’s a little too outré pour vous, the belted mink with leather trim or the Swarovski crystal–studded silk vest should do the trick. Or maybe you’re more of a T-shirt and jeans girl, in which case you mustn’t deny yourself the green moto, which will put your black Acne to shame. Backstage, designers Shane Gabier and Chris Peters discussed their (off-trend) aversion to social media. “It makes reality more fake than any other thing that’s ever happened before,” Peters said. “I find that kind of spooky.” Well, yes, darling—but with clothes like these, the word simply needs to be spread.
Merci, Tibi, for the colorful shot in the arm! In a season of dark and brooding clothes, the punchy stuff looks especially winning, and Amy Smilovic has plenty of reasons to feel upbeat. She’s celebrating her 20th year in the biz, after all, and her chicly minimalist collections have never been more appealing to motivated, ambitious women with people to see and things to do. Strong shoulders were key, and that canary yellow ensemble? Eat your heart out, Melanie Griffith!
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firstview (8); getty images (5)
©2017 Maybelline LLC.
JASON WU In the finicky fashion biz, a decade is something to celebrate. In the past ten years, Jason Wu has championed a notion of femininity that has hard and soft edges, and the best of both played out in his Fall ’17 collection. The sumptuous red coat was one for the ages, and would look right at home on the streets (and runways) of Paris. Funky chiffon prints were most successful in flouncy dresses and skirts, and as always, there was some topnotch tailoring that women who work will get behind in a major way. The elegantly draped eveningwear was rock solid—especially that liquid gold dress. Wu began his career by dressing dolls, but it’s more evident than ever that his life’s mission is to give women some very seductive, very real clothes for whichever world they’re inhabiting on any given day.
BEAUTY TREND alert!
3-D RED LIPS
By Yadim for MAYBELLINE NEW YORK
Cushnie et Ochs
Don’t expect anything less than New York’s best in body-con. Each season, Carly Cushnie and Michelle Ochs seductively honor the female form with cleavage-baring, hip-hugging looks that are the stuff of dreams for Taryn Toomey regulars. For Fall, earthy pastels were offset by sequins and fur, with deep slashes and cut-outs providing the sexiness that was once delivered in short skirts. (It’s totally midi these days.) And do you see that architectural little handbag? Well, how else did you think the designers would celebrate their upcoming 10th anniversary?
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S T Y L E S H OW N : N AO M I
Z AC P O S E N S U N W E A R â€¢ AVA I L A B L E O N Z AC P O S E N .CO M
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MILLY The mood at Milly was a little dark. Palette-wise, it was a domination of black, gray, and white, with the occasional touch of shimmer. Yes, these are somber times, and accordingly, Michelle Smith deconstructed familiar tropes of power dressing by reworking boxy blazers, button-up shirts, and black leather separates. But there were festive moments, too, like a golden evening dress, a pailette midiskirt, and some indulgently flouncy sleeves. Make no mistake: These are serious clothes made with 2017 in mind. A show of strength is necessary, and with this accomplished collection, Smith did just that.
“Gypsy Grunge” was the message behind Nicole Miller’s Fall 2017 offering, but it was really an homage to Miller’s downtown New York stomping grounds. The looks reflected a clever mash-up of leather, denim, plaids, minidresses, and bombers, styled with a nod to streetwear. Miller’s gypsy spirit translated into prints that featured crystal balls, skulls, seeing eyes, and even fortune cookies; tarot cards and floral embroidery adorned one particularly trippy evening dress. Mining the best of the past to create a new vision for the future? Inspired idea.
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1/25/17 4:45 PM
BRAVE NEW WORLD
for the first time in Diane von Furstenberg’s 45-year history, the brand’s vision comes courtesy of someone other than its founder. Jonathan Saunders, TAKE IT AWAY! By ASHLEY BAKER Photography BY SASHA ISRAEL Model grace hartzel
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ow’s life as a New Yorker after all those years in London? It’s good; it’s different. The energy here is great—I’ve hit the ground running. I thought I was going to come here on a consultancy [basis], and I ended up never going home. The job of chief creative officer was exciting because it’s so broad. Working with a brand’s founder who is into newness and change has been a great opportunity for me. What was your first conversation with Diane like? I’d actually decided to make a real shift in my life. I’d been working for my brand, as well as many others. It was great, but I really wanted to try something different. I studied furniture before I did fashion, and I wanted, from a creative perspective, to do something that involved creating a product over a longer period of time. Then I got a call from Diane and met with her in London without any kind of preconception of what she wanted to discuss. I had no intention of moving to New York, that’s for sure! And then we started talking about the potential for the brand, and its future, and how it could move in a different direction. It was an incredible conversation—Diane is great with words, and I love words, too. We talked about the relationship women have with the brand; we talked about colors, prints, what was happening in fashion, and how the preconceived brackets of brands are being rethought. Customers love pieces with personality and a point of view, rather than a sportswear-solution way of dressing. That’s why this brand has so much potential—it’s about imagination, print, color, and textile design, as well as sensuality, in an effortless way. I fell in the love with the idea. You showed your first collection for Spring ’17 by appointment to a small group of editors. Why did you pursue that approach rather than a thousand-person show? Primarily, it was to be able to see the clothes up close, and to talk about the collection in an environment that felt new to the brand. It has so much history here in New York, and I wanted to be respectful of that while discussing how I see the brand moving forward. When I was browsing the pre-sale on Moda Operandi, I was really surprised to see that you didn’t change the price structure. Why? It was vital for me to work within the pricing architecture that had been very well thought out by the brand, but I did not want to compromise or approach the collection in any way other than a designer approach. Everything was done bespoke in-house—the pattern-cutting and draping were all done by myself and the creative team I brought in. Thanks to the company’s infrastructure, there is a wonderful team of executives within the production and development process that had incredible systems in place. And because I’ve had my own business, I’m very involved in making things happen, too. Everybody worked tirelessly to make sure the product stayed within the parameters of how it was structured, but was elevated to a level that felt like there was such incredible value. It’s in line with what women want right now, and that goes for women across all different backgrounds and incomes. It’s doable if you work really hard and are devoted to that task. It was a lot to do in three months—we developed an entire accessories line that worked in tandem with the collection, and you’ll see that developed even further in the next collection.
We also broadened the depth of categories as well— knitwear is an important category for me. Rather than doing jazzed-up versions of wrap dresses, it was important to take the ideology behind that product— why it worked, why it felt effortless but was still designed with imagination, why it felt easy but still sensual—into the rest of the collection. I’d completely sworn off wrap dresses until I saw the blue and black ribbed one in the boutique, and I thought, “I’m going to have to order that.” [Laughs] I love it! We’re developing the store; it’s still in motion. There are loads of exciting ways we’re going to use to give our customer a more interactive and exciting experience. The worlds of brick-andmortar, digital, and online can work in harmony, rather than seen as something separate. The collection in the store is very edited—DVF is known for having hundreds of SKUs, 10 deliveries a year. How many deliveries are you doing now? I still design four collections a year, split into 11 deliveries. Rather than approaching that as an afterthought, I think of this world, this collection, as an idea, an inspiration. Within the main stories, I tell
other stories. When you go to a store, it feels like a new experience every month while still maintaining a synergy and a flow, so it looks like one idea. You’ve made some very pronounced changes in the branding, especially losing “DVF,” for the most part, in favor of “Diane von Furstenberg.” For the moment! [Laughs] It was a new chapter, and a new chapter is best defined by cleansing the palate. The customer wants direct, to-the-point messaging, and the new logo development is very simplistic, classic, and direct. The clothes are rich with color, pattern, and textile design; the environment that you put them in needs to feel warm and inviting. The branding needs to allow those clothes to do the talking. Simplicity is key. Color is important as well— we have three signature colors that we’re going to use in rotation. The space in which the logo is used is almost as important as the logo itself. There’s some negative space around the logo to allow it to breathe. Coming from a decorative world, that’s important. I don’t think women these days want pomp and fluff and grandeur and frills when it comes to that kind of thing. How did Diane react to these changes? She’s been incredibly supportive. She’s a good
“it takes a lot of maturity to be able to allow someone else to take control of the brand’s vision.”
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GUTTER CREDITS HERE
friend, an incredible woman. Her experience as an entrepreneur and businesswoman has fascinated me, and I can learn a lot from how she’s navigated through an ever-changing industry over the past 40-odd years. It takes a lot of maturity to be able to allow someone else to take control of the brand’s vision. It can only work when there is a straightforward, direct, open line of communication. The critics loved Spring ’17; how are the clients responding? It’s just come out! I’ve been around most of America, speaking to our incredible wholesale partners, as well as going into our own stores, and speaking to the teams there about the vision for the brand. If people believe in it, it’s successful. I’ve never been nervous; I’ve never doubted it. When you have that kind of approach, people respond. I’m excited by how well the really decorative pieces, like the sequined T-shirt dress, are being received by the customer. I love women; I love clothes. When something feels fantastic to wear, but flattering, and still with a fashion point of view, but it doesn’t alienate people… That’s signature DVF! So you’ve been in New York for about seven months now. You missed Brexit? I did. I went back to vote against it! And you came back to New York just in time for the ascent of Donald Trump! [Laughs] It’s an interesting time. What I think is very, very encouraging is that despite what happens in politics, this makes people strong and convinced in their beliefs. Long-term, it creates a better world. And that’s the classic DVF optimism right there! Are you’re living in the West Village? Yes. My partner is here now; he was in London for a few months longer than I was. My dog finally arrived, too. She’s in the latter part of her life, so she’s having her final chapter as an American. I love the energy here. I love how you can make things happen—people are open to new ideas all the time. Coming from Europe, the world of creativity is often paralleled with a traditional way of working, irrespective of how modern or forward-thinking fashion is. The world in which it lives is traditional. New York is a really great place to spearhead the future of fashion. ß
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Endowed with an enchanting mix of beauty and personality, Next model Grace Hartzel is poised for a long, fruitful career. So we wondered… How did you get into anime and manga? My best friend growing up kind of brought anime into my life, and I don’t know what I would do without it. I feel like I’ve always belonged to it. Where are you dying to travel next? The stars. What are your thoughts on Jonathan’s new vision for Diane von Furstenberg? I’m super excited! I remember when I first met him in London during my first Fashion Week, and I couldn’t wait to walk his show. He is so extremely talented. If we were to run into you on the street, what would we find you wearing? A sparkly disco suit and clunky platform boots, baby. Where are you spending most of your time these days? In my music studio. Can you share some beauty secrets? I hate chemical deodorant. Try Milk or Tom’s. I dance a lot, and love creating crazy makeup looks. I always try to create a unique character when I get ready. If you could learn anything in the world overnight, what would it be? Japanese and French, and how to lucid dream. ß
GUTTER CREDITS HERE
Can we call you Gracie? As you want. Who are your favorite Graces in fashion? Grace Jones and Grace Coddington. What were you like as a kid? Super stubborn and curious. I loved playing dress-up and making little films. You’re a Midwesterner, right? I grew up in Chicago, St. Louis, Wisconsin, and then Indiana! I’m super Midwestern—I say “y’all” way too much. But I don’t think I would want to live there ever again. You were scouted at a Cheesecake Factory. What’s your order there? Probably cheesecake! How did you end up making the move to New York? I don’t know, really, but Chinatown makes me feel at home. What’s your favorite way to kill time on set? I bring my laptop and midi keyboard and jam on Ableton, a recording system. What are your favorite pictures of yourself? The photos me and my friends take on our own, doing whatever we want creatively.
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It’s been a fun, floral-filled 10 years for Deborah Lloyd as creative high priestess at Kate Spade New York. Shaking things up a bit this year, Lloyd presented an instantly shoppable collection at the Russian Tea Room and teamed up with a digital influencer to spread the word. Needless to say, this Brit is attracting the millennial girl in spades. By KRISTEN HEINZINGER Kate Spade New York mixed things up this season! We tried something new! We held two different sorts of presentations in one venue. It’s see-now, buy-now, wear-now. It was a classic fashion presentation, so Fall, where we show months in advance, but at the same time we showed Spring in a slightly different area and brought it to life for our customer. She could click and follow our digital influencer as she went about her daily life, interacting with us and showing all the new pieces for Spring. Do you think you’ll continue with this model? We’ll learn an awful lot from this. The world is
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changing, and how we talk to our customers is changing. We showed this collection to the long-lead press six months ago, so the build and buzz has been there, but now she can actually buy it. Why did you choose the Russian Tea Room as the venue? One of our “Miss Adventure” films was shot there, so it felt natural, but also it goes with the furs in our Fall collection. There’s a folkloric, almost eastern European moment in the air. I love the glitz and the glamour. It used to be an amazing meeting place for strong, interesting women. Gloria Steinem told me how much time she used to spend there. I loved this idea, with the moment that we’re sitting in today, about strong interesting women wanting their voices heard. Do you have a favorite item off the menu? Oh, caviar, of course! [Laughs] You also streamed the show over Facebook Live. Our popular digital influencer Victoria Justice played that role of the Kate Spade New York girl for us, and hosted a livestream video. People could follow her throughout her day, from
when she woke up. As she arrived, it was like they were arriving. They could feel like they were part of our presentation, and the pieces she wore and the pieces that she was looking at were totally shoppable. Is that something Kate Spade will embrace more, these social media, digital influencer girls? I think it’s really important. We’re all learning as we’re going. If it’s hugely successful, we’ll keep on going with it. Do you personally use a lot of social media? I love Facebook, and Instagram is my favorite. We know you love antiquing—have you scored any great pieces recently? Oh, my goodness! There are some gorgeous vintage pieces I’ve been collecting. I found an incredible Russian embroidered cape, and I’m sure you’ll see the influence of it in the collection. I’m loving artisanal pottery pieces; I’ve been inspired on weekends to start pottery again! It’s my new Saturday hobby. Maybe a Kate Spade New York pottery line? Never say never! Let’s talk campaigns: How do you choose who will appear in the “Miss Adventure” videos? We’ve always gone for interesting women who aren’t just a pretty face. So they may be models, but they always have something else about them that attracts us to them. They’re all Kate Spade girls, but in very different ways—different ages, sizes, and from different parts of the world. For Spring, we love our new girl Fernanda Ly. Fernanda has pink hair, and immediately I was like, I love this lady. We had her on the streets of New York with a real camel,
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and it was a New York love story; those two got on extremely well. A real camel on the streets of New York? This is not Photoshop; this actually happened. This was the most well-behaved camel I have ever met. He was absolutely gorgeous, so fluffy and lovely. We worked with him the whole day, and he had his regular three breaks. It really brought a moment of joy to everyone who saw him. It was really hard filming because it was on the local news and people were hearing about it. All these people were coming to watch! But it's New York City—there were some other people who walked right on by and didn’t even notice! Where did the idea for “Miss Adventure” start? This idea actually came about from talking about the Kate Spade girl. A lot of people think she’s perfect, but she’s not. Many of us think everything is going swimmingly in our lives, and then something really strange or stupid happens. How a person deals with that is the telltale sign of their personality. Each of our films has a little bit of a message, where we turn a negative into a positive. Did you expect it to be such a hit with your customers? I always thought it would, because when I was growing up, some of the most amazing adverts on television were things that had a story. You had to keep watching them. It really captured my imagination. Do you have a favorite one? It’s hard; I like them all. I like the stories, whether it’s the original one with Anna Kendrick or what Zosia Mamet brought to it and her repartee. I like the fact that it evolves and it doesn’t stay the same. What’s it like to work with Anna and Zosia? Anna is always funny and witty—those facial expressions! Sometimes, the outtakes are the best ones. And Zosia is really funny, too. We always have a laugh with her. I’ll wear the skirts longer, longer, longer, and she wants everything shorter, shorter, shorter. She’s such a comedian. Her sense of humor! You never know what’s coming. What’s your sense of humor like? It’s very British; it’s a little dry sometimes, but I love to laugh. I believe strongly that work should be fun. There are so many categories; are there any plans to introduce more that you can discuss? We have a lot going on at the moment. I think it’s really important to look at all the things that we do and do them better as our customer’s life changes. It’s the constant evolution of what we do that makes us modern.
“many of us think everything is going swimmingly in our lives, and then something really strange or stupid happens. HOW A PERSON DEALS WITH THAT IS A TELLTALE SIGN OF THEIR PERSONALITY.” You’ve done many collaborations in the past. Will you continue to do more? I think we’ll always do collaborations. We did Miss Piggy; we’ve done Beyond Yoga on the athleisure side. It’s nice to pair up with experts in a field or with people with a specific point of view or voice. We just worked with Williams-Sonoma on a collaboration for the home, which we really love, too. Where do you see lifestyle brands going? At the center of a lifestyle brand is having an incredibly strong brand, so that your customer can give you permission to explore beyond what they normally would buy from you. Kate Spade started with the perfect black handbag, which filled a gap in our woman’s life. We’ve become what we’ve become by really connecting with our customer. And I think that’s the important thing—meaning something to your customer. How has Kate Spade New York grown over the years? Enormously. We can spot our girl whether she’s a 15-yearold or a 95-year-old, like Iris Apfel. It’s about capturing her imagination. We’ve grown in size and in product categories we offer, but we’ve stayed true to ourselves. How do you divide your attention among all the categories? [Laughs] I have an amazing team that I’ve built over the
years. They can finish my sentences for me, and that allows me to be in two places at once. How are the dogs? Lulu and Stanley! Lulu loves the snow. She’s been upstate a lot recently. My husband sent me a video of her playing outside, and Stan is looking at her through the window thinking, “You stupid girl!” He hates getting his paws wet, but she loves it. She’s a true Kate Spade dog! ß FINE PRINTS (Clockwise from top left) Floral motifs from the new collection; Deborah Lloyd; the Spring campaign; sweet T-straps.
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Sheer determination and some parental pestering landed the Korean-born Rejina Pyo at London’s prestigious Central Saint Martins. After a brief stint designing under Roksanda Ilincic and her own exhibition at the Museum Boijmans Van Beuningen in the Netherlands, Pyo launched her eponymous label three years ago. Since then, Pyo’s designs have gained a loyal following with influencers like Kate Foley and Leandra Medine, who rely on her elegant, feminine, and thoroughly modern collections to cut through the streetwear noise. BY PAIGE REDDINGER What is your earliest fashion memory? My mom worked in fashion in her early twenties, so she had sketchbooks and things like that around, but she didn’t want me to do fashion. She would try and hide the books from me, but I would always find them and try to draw the same things that she did. She made a lot of my clothes when I was young, as well as curtains and cushions and other things, so I asked her to teach me how to use the sewing machine. I made my first dress when I was 13. It was a check fabric, and I was so proud that all the lines matched up. You attended Central Saint Martins. What did your mother think when you decided to go to fashion school? First, I went to art school in Korea, and after I graduated, I got a job. It was really different from what I imagined. I just really wanted to go abroad. I FA S H I O N W E E K D A I L Y. C O M
told my parents that I didn’t like my job and I wanted to go to Central Saint Martins, and they told me, “Your first job is always hard. You just have to stand up to it.” Eventually, my mom told me that when she was younger she wanted to study abroad but she couldn’t. She didn’t want me to regret not going, and she didn’t want to be blamed for it. [Laughs] I applied for the master’s degree and I got in, and they allowed me to go. While I was in London, I met an Irish guy and I got married, so I ended up never going back. My parents were a bit upset that I never came back, but they are happy that I’m happy. It was the best decision that I ever made. What did you do after graduation? I wanted to work in London, but, of course, when you graduate, you suddenly start to see the reality of things. I wasn’t a U.K. citizen, and I needed a certain
visa. Companies need a lot of money to support visas, and so oftentimes they don’t want to hire international students. It was really hard, but luckily I got a job thanks to my professor, Julie Verhoeven, and then later I got married. Julie was friends with Roksanda [Ilincic], and when she saw my work she thought we shared a lot of the same inspirations. I had never worked for a small studio-based company before. In Korea, I was working for a corporation where I wasn’t able to see the whole process. I learned a lot seeing the bigger picture in an open studio. Then I won this opportunity to do a full-on exhibition at the oldest museum in the Netherlands. At first, I spoke with Roksanda and I thought I could do it at the same time while working on the weekend. Then I visited the museum and it was a bit like the Tate Modern, and they had given me this huge room.
I realized that I was going to have my name on this, and I wouldn’t be able to dedicate 100 percent to both of them at the same time. Roksanda said, “Of course you should do it.” I worked on the exhibition for six months. I had so much fun. It was like making sculptures, which I’m also interested in, but as a fashion designer, you never have the luxury to work on something without thinking about whether or not buyers will like it. After that, I had some prize money and, of course, I wanted to do my own line, so I decided to do it when I’m young and have some energy! What was your first season like? I made a capsule collection, but I didn’t really know anything about when to meet buyers or all the fashion cycles. Luckily, Harvey Nichols picked up my first season and it sold really well. Slowly, it grew and three years later, it is what it is. Net-a-Porter picked you up for Fall ’16. How did that change the business? Actually, Net-a-Porter wanted to pick me up the first season, but at the time, they were launching a capsule collection that had similar color combinations, so it didn’t work out. But the buyers were really supportive and wanted to buy a lot of my pieces for themselves. When it launched for Fall, they sold through over 50 percent. They quickly placed a reorder because the stock was gone so quickly. Just being on that bigger platform was great, because you work so hard on the collection every season and you really want more people to see it. Where do you produce the collection? In Europe and the U.K. initially, but for buyers in the U.S. it was 30 percent more expensive by the time they imported it. I found out that Korea has a freetrade agreement with the U.S. Because I had been working in Korea, I have a good relationship with the small ateliers through the company that I used to work with because they do high-quality products. So we hire people for quality checks and ship it directly from Korea to save on duties, which keeps the prices down. We will continue to do that unless Trump changes things. It was quite funny working on the importing documents! As a designer I’m not meant to do these sort of things, but it’s good to learn about it. We still control the quality on each piece because we are small enough to do so. What have you learned about your customer since you started you business? When you start, you’re basically satisfying yourself without really thinking about who’s going to pay this amount of money and who is going to wear it and when. I learned a lot. Not everyone can afford to buy designer clothing for $2,000 or $3,000 and even if you could, you probably aren’t going to wear it every day or wear it to work. There are other brands that offer more of a streetwear style, but they’re not necessarily sophisticated or feminine, and they’re often not at an affordable price. So I thought there was something missing in the market. My client is a normal woman who works, gets a salary, and wants to buy something for herself. She’s not someone who has tons of money and buys everything and wears each thing once. I really want to make sure that my pieces have a timeless element to them. I want them to be able to survive in your wardrobe for quite some time.
Who are some of the women who have been wearing your clothing? Leandra Medine, Kate Foley, and Pandora Sykes— they are intelligent women with confidence in themselves. They know what type of shapes suit them. They’re not just wearing something because a magazine says it’s a must-buy this season. We also have our own online shop, which is a treasure to us. It’s just amazing to see someone ordering from us in India or Sweden. Sometimes I look them up and you can see that they’re a product designer based in Stockholm or other interesting jobs and you can really picture them as a real woman. When you are selling to retailers you are usually just delivering a certain amount, but you never get to see the customer. But when I do go to the stores and speak to the assistants, they tell me my customer is a girl
“there is nothing more shameful than to keep changing your style after clients are just starting to recognize you.”
SCULPTURAL SHAPES Pyo’s work at the Museum Boijmans Van Beuningen.
between 20 years old to a 60-year-old woman, who picked up one of my skirts. I think that’s a big asset to have that wide of a range of women wearing our brand. What have you been working on for Fall 2017? Because of the Internet, there are so many brands that are coming and going. Most importantly, you need to keep your identity. There is nothing more shameful than to keep changing your style after clients are just starting to recognize you, so it’s really important for me to keep the same aesthetic and design elements so that people can always recognize that it’s Rejina Pyo. But I want to continue to add new elements to it. I was working really hard to get that balance this season because last season a lot of dresses were worn by celebrities and fashion editors. You can’t just keep doing the same thing, but on the other hand, people want it now because they’ve seen it on those women. You have to be somewhere in the middle. It doesn’t work to design items just because you think other people will like them. The best instinct you can have is your own. How do you hope to see the brand evolve? We are a very small team, so one day I hope to have more proper departments. When something happens now, we all have to work together. I’m very thankful for the team that I have. They are all very thoughtful and caring, but maybe one day they could have more of a break! I would also love to design other elements, like shoes or jewelry. We’ve done shoes and sunglasses through a collaboration, but we haven’t done a bag yet. I would like to be able to show the total look. I prefer to grow the business at a pace that I can cope with. I don’t want huge amounts of attention suddenly, because then people just look for what else is next. I don’t want to be everywhere, otherwise people will get bored of me. I want to keep that sense of discovery. ß FA S H I O N W E E K D A I L Y. C O M
CHARLI’S AN ANGEL When model Charli Howard’s London agency dropped her for reportedly being too big— at a shocking size 2!—she fired back publicly on social media…and promptly moved to NYC. Now she’s back and better than ever with serious representation and a mission to upend all our old-fashioned notions of beauty. Tell us the story behind the headlines: What happened with your modeling agency in London? I was just dumbstruck: I was dropped a year after I got signed. I had gone into the agency recently to take some Polaroids—I was looking at them, I never felt so toned in my life—and they said, “You really need to tone up more,” which really meant, “Lose weight.” Apparently the photos had been Photoshopped a lot, so they didn’t even represent who I was anyway. After that, the work really started dying out. They called me one day to say I got a job in Copenhagen, so I went to Denmark. The only outfit I couldn’t fit into was a pair of leather trousers, which obviously don’t stretch. When I got back, the agency got a phone call saying I couldn’t fit in them, so they said, “We really appreciate how much you go to the gym, but it’s just not going to work. Maybe we can stay friends.” And I was like, “No, we’re not going to be friends at all.” I really did everything I could: dieting all the time and exercising as much as I could. Afterward, I felt so done with modeling. How did you get signed in the first place? I had very little self-confidence growing up, so I felt like modeling would validate my existence. Many teenage girls want to get into modeling, but I basically failed. I went to all these agencies in London, and I couldn’t get signed. Then my friend randomly sent off my Facebook pictures to agencies, and one picked me up. I FA S H I O N W E E K D A I L Y. C O M
p o r t r a i t s : h e at h e r h a z z a n
BY SYDNEY SADICK
was 21, so a bit older than most. Most girls start out at 16. I was lucky. Now you’re signed with Muse in New York. It was such a whirlwind because after I was dropped I started getting inundated with messages on Instagram. Within a week or two I got a message from Muse saying they wanted to meet me. I was always told I couldn’t go to New York because of my height, so I thought this could be a really good opportunity. I took a few days to think about it, went back into my messages and ended up flying to New York and got signed. It’s been amazing, because I can finally just be myself. I don’t eat loads of junk food and stuff, but I’m just my natural shape, and that shape was never going to be a size 2. I’m a size 4–6 now, and I’m happy being who I am and still getting to model. How did this experience impact your view of the fashion industry? It showed me that there are people who are willing to take risks, who are way more open-minded about women’s shapes. Then you have the others who are more than happy to follow suit and just go with what they read in a magazine. I don’t hate the industry at all, but there are aspects I think could be improved. What sparked the idea to launch your All Woman Project? When I first landed in New York, I went over to Muse and saw a plus-size board. I was like, “What is this?” I’d never seen anything so amazing. New York was really the only place where girls are literally getting the best work at a bigger size. I met a girl from the board at the agency for coffee [Clémentine Desseaux], and we both questioned why we never saw straight-size girls and plus-size girls in the same campaigns together. It’s always separate. Since we’re both capable of modeling and our sizes don’t limit us, we thought of making beautiful images where we’re all represented, and that’s what we did. It came together in a matter of eight weeks, and we launched this past September. We called upon girls who were not only beautiful but had something to say, whether they speak on body positivity or other lines of activism. The project is social-media based. How have your followers reacted? We started posting the pictures that were shot
females first (Above, from left) Quincy Davis, Clémentine Desseaux, Charli Howard, Lyn Slater, Holly Rilinger, and Khoudia Diop; (below) Howard and Desseaux.
wanted to make it a bit more edgy and high fashion, so we mixed and matched their pieces with all-female higher-end designers. We’re launching the project on social media, and we also have an event coming up with Aerie around Fashion Week to showcase the images. It’s super exciting. Who would you love to star in the next All Woman Project campaign? I love the girls from Orange Is the New Black. I think Ruby Rose—my girl crush— or Danielle Brooks could be amazing. I’ve watched each season twice. We also want to work with trans women and those with disabilities to showcase as many women as possible. Some rapid-fire questions: What movies have you seen lately? Fantastic Beasts [and Where to Find Them] was so good, but I’m really into Netflix. I just got into Breaking Bad. I know I’m way behind on that, but I’m addicted. What music are you into? It’s embarrassing—I still listen to the Spice Girls. I love Ginger Spice! But my secret obsession is Nicki Minaj. I literally rap Nicki Minaj songs, or at least I think I can. Any book recs? I haven’t picked up a book in a while…but The Circle [by Dave Eggers] is the latest. It’s a bit like Black Mirror—how technology can basically take over the world. You’ve been living in NYC since last March. What’s been one of your greatest discoveries? By Chloe. I go there every week. If I had the money, I’d stay there all day. The sweet potato fries and pink lemonade…it’s so good. Do you have a hidden talent? I speak German! It was actually my first language. My dad was in the forces, so we moved around a lot. If you didn’t pursue modeling, where else could you see your career going? I’d definitely do something involved with writing and the media, so maybe I’d work at a magazine. I’d also love to get into TV presenting, and I think in America, I can do that. But now, I still want to pursue modeling, continue doing more charity work and helping women in any way I can. ß
“I’m just my natural shape, and that shape was never going to be a size 2. I’m a size 4–6 now, and I’m happy being who I am and still getting to model.” really beautifully by Heather Hazzan and Lily Cummings. After that we wanted to figure out how to get normal girls who read fashion magazines to get involved, so we started contacting them and they now submit videos to our Instagram about what makes them feel “All Woman,” and the following has been crazy. It went from like zero to 20,000 followers in a month. Which models inspire you? Crystal Renn was the first plus-size model I ever really saw. She struggled badly with anorexia, but she made it as a plus-size model. I also really like Cameron Russell—she does a lot of environmental work and did a TED Talk about why modeling isn’t the be-all, end-all of the world. I had the chance to meet her. I remember asking her if speaking out damaged her career, and she was like, “No, you have to.” That encouraged me to go full-force with everything I was doing. What is lingerie brand Aerie’s involvement with the All Woman Project? Aerie is such a positive, female-friendly brand. We teamed up with them [to create a campaign] where all the girls [Iskra Lawrence, Quincy Davis, Paloma Elsesser, and others] are wearing some of their pieces to showcase Aerie in a different light. Right now, we
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BELLE TO WATCH
Is Delilah Belle Hamlin the next SoCal mod du moment? The 18-yearold daughter of Lisa Rinna and Harry Hamlin (so, cheekbone royalty) took us to Ladurée in New York to chat about school rules, Instagram skills, and forensics. What did you expect? BY SYDNEY SADICK PHOTOGRAPHY BY DAN KEINAN What was your first modeling job? My first gig was over a year ago, and it wasn’t paid— it was an editorial in The Malibu Times. Since then, I’ve done a second editorial—a spread—for the same paper with my family, and I also did an editorial for Teen Vogue and walked for Tommy Hilfiger during NY Fashion Week. FA S H I O N W E E K D A I L Y. C O M
How are you keeping up with your studies? I’m actually homeschooled now. I went to Australia to work with a few companies last month and had to go away for a couple of weeks, but my school wouldn’t let me, so that’s why I decided to make a change. Do you have plans to apply to college? Yes! I just applied to seven. They’re mostly in New
York, so I’m hoping to study here and also work. What do you think you’ll major in? I’m obsessed with criminal psychology and profiling. Some people think you and your sister, Amelia [Gray Hamlin], will be the next big sister act in the modeling world. Thoughts? It’s flattering. I like hearing that, but I also want to be my own person without being compared to others. What’s your relationship like with your agent at Elite Model Management? I have an unusual relationship with my agent, Jon Ilani. We’ll go out to dinner and to parties together. Best advice from your mom? She tells me to be myself and not really care about what other people think. That’s kind of hard when you’re in the public eye. Has your turn on The Real Housewives of Beverly Hills helped your career? Probably! I don’t quite know who really watches the show, but it definitely has raised my followers on Instagram. It’s a good platform for modeling as well, because they did a storyline on me this season. Which IG rules do you live by? I don’t like to just post random things, like baby pictures or a quote. I don’t really post food, either. As for filters, I use VSCO—“B1,” to be exact. Then I do some contrasting, but I don’t really edit them a lot. I just like making the colors and light richer. Has your mom ever told you to take down a photo? Yes! It was probably a bikini photo. She wants me to be more modest, but I don’t think I’ve posted anything too raunchy. You also sing. What’s your genre? I like so many kinds of music: pop of the Adele, Lorde, and Halsey style, but I also like Taylor Swift. I haven’t recorded my own music yet, but I’ve been in the studio, so I hope in 2017 things will get rolling a little more. Modeling is my big focus now, but I would love if singing and modeling were equal. Have you ever listened to the radio show host, Delilah? I did not know she existed! But thank you for telling me—I’ll have to look her up. Sounds interesting. ß
getty images (2)
family affair Hamlin with her parents and sister, Amelia.
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He’s a prep-school kid turned multihyphenate fashion influencer/DJ/streetwear fixture turned designer of HPC Trading Co. Now, Heron Preston is officially a guy that even Anna can’t help but talk about. Surely you’ve met? BY KRISTEN HEINZINGER PHOTOGRAPHY BY WILLIAM JESS LAIRD Your jump into fashion was with #BEENTRILL#. How did that come about? It was just a bunch of friends who were disappointed with nightlife who came together. We would open our laptops and play music that we wouldn’t hear in the clubs. We questioned why we weren’t hearing these songs, and we started throwing parties. It kind of took on the identity of a boy band, and so we started to dress alike, all wearing matching T-shirts. Those T-shirts became super popular. We had never planned on selling them, but due to the excitement, we started to. And that became the clothing business, #BEENTRILL#. How long did you want to do your own thing before you pulled the trigger? I’ve been doing my own thing since, like, high school. I always pushed myself to step up and to do more than the last project. I was talking to my friend
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Virgil [Abloh] about doing just another one-off—like another one hat, or one tee, stuff like that—and he was like, “Yo, that’s it?” And so I started thinking, should there be more? I had never really thought of doing collections because I didn’t have the right infrastructure. I’d always just done things that I could do on my own, and I’d never really looked for outside help. Then Virgil was like, “I have a team in Milan that could help you if you want to do more.” I was like, “Alright, f**k it, sure.” I do want to do more. Like, I wanna f**king do some sweatpants as well, with that idea that I have. A jacket could be dope with it, and then some socks could be cool. So that all happened in this past year, April or May or June. It happened super quick. Do you go to Milan often? I go out there once like every two months. That’s where my office and my company is located. I’m
part of a fashion group called New Guards Group. You can think of them as an LVMH or a Kering Group. Under their umbrella they have five brands: Heron Preston, Off-White, Marcelo Burlon, Unravel Project, and Palm Angels. I have a small team—a production partner and a graphic designer. If I’m not there, then I’m talking to them every day on WhatsApp and Skype. Who were your creative heroes as a kid? Tom Sachs, for sure. I really identify with his work. And a bunch of San Francisco–based artists. I came from the era of Red 5 and Haight Street and Eric Ross and all the work that he was doing around the streetwear space at that time. My father and my grandfather—they’re both artists. My father had his own clothing company that was all sportswear— hockey jerseys and baseball jerseys, hats and sweats. I was one of his biggest fans.
So HPC Trading Co.—where can we find your designs other than the website? I’ll have 30 accounts for this first collection. Bergdorf, Barneys, Colette, K20 in Moscow, Harvey Nichols in Dubai, Maxfield in Los Angeles. All over. Why did you title the collection For You, the World? I realized after doing the Department of Sanitation project [last September in New York] that the textile and the apparel industries, second to oil, are the most polluting in the world. When I realized that fact, I was like, f**k man, that’s crazy! That’s insane! It’s so damaging—how could you not want to figure out how to reduce some of that impact? So I’m using [this project] as an excuse to educate myself on how to do just that—reduce impact on the environment as much as possible through every project that I do. Why'd you take the presentation to Paris this year? It wasn’t even my idea at first. I’m so new to this world, so I wasn’t even thinking about much of a presentation. I was just trying to figure out how to make a collection. My partners were like, “Yo, we’re gonna help you make this collection, and we’re gonna do a showroom in Paris, and you should do a presentation.” How could you say no to that? Paris is, like, the ultimate stage for fashion. I couldn’t think of any bigger stage. I just felt like, man, why not? Let’s do it. Shoot for the stars, and go big or go home. Will you ever show again in New York? I want to break tradition and rewrite the rules and define the future of the industry. There are no rules. F**k that. If I want to show in Paris, I’ll show in Paris. If I want to show in New York, I’ll show in New York. If I want to show wherever, I’ll show wherever. It’s all about thinking back to what stories I want to tell and who I want to connect with. Which brands were you wearing growing up? I was wearing Gap, Tommy Hilfiger, Ralph Lauren, Nautica, Nike, Jordans. I was wearing a bunch of skate brands, like Stüssy and Billabong. [Laughs] I was going to a preppy school where you had to wear a collared shirt, and it always had to be tucked in. You had to wear khaki pants. But then I was a skater kid from Lower Haight, San Francisco, and that was my influence on the streets. What was your first job in fashion? I worked at Eddie Bauer in the mall. [Laughs] What would young Heron have spent his last penny on? It was either sneakers or records. I remember spending my first big paychecks on Technics 1200 turntables. You know, I’m also a DJ. And Nike SBs…the Danny Supa Nike SBs. Do you feel that HPC is actually accessible to street kids? Yeah, totally. If kids really want it, they’re going to find a way to get it. I just read an article online about kids spending thousands and thousands of dollars on streetwear, rare streetwear, where they can get the ’gram off, that gives them the opportunity to use the hashtag. Then they’ll go and resell it and get the next item that they really want. And the resale value is higher than the market retail value, so they’re actually making money at the same time. So, yeah, for sure. I don’t feel like there’s anything that is not really accessible. If kids really want it, they’re fully going to figure out how to get it. How do you see streetwear as runway evolving? I’m not sure if it’s creating a whole new genre or if it’s creating a whole new lane, or carving out a deeper
space in a lane that’s kind of already existing. I’m noticing that fashion wants to be street so bad and street wants to be fashion so bad. So it’s coming to this middle ground that I think is creating whole new conversations. My clothes are going to be sold on the same racks as these luxury fashion brands. Or these luxury fashion brands are going to be sold on the same racks as the streetwear brands. It’s creating this whole space. I saw someone call it “adult streetwear.” Like, what? They’re fishing for whole new genres and ways to call it something. I think the future looks like there’s a whole bunch of new rules that are going to start being written. People are just experimenting with culture and flavors that have never been mixed together before. What conversations are you hoping to start with HPC Trading Co.? New conversations through new collaborations outside my industry. That’s what I’m really obsessed with—working with people who aren’t normal fashion collaborators. To achieve real, true breakthrough, you’ve got to have those conversations with people who aren’t really your normal collaborators. And that’s kind of how I got to the Department of Sanitation. They’re so not fashion; they’re waste management. But the media loved it. The feedback on the streets and everywhere was like, wow, that was next level, I think partly due to the fact that they were not the normal collaborator in the fashion space. Even Anna wrote about it! She did? Yes, in her January Editor’s Letter, in Vogue. No way! I have to go f**king look at that now! Do you read fashion magazines?
How many of your projects are fashion-related? It’s mostly just the collection and using this platform as an opportunity to branch off and do other projects in the creative space. I have some short-film ideas, fragrance ideas, furniture ideas. And DJing and music is a big part of who I am and how I got here—through making people dance all night long. Do you still DJ for fun? The fun work was when I couldn’t really catch checks. But now I can catch checks, so I’m not really doing anything for fun anymore. [Laughs] If I’m in the mood, I’ll DJ all night. Sometimes I don’t even care about getting paid, and I’ll do a friend’s party for free. But mostly, it’s hired work. Have you turned away anyone who’s approached you to collaborate? Oh, yeah, for sure. The people who are asking me are the typical fashion collaborators. The people who are not asking me are the people who are not the typical fashion collaborators. And that’s who I’m looking for. It’s up to me to identify those opportunities, because they don’t see it. They don’t have the vision. Actually, the DSNY did. I approached them, but they had been wanting to do a fashion show. They were like, “Oh, my God, we’ve been wanting to do this forever! We wanted to kick it off with a fashion show during Fashion Week.” The fashion show wasn’t even my idea. There might be people at some of these organizations or companies who aren’t normally in the fashion space who might be obsessed with fashion. But they don’t pursue that idea because they don’t see it. They just kind of feel it and want to do it, but they don’t know how to approach it, because their company or organization isn’t even set up to do something like that or their bosses or colleagues won’t get it. I think that was the case with the DSNY—this guy Vito Turso, who had been at the DSNY for, like, three decades, had always wanted to do something. But how are you even going to get that idea off the ground? All of a sudden a fashion designer walks through the doors and then the magic happens. I feel like it’s really up to me to kind of bring these desires to life. You were out to NASA about a collab years ago— did they ever get back to you? Yeah, I’m definitely in touch with NASA. That’s the next project I’m really trying to finesse. ß
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“That’s what I’m really obsessed with— working with people who aren’t normal fashion collaborators.” [Laughs] No, not really. I’m so in this industry, but not really. I don’t read a lot of industry media. Were you surprised by the reaction? Not so much, because I felt it so deep down in my gut, that this idea was gold. I knew exactly what I was doing. Let’s talk about the heron bird graphic. What’s the story? I commissioned this work by an artist in Vermont. I wanted to incorporate the meaning of my name into the clothes, which I’ve never done. I’m using this as an opportunity to work with the National Audubon Society, as well. They’re super beautiful birds. I was watching YouTube videos the other day of herons hunting for fish. They walk really slow in the water, and they have really long, sharp beaks, and they just pierce the fish through their guts like a harpoon. They’re really, really big, and they look kind of scary. Do you identify with that in any way? I was reading about the bird and its character. When they grow up, they become their own and they leave the nest. So, yeah, I identify with that. To be unique and independent will be an ongoing theme in the collections. You’ll always see the heron bird. It’s almost like my sub-logo, in a way.
FA S H I O N W E E K D A I L Y. C O M
Jeffrey Still Cares New York wouldn’t be the same without Jeffrey Kalinsky’s namesake West 14th Street store Jeffrey, which moved into the MePa when that ’hood was basically still a piece of steak. The Daily recently stopped by his offices to peek into the world of this understated fashion powerhouse. BY EDDIE ROCHE PHOTOGRAPHY BY RYAN LIU You were a pioneer in the Meatpacking District. What brought you there in the first place? It will be 18 years in August. New York life was different when I was opening. Designers were selective of how many places in the city they would sell. I had no money, so it’s not like I could have opened at 57th and Fifth Avenue anyway, but had I wanted to, I would have been competing with Barneys and Bergdorf and Saks for distribution. Downtown on the West Side, if I were carrying a collection, nobody could say I was competing with them. I found the location and signed the lease in a handshake; the space didn’t need a ton of work. I loved the streets, and there was nothing around here. Do you like it more today? I like it now and then, but it’s just different. I liked how quiet and serene the area was and knowing when people came in they were coming in for us. But I love being in a neighborhood that now has the Whitney, The Standard. I love my neighbor Diane von Furstenberg. I love what Chelsea Market is today. What are the Fashion Months like for you? We go to Milan, Paris; we don’t go to London. We buy all the English designers in Paris and, of course, we do some buying here. A great fashion show for me is like a great piece of art. It’s much shorter, but when you’ve seen a good one, it’s quite thrilling. Things either stimulate me or I tend to feel nothing. There’s a lot of feeling nothing. When you feel something, you know it and feel alive. It’s a great feeling. How close are you with designers? I’d love to tell you that when I’m in Paris that I’m having dinner with this one or that one, but that’s never really been my life. I’m a buyer. I love to buy and see and touch the clothing. I’ve never been really good at the schmoozing. In New York, I’d like to say I’m a friend of Joseph Altuzarra. He’s a sweet guy. We recently had an appointment with Prabal [Gurung], and it’s always nice to see him. In the day I had a nice relationship with Alber Elbaz and Jil Sander. I value that. Do you go backstage after shows? No. There’s such a crush of people, and they are all rushing to congratulate. It’s more respectful to give people their space. I loved the Balenciaga show last season, and I’m sure that got communicated. I’m not sure they care if I personally like something. They care! You put your money where your mouth is. If they get FA S H I O N W E E K D A I L Y. C O M
an order for eight pieces, you didn’t really love it. What’s a big order? Let’s pretend. Hypothetically everything is bought in dollars and one season you’re spending $25,000, and the next season you are spending $50,000, that’s a huge increase in your order and that means you really might have liked it. Obviously the reverse can work too. What are Jeffrey customers looking for? I always think that my customer is like me. I like to be constantly stimulated. I don’t want to come in and see a new version of what I saw last season. A lot of fashion is counterintuitive, and a lot of stores need that for their customers. Our customers need to
be restimulated. What’s your role at Nordstrom now? My title is vice president/designer fashion director, and my main responsibility is to represent in the press the designer business at Nordstrom. I curate the two big books that we do every year on our designer fashion from the runway collections. It’s 36 pages and a 12-page insert in Vogue twice a year. I work with the creative team to select the photographer, the models, and the concept, and I select the product with the merchant team. Is it a lesser role than what you were doing before? It is, but lesser implies a negative connotation.
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fashion cares Kalinsky stepping and repeating with Anna… in sneaks!
There’s a lot less responsibility, which is what I wanted at the time. I loved my other role, but I wanted my focus to be back on Jeffrey. When I was doing the other role I was doing double duty, and it got to be more than I wanted to continue to do. When is the 57th Street store planned to open? Everybody would be thrilled if it opened in 2018! Do you go into your store every day? If I’m in town, I’m in there at some point every day. But I’m not spending a full business day in the store. Essentially you’re a shopkeeper. That’s how I see myself and wanted to be. When I got started, I never considered myself to be going into the fashion business. I just saw that I was going to open my own store. How would you describe your style? You are often seen in jeans, sneakers, and a T-shirt. I don’t know when, but at some point I sort of developed a uniform. I hate that about me. When I was in my thirties, I could be counted on for a good getup. I do like fashion, but I don’t see myself in a lot of obvious fashion. A nice cashmere sweater from Saint Laurent…I’m obsessed with vintage T-shirts. I’m obsessed with every thing blue. I love jeans. These days, I love a white sneaker. You’re now on TV as part of the CFDA/Vogue Fashion Fund series on Amazon. Not that many people get to see it, which is okay with me. I’m a part of the CFDA/Fashion Fund because I really believe in it. I’m honored to be a part of that group of judges, but I can’t worry about the cameras. I’m not camera-ready. I don’t have that smile and that pithy thing to say. I’m there to try to figure out who really deserves the support. I find it best to forget we’re being filmed. Ken Downing and Jenna Lyons are very good and comfortable on camera. They’re just naturals. What did you think of Saturday Night Live spoofing the store many years ago? When it first happened, I was mortified. I felt like I was being made fun of. All I ever wanted and still want is for people to recognize that we try super hard to be nice to everyone that walks in the door. There we were being accused of the opposite. I remember my phone started ringing on Sunday morning. Eventually I thought
something must be wrong. Someone taped it, so I saw it and was mortified. I went to Pastis later that day and people thought it was a ginormous deal, like somehow it was a very good thing. Then I would pray that it wasn’t repeated, but it was, and then it went away. Today I wear it more as a badge of honor. You were an early supporter of Brandon Maxwell. What designers do you have your eye on these days? I still think of Brandon as being new, and I’m wild about him. He seems to have everything he needs to be successful. I believe in the guys at Brock, and I’m very hopeful about what they create. Monse is an exciting new evolution. On the men’s side, I like all the stuff that’s happening in L.A. I’m fascinated by what’s going on in Los Angeles. Jerry Lorenzo at Fear of God has created this thing that has so much appeal. What’s your take on “see now, buy now”? I don’t approve of it. You have a fashion show on a Tuesday and they can buy it on a Wednesday and they all pour into the stores? No. People shop when they shop. I don’t think because some people have seen something on social media that six months later they aren’t going to be just as excited when they can see it and try it on and fall in love with it. I get to see everything six months in advance and when it
make your way into a room where there’s a fashion show with 40 of the world’s most beautiful male models in head-to-toe fashion with a lot of skin thrown in. As part of the evening, there’s a live auction and some talking about the beneficiaries, but we try to keep the talking to a minimum and the entertainment to a maximum. How did it begin? I did a show for our customers in Atlanta in the early ’90s and a few hundred people ended up coming. It was a free event. All these people wanted to come, and I bet they would pay to come and that we could have an AIDS fund-raiser. In 1992, AIDS was still decimating gay men. I wanted to do something to give back to the community. The event in New York is now on the Intrepid. What do you think of how it’s boomed? This is our 14th year, and I’m excited about the way it’s grown, but it has potential to be even more than it is. Between the Atlanta and New York events, we’ve raised well over $15 million, so we have done a good job. But I always want to raise more. It takes a lot of corporate support, which can be challenging to get. This year the beneficiaries are the Elton John AIDS Foundation, Hetrick-Martin Institute, and Lambda Legal. There’s a pair of fake ruby slippers from The Wizard of Oz in your office. What’s that about? A wonderful woman named Marjorie Hampton used to work for me for many years when we first opened. I used to worry; I still worry incessantly. I want everything to be perfect, and it says, “You don’t need to be helped any longer, you’ve always had the power.” It’s nice to be reminded that you can always go home. ß
“All I ever wanted and still want is for people to recognize that we try super hard to be nice to everyone that walks in the door.” comes in, I am super excited. See now, buy now is not stimulating. It’s hogwash! Tell us a little bit about this year’s Jeffrey Fashion Cares. It’s an evening on April 3rd in New York that consists of cocktails with a silent auction, and then you
that’s entertainment A few mods on the runway for Jeffrey Fashion Cares.
FA S H I O N W E E K D A I L Y. C O M
THE KOLA KIDS Lisle Richards and Eric Marx are the brains, beauty, and brawn behind The Gilded Lily, The Wayfarer, and now Kola House, a newer hot spot in the Meatpacking District backed by PepsiCo, designed by Lenny Kravitz, and frequented by fashion folk. Intrigued? Your table awaits! That is, if you can snag a res… BY KRISTEN HEINZINGER PHOTOGRAPHY BY WILLIAM JESS LAIRD
Eric Marx and Lisle Richards
How do you guys know each other? Eric Marx: We were working in the same building. [Lisle] opened STK back in 2006, and I opened this place called Tenjune. Lisle Richards: Eventually, he ran EMM Group and I ran The One Group. We also worked together, because it was symbiotic. One day, Eric came to me and was like, we should do this for ourselves. What are your roles? Lisle: That’s the question we ask ourselves every day. [Laughs] We do a lot of the same things. It depends on the day and the project, and who we’re dealing with. What we build is not just a physical space for people to eat, it’s a backdrop to make memories. We do special occasions. We build places where people can live their lives. So we are also in the construction industry, the FA S H I O N W E E K D A I L Y. C O M
beverage industry, PR, fashion, art, real estate! Do you work seven days a week? Lisle: Yeah—even when I was [on vacation] in Cuba! Eric: He sent messages like: “Bad service; deal with Eric.” Lisle: That was my out of office. [Laughs] Eric: When you’re in hospitality, people are reaching out to you for reservations or to meet for a drink, which is our work. How did this project with PepsiCo come to be? Lisle: We have the [Gilded Lily] nightclub downstairs, so we do a lot of fashion and art and fun times, and we’re also considered really legitimate within the food industry because we own a three-meal period restaurant in midtown called The Wayfarer. PepsiCo approached us because we’re active in the music community.
Kola House is very music-forward—we do a lot of live performances, both concerts and during dinner. They wanted a place to help support the communities they’re so involved in, which is art and fashion and music. That’s stuff that we do every day. How is The Wayfarer doing, by the way? Eric: It’s doing great. We just had the Saturday Night Live after-party with Alec Baldwin and Ed Sheeran. We’ve also done them with Jennifer Lawrence, Amy Schumer, and Kristen Wiig. Fun! So what is kola nut? Lisle: Kola nut sits in the category of coffee beans and cocoa beans—it’s a bitter kind of flavor. From a culinary perspective, it’s good to put in the cuisine itself. You’ll find it in a BBQ sauce or a rub or a molé. All those profiles make total sense for kola nut.
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What are some of the dishes it’s in? Eric: It’s in a rub, the steak, the pork tacos, a signature. It’s in the meatballs, also a signature. And it’s in the newly added pizzas, which are amazing. PepsiCo branding is noticeably absent at Kola House—why’s that? Eric: We and Pepsi felt that for it to be an authentic dining experience, we can’t have a ton of branding all over the place. Otherwise, it just feels like an everyday restaurant. Lisle: We think that people are smart; they know where they are, and you don’t need to tell them over and over. What types does Kola House attract? Lisle: It’s a New Yorker crowd, a dining crowd. Our chef is from ABC Kitchen. We get a lot of people who are interested in different things, because there are so many facets to the restaurant. There’s a fashion component, so we have a lot of fashion people. There’s an art component, so we have a lot of art people. There’s a real food and beverage component, so we get a lot of foodies. There are curious people, too, because we have accomplished the unexpected. It’s a restaurant that’s like any other project that we’ve done. Who from the fashion crowd have you hosted since opening in September? Lisle: We opened with Milk’s closing party last season, a direct result of being right down the street. We did events for Interview magazine, Re/Done jeans, Cushnie et Ochs, Heron Preston for the Department of Sanitation collaboration, Paper magazine for Bella Hadid, the Wilhelmina holiday dinner, the One Management holiday event. We just did a birthday party for Shaun Ross’s mother. Eric: A surprise birthday. She was pleasantly surprised! Lisle: He’s like a friend of the family. He called up and said, “I want to do a party, but I want to make sure that it’s a party.” We were like, whatever you want, my dear. We love you. Were you shocked by the turnout for Bella’s party? Lisle: This is probably the third or fourth party we’ve done with Paper, so we know what Drew [Elliott] and Mickey [Boardman] do. [Laughs] We love working with them; they’re great. And, obviously, Bella is Bella, so she draws a crowd.
What other notables have walked through the doors? Lisle: It’s really eclectic. It’s anyone from Chrissy Teigen to Machine Gun Kelly to Ashley Benson to Amber Rose. We were surprised by her—she just showed up—she loves us! Eric: Chace Crawford and Sebastian Stan, Gossip Girl days. Lisle: The whole Dancing With the Stars crew. Eric: Nick Lachey and Vanessa Minnillo, Jonathan Cheban; we did Caroline Vreeland and John Targon from Baja East’s birthday party; Maxwell [Osborne] from Public School has been in to eat a bunch of times. We have the Baja East NYFW after-party coming up. Kola House has been called a club, a restaurant, and a marketing experiment—is that an accurate description? Lisle: I think it’s a restaurant first and foremost. Eric: People look at us more as an activation, or an event space and cool experience. Lisle: You have to provide something of special, lasting value, and I think that we have been afforded an opportunity to do something that’s not on the beaten path. People love to fit it into one category, but the interesting concept of this is that it’s not
HAUTE HOUSE Kola House is host to some of NYC’s chicest shindigs. The downtown restaurant-slash-venue has attracted everyone from Bella Hadid to LCD Soundsystem to mods Francisco Lachowski and Cindy Bruna.
any one thing. There are so many different ways to immerse yourself in what Kola House is. LCD Soundsystem performed when you first opened—what’s your personal taste in music? Lisle: It runs the gamut. Eric: I’m a big LCD fan. I like rock, indie, electro. You kind of see our taste reflected in a lot of the performances. We have Galantis coming this Saturday. We have Jidenna, Lukas Graham, and Alessia Cara coming up. Lenny Kravitz’s design firm collaborated on the space. How was that? Lisle: Kravitz Design all started because he designed recording studios. His design kind of speaks to that. It’s always very warm, and there’s a lot of wood, patterns, and plush materials. It was interesting to work with him on a large commercial project. Has Lenny stopped by for dinner? Lisle: Not yet—we are eagerly awaiting the day. Paging Lenny Kravitz! ß
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volume 12 issue 165.5
F EB. 13 EDI T ION weather
Forecast: 109° inside Clarkson, with a likelihood of nuclear winte everywhere else
U LT R A P HO N Y N E W S Y OU M U S T P E RU S E
Campaigning for Givenchy job, Kanye vows to show Yeezy in Pinault’s front yard, 2A
CRIME T Magazine Editor Still Missing, 4C
BUSINESS Sunday morning shows are mostattended in NYFW history, thanks to Alexander “No AfterParty” Wang, 8Q
FASHION Tampax said to be collaborating with Rachel Antonoff, 11G
Gigi Hadid’s Arm Covers the entire april Vogue
On its March cover, Vogue introduced Gigi Hadid’s genetically gifted arm to the American public. Now, the magazine is giving le bras its own cover. David Sims spent a weekend away from shooting with Emmanuelle Alt to capture Hadid’s remarkably long, slim forearm in full splendor, circling the waists of three models whom we’re guessing are Lexi Boling, Natalie Westling, and maybe even Bella Hadid. “This is a tremendously exciting new direction for the magazine,” says media analyst Stu Knuckle. “Readers respond to celebrations of individuality. Next month, I’d love to see some breasts receive the same treatment. Enough with those black turtlenecks!”
Designers Tackle Animal Overpopulation
LIMBS FOR DAYS Vogue’s groundbreaking cover celebrates diversity, individuality, and women.
Editors Make Time for Yoga During NYFW, even the most obsessive health nuts have trouble finding time to exercise. This season, enterprising editors have taken advantage of the steamy conditions at Skylight Clarkson Square to get in their daily chaturangas. Spearheaded by Michael Carl, who admits to having eaten a bagel in the past six weeks, the group of ultra-fit eds has banded together with a “pop-up practice.” Wearing Alo Yoga jumpsuits underneath their daytime looks, they’ve set up an impromptu studio in the standing section, complete with a Himalayan salt lamp, Mara Hoffman mats, a resident DJ, and a live-in kundalini teacher. “Virginie has been working on her salabhasana all week, and it is seriously next-level,” said Joanna Coles, sitting comfortably in dandasana. “By the end of the week, we’ll be positively levitating.”
SOME visuals are composite works of art created by the DAILY FRONT ROW FA S H I O N W E E K D A I L Y. C O M
Finder designers Mam Finder and Dirk Billar are addressing a troubling social issue: Long Island’s raccoon and deer populations. “It’s out of control,” explained Finder, who nearly ran into something furry once with his car. Accordingly, Finder and Billar are reducing the population by using these oft-ignored hides in their Fall ’17 collection. “What’s the big deal about mink?” asks Finder. “Raccoon has so much more intrigue.” To ensure they have enough supply, the brand has partnered with East Hampton’s notoriously finicky City Council to extend bow-hunting season by three weeks in order to get enough hides to develop a full collection. They plan to use invasive species of the botanical variety in Finder's Resort collection.
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