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FEBRUARY 13, 2018

Logo art by Luis Gonzalez for LIFEWTR





A MOMENT OF BEAUTY Our visionary approach to oil-infused hair and body care. Your world reimagined.







Keith Kratzberg, Candice Cuoco, and Duane Brozek

Ana Maria Guiulfo


Epson hosted its fourth-annual “Digital Couture” event at the newly constructed Howard Hughes Development on Pier 17. Thirteen designers, including threeASFOUR, Fernando Alberto, Stephanie Ruiz, Emilio Mata, and Ilse Jara, showcased their latest looks around the theme “Cosmopolitan Couture With Impossible Colors: How Does Your Culture Dress-up?” Many looks were created using Epson’s direct-to-garment and digital dye-sublimation printing.

Ruby Levine and Myriam Savetsky

Anthony Cenname, Anna Fusoni, Aliza Licht, Mark A. Sunderland, and Ryan Korban

Wyatt Mones and Jessette Bautista

Hayley Elsaesser GETTY IMAGES (12)

Brigitte Segura






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Brandusa Niro


Editor in Chief, CEO

Priyanka Chopra and Ana de Armas


Salma Hayek Pinault, Julianne Moore, and Liv Freundlich

Sofie Valkiers

For its first show in New York, Bottega Veneta reimagined the former American Stock Exchange as chic luxury apartment, complete with fireplace and easy chairs. (Most of the mods stayed dressed for the after-party, which lent an immersive feel to the affair.) Naturally, the house drew a slew of A-listers, and the show was, in short, a revelation. Looking to capture some of the magic? Head to The Madison, Bottega Veneta’s new flagship. • Proenza Schouler’s Jack McCollough and Lazaro Hernandez toasted their first fragrance, Arizona, at Skylight Modern.




Do you own any stock? Oh, God, no! I’m the least risky person you know. I’d hammer money down into the floorboards if I could. I’ve never betted in my life. Which new mods are you crushing on right now? Olivia Forte [The Lions], Yumi Lambert [IMG], Olivia Anakwe [New York Model Management], Fran Summers [Ford Models], and Grace Vinson and Ariel Nicholson [both DNA]!



Do you own any stock? Do I? I don’t think that I do. My mom just made a s**tload of money on Bitcoin. Her co-worker told her to do it. I don’t know how she learned to use a computer. She doesn’t even know how to use Facebook!

SHOE OF THE DAILY Stuart Weitzman’s MULETOWN with CRYSTAL LETTER CLIPS. Sophisticated enough for evening and sleek enough for everyday wear, the MULETOWN mules are defined by a rounded-square toe and low-cut vamp. Limited-edition crystal letter clips are designed to be attached to the front or side of shoes. MULETOWN shoes, $398, and CRYSTAL LETTER CLIPS, $125 each,

How’s the acting acting? I just did a pilot presentation, and my film, Spare Room, will be at a film festival in Austin next month. Nice! Will you move to L.A. eventually? With modern technology, who knows? I can e-mail my auditions in. I’m not a city person, so I might head out to the boonies. I’m thinking a nice ranch in South Carolina with a sailboat…and a piece of property in the Caribbean that I’ll live on the rest of my life!



With Joe Sabi the voice of Vogue’s 73 Questions

How did you come up with the 73 Questions concept? Four years ago, I received a call from Condé Nast Entertainment. They asked, “What would you do with Sarah Jessica Parker if you had four hours?” When I got back to NYC, I hit up my friend Vince Peone, who still works on the series, who suggested a first-person, POV type of look. The camera would basically be…me! Why 73 questions? I initially planned for 100 questions, but pulling that off in one take felt a bit risky. I settled on 73 because it was a prime number, looked unusual, and had great SEO. Donatella Versace was your most recent subject—what did you learn about her? I learned the most about her from reading the fan comments in her episode of 73. She has had an incredibly positive impact on a lot of people’s lives.

Vittoria Ceretti


Jessica Hart, Lazaro Hernandez, Lauren Santo Domingo, and Jack McCollough

Chloë Sevigny Sienna Miller FA S H I O N W E E K D A I L Y. C O M

Deputy Editor Eddie Roche Executive Editor Ashley Baker Managing Editor Tangie Silva Creative Director Jill Serra Wilde Digital Director Charles Manning Associate Editor Sydney Sadick Contributing Editors Alexandra Ilyashov, Paige Reddinger Contributing Photo Editor Hannah Turner-Harts Contributing Art Director John Sheppard Contributing Designer Eric Perry Contributing Photographers Giorgio Niro, William Jess Laird Contributing Copy Editor Joseph Manghise Imaging Specialists Neal Clayton, George Maier


Mark Tevis

Chief Revenue Officer

Luxury Account Director Betsy Jones Fashion Publishing Director Monica Forman Publishing Consultant Jill Carvajal Director of Marketing & Special Events Amanda Dilauro Digital Director Daniel Chivu Publishing Associate CJ Obediente Manufacturing Operations Michael Esposito, Amy Taylor

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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 Irina Shayk in Bottega Veneta Fall 2018, photographed by Jonas Gustavsson/MCV Photo for The Washington Post via Getty Images. Logo art by LIFEWTR Series 4 designers Luis Gonzalez, KRIVVY, and David Lee.

“Zicam.” “A Flamin’ Hot Cheeto shaped like the Olympic torch.”

“Saltines. Thank you, flu!” “A glass of Barolo at Barbuto as an afternoon snack.”

G E T T Y I M A G E S ( 5 ) ; Z A C H H I LT Y/ B F A ( 5 ) ; S H U T T E R S T O C K ( 3 ) ; F I R S T V I E W . C O M ( 2 ) ; 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

Arizona Muse, Tomas Maier, and Poppy Delevingne

Introducing LIFEWTR Series 4: Arts in Education

©2018 LIFEWTR and THIRST INSPIRATION are trademarks.

Discover our artists at Series 4 Art by Luis Gonzalez / KRIVVY / David Lee





Prabal Gurung’s starry front row enjoyed the sumptuous looks, as well as the girl-power model stampede that closed the show. Most mods held flowers; Gigi and Bella held each other. Aww! • Miracle around 34th Street! Sies Marjan’s strong showing at Penn Plaza will have us all seeing red (and wearing ombré). • Tanya Taylor presented her collection at Spring Studios, with her newish-born baby son in tow. “He started sleeping through the night at 10 weeks, so I’m lucky!” she said. Indeed!

I’m mostly in L.A. I’m loving the weather, and I have a special person there. You found love? This is public information!

[Laughs] I try to be very private about all that stuff, but sometimes when you’re really happy, you kind of want to let everyone know you’re really happy. I’m really happy!


What does your dad think of your modeling career?


What was the meaning of the model stampede?


He’s really proud of me, and I’m lucky to have his support. I do some sexy shoots, and he’s like, “Go, girl!” Who would you like to sit next to at a fashion show if you could?

Anna Wintour, of course. I guarantee you I would make Anna laugh!

Love and women are the future! Prabal said, “Don’t walk like a model, walk like yourselves.” You’re like the mayor of Fashion Week! Were you like this in high school?

I was a social butterfly! You have a lot going on right now.

There’s always something cooking that I can’t talk about, which is always the most exciting thing!




I’m used to it. I love them.

What!? Are any members of the Royal Family expected?

You’re sitting by the photogs! How’s The View?

Yes. Kate Middleton is hosting it.

Everything is fine. You have a dream group on the show.

Okay. I pay no attention. I do what I’m supposed to do and go home.


I like my pizza cold, and the morning after!

He’s not a baby anymore! You’ll see him—he’s enormous.

I am! I don’t like that they mispronounce the name Gianni at the beginning of every episode. Sadly, I don’t think Donatella [Versace] is well cast. Her hair is much straighter in real life, and she’s always been in impossibly high heels.

I’m escaping to London! We’re there to go to Buckingham Palace. They’re doing a Commonwealth Fashion Exchange, and I’m representing Canada!

Your son, Robert, is walking today—how does it feel to see your baby up there?

Are you watching The Assassination of Gianni Versace: American Crime Story?

Any post-show plans?


WITH ITH KEN DOWNING WNING How do you like your pizza?



You came out and defended Bruce Weber.

I just talked about my experience—not only with Bruce, but a lot of people in the fashion industry. I was lucky.

Have you dressed her?

No. I need to! SPONSORED BY

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For Cushnie et Ochs’ FW 2018 collection, makeup artist James Kaliardos for Maybelline New York was inspired by Sade’s look in the late ’80s. The key components? Strong brows, shimmery eyes, and bold multidimensional lips. BEAUTY MUST: MAYBELLINE NEW YORK SuperStay Matte Ink Liquid Lipstick in Voyager, $9.49,

PRO TIP: Create a smudge-proof lip by first filling in the entire mouth with liner.

G E T T Y I M A G E S ( 1 1 ) ; S H U T T E R S TO C K ( 3 ) ; C O U R T E S Y TA N YA TAY L O R ( 2 )

Where are you living now?




NYFW is officially heating up— in more ways than one. Winter brights are emerging as a clear trend.

BOTTEGA VENETA Tomas Maier’s gift to NYC is twofold—first, there’s that gleaming new flagship on Madison. And come fall, when this divine, architecture-tinged collection will grace its racks, New Yorkers of all different stripes will find something to love. Boxy jackets, romantic velvet gowns, and especially that zebra-print and bright, shaggy outerwear—we don’t dare to pick a favorite. Even in the ultra-luxe world of BV, all looks are created equally beautifully. FA S H I O N W E E K D A I L Y. C O M



What a girl wants! Prabal Gurung has emerged as one of fashion’s most vocal feminists, and his dedication to the cause is yielding some seriously great clothes. This season’s inspo? India’s activist Gulabi Gang and the matriarchal Mosuo tribe of China. When it comes to investing in these patterned knits, sumptuous velvets, and fab furs, there’s no need to #resist.




Who else could coax fashion’s finest to Bushwick without weathering any serious complaints? Mike Eckhaus and Zoe Latta have staged a quiet riot in the landscape of American fashion, and their millennial-chic looks— patchwork knits, tie-dyed trousers—feel entirely relevant and totally contrarian.

BRANDON MAXWELL Brandon Maxwell has built his career on a commitment to ultraclassic style that is increasingly rare on designer runways. He doesn’t rely on tricks or gimmicks, and any owner of one of his superlatively made tuxedos will thank him for that. For Fall, he remained loyal to his sensibilities, adding welcome color and a hint of shimmer with Swarovski-ized baubles and bags.



Mon dieu, those colors! Pantone should really hire Sander Lak, because he manages to identify the exact shade of burnt orange or coral that can make hearts quiver. For Fall, he played with micropleats and fine-rib knits, but the biggest winners came in the form of outerwear. Want one, want them all!

F I R S T V I E W. C O M ( 2 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


BROCK COLLECTION A fine romance, and we’re buying it! How do you make a floral jacquard feel very ’18? By using it in a raw-edged peplum—or better yet, in kneehigh boots. But Laura Vassar Brock and Kristopher Brock do the simple stuff equally well. Case in point: a slim sweater festooned with a fleur, paired with cream trousers.


By Gucci Westman for MAYBELLINE NEW YORK




You can thank Mario Dedivanovic for making contour a trend…and Kim Kardashian a beauty magnate! The NYC-based makeup artist is responsible for a decade of Kim K glam, and now, he’s teaming up with the star for some major collaborations. BY SYDNEY SADICK


When did your love for makeup begin? I grew up in the Bronx, and after high school, I looked for a job in the city. I walked into the first Sephora in the United States in Rockefeller Center in 2000, and I was overwhelmed by the feeling of wanting to work there. Everyone was wearing black suits and gloves, and there was fragrance everywhere. My mom was like, “No, no, no, let’s leave, this isn’t for you.” But I was hired as a fragrance consultant at 17. I’d stand by the door welcoming people, and women would constantly ask me for help, leading me to become obsessed with makeup. I discovered my talents there! When did you start taking on clients? While I was at Sephora, I booked side gigs, doing the makeup of brides and local cabaret performers. I became immersed in the profession and started building my portfolio by working with photographers. I started assisting shortly thereafter. I’ve always worked on multiple things. How would you describe your makeup aesthetic? I like a polished and feminine look to my makeup. It’s never overdone. I like leaving one element that’s underdone. It’s very blown out—no harsh lines. I like to soften people’s faces. How did you first come to collaborate with Kim Kardashian? Kim wanted her first KKW Beauty collaboration to be

What’s the format? It’s a beauty competition hosted by Laverne Cox, who is also a judge along with myself, Zanna Roberts Rassi, and Kandee Johnson. Makeup artists, beauty bloggers, and YouTubers at all different levels are competing in challenges, and eventually there will be one winner who gets a massive prize. I think that’s all I can say right now! What was the dynamic like among the judges? So good! We met each other for the first time with mikes on during the first day of shooting. I don’t know how they did this casting, but we all got along—I’ve never laughed so hard with any other group of people. We also cried. We constantly text one another and go out for dinner. We all have different opinions when it comes to the show, but we have such an amazing chemistry. What was the best piece of advice Kim gave you going into this? She said, “Mario, just be yourself. Don’t think about anything else.” And that’s what I did. You teach a Master Class all over the world now. How did that originate? It started around nine years ago because I had gotten tons of tweets, e-mails, and Facebook messages from makeup artists asking for advice. My first class was for 20 people in L.A., and it grew from there. I now

cap the classes at 600 people—in April, I’ll have one in London. Then I’m going to Albania, where I’m from, and then Australia. When did you start blowing up on Instagram? I never took Instagram seriously until I reached 1 million followers three years ago. Once that happened, I started to see things change in terms of my career and the opportunities that came with it. I’d even notice how celebrities saw my work and brands were reaching out, and my Master Classes were getting rapidly larger. When I noticed the shift, I realized this was serious and began taking it seriously and dedicated time every day to plan out posts. How much of your home is dedicated to makeup? I lived in a one-bedroom, and all the packages from publicists would come there. It became so overwhelming that I had to move. My apartment was literally covered in boxes, so in my new place, I made a closet dedicated to all my beauty products. If you could do anyone’s makeup, who would it be? Meghan Markle. I want to do her wedding. That’s like my dream! Can you apply for the job!? Who knows? Ever since I was a little kid, I loved Princess Diana, so it would be emotional to do her baby son’s wedding. It probably won’t happen, but maybe she’ll read this article! ß


“I WAS AFRAID [GLAM MASTERS] WAS GOING TO BE SOME SORT OF REALITY SHOW, BUT AS I LEARNED MORE, I SIGNED ON.” with me. We started working on this months before her line even launched. We’ve worked together for a decade now, so I wanted the collaboration to reflect our decade of glam. She’s had a massive, unparalleled influence over beauty as well as my career, so I wanted to make products that will allow you to achieve any of our looks over the past decade. What was it like working with Kim in this capacity? She’s so easy to work with in any capacity. She gets back to you right away. It was emotional for me to look back at all these moments we’ve created together. What were each of your roles? In terms of color, shades, and formula, I was all in. She totally respects my opinion and relied on me for that. She was very involved and loves doing the packaging and the design—that’s all her. She even pushed the collaboration to a later date because I wasn’t ready yet and wanted some different formulas. What was your reaction when Kim asked you to be a judge on her new Lifetime show, Glam Masters? I had a very mixed reaction.… I was actually quite traumatized. I’d never done a show. I was afraid it was going to be some sort of reality show, but as I learned more, I signed on.

PHOTO READY Dedivanovic is known for his work with some of social media’s top talents, like (from left) Kim Kardashian, Emily Ratajkowski, and Bebe Rexha.


Mimi Cuttrell

GIGI’S NOTSO-SECRET WEAPON Gigi Hadid’s enviable street style isn’t exactly accidental—stylist Mimi Cuttrell is painstakingly sourcing the best looks around for the world’s top supermodel. How did Cuttrell, a Cali native and former volleyball player, land her high-profile gig? BY SYDNEY SADICK PHOTOGRAPHY BY WILLIAM JESS LAIRD The world is going crazy over Gigi’s street style. How did you land her as a client? Gigi and I both grew up in Santa Barbara. I was a little older, but we both played volleyball, and we also knew each other through family friends. We reconnected a couple of years ago, and after I decided to move to New York from California, I started working with her. I slowly became her everyday dressing stylist. We’ve been working together for around nine months now. What was your game plan? I didn’t have a real strategy—I wanted to play every day by day. It’s been really natural and fluid—working like that has gone well so far. I love going about my everyday life and then making outfits for someone who’s so rad and cool. Take us back to how you first got into styling. I went to college and played volleyball. I didn’t know what I really wanted to do, but I was always into fashion. I always dressed my friends from home, especially for events. Once I was finishing up college, FA S H I O N W E E K D A I L Y. C O M

my mom brought up the idea of red carpet and celebrity styling—back then, street style wasn’t really a thing. I started interning, which led to assisting, which led me to being able to move here. Who was your first major client? I worked with Nadine Leopold a little bit before fully styling Gigi. I also worked with Kaia Gerber right from the beginning. What’s it like working with someone who’s just at the beginning of her style evolution? It’s been really fun. I love how Kaia is so classic and such a natural beauty. She’s so young, and I definitely keep that in mind. She can literally wear any designer—everyone is more than willing to loan clothes for her, and she looks

great in everything. How would you describe your aesthetic? I like to have fun and take risks. I like going for pieces that make my clients feel their best. We change outfits based on how they’re feeling that day—it’s nice to have such amazing clients who like to change up their vibes. There are so many pieces on your clients that we haven’t seen before! What kind of brands do you look for? Finding up-and-coming designers from all around the world who have amazing ideas and really well-made clothing is always fun. Some of the things I love right now are Stalvey handbags. They’re really well crafted. I also love the basics like Prada, Fendi, and Nina Ricci. What are your go-to stores in NYC? Barneys, to source new brands; What Goes Around Comes Around; and Kirna Zabête. You also style Yolanda Hadid. What’s it like to navigate that mother-daughter relationship? It’s so amazing styling Yolanda, because I’ve always looked up to her and thought she has the chicest style. She has such positive energy, and it’s great to be around her. She loves structured, simple pieces. Gigi’s the same, but she’ll also go for a fun pink puffer or funky shoe— she likes a little twist. Are you getting a lot of DMs on Instagram? I am! It’s really nice seeing the young, aspiring fashion stylists reach out to me. I always write them back. So far, everyone’s been super sweet! [Laughs] Do you go to shows during Fashion Week? Last season, I made it to just one, which was OffWhite. I was supposed to go to a lot more, but I got busy with my clients, and it’s really about them. Who are some of your industry icons? Cindy Crawford is such a timeless, classic beauty. I grew up watching The O.C. and Gossip Girl, so I looked up to the fashion on those shows. I also grew up around a lot of moms and was inspired by what they’re wearing. I love mom style! If you weren’t a stylist, what do you think you’d be? I love animals, so maybe I’d be rescuing them. I really want to go to Africa and work with the elephants. What is it about your job that gets you most excited? Seeing the photos of what the girls wear, literally every time! They really make the outfits come to life—I’m lucky I work with models. [Laughs] A lot of stylists end up launching their own line. Any interest? I’d love to come out with a fun brand. It would have to be at the right time with the right people behind it. I love bags and jewelry, but I love clothes, too. It might have to be something with a little bit of everything! ß



Runway. All day.

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1/19/18 9:13 AM


FORD’S NEW MODEL Meet Christopher Michael, the industry vet who was hired to give Ford Models a complete overhaul. As the agency’s chief creative officer, Michael and his team are already bringing in top talent and giving the iconic agency a fresh new look!


ANDRE JA PEJIC ALE G Y KELL What brought you to Ford? There had started to be a lot of changes in my professional situation [at The Society Management], and while I was still very attached to what I had been a part of since day one, the truth that hit me hard was the fact that you can work your entire life, as hard as you possibly can, and not necessarily be able to lead the conversation. So when the opportunity arose to join the new leadership team at an institution like Ford, when it was due for a complete overhaul, I jumped at it. The company had brought on a new CEO, Nancy Chen, who charmed me with her fierce determination to return the company to its natural place in the order of things, in a big way. I’ve always been inspired by strong women—perhaps it’s because I never had a father, who knows?—but she made what some may have thought of as a high-risk venture feel like the most exciting opportunity in the world. What were the challenges on your first day? I made endless lists and didn’t eat all that much in the beginning, only because I was so charged with the rush of excitement. It’s definitely harder to acquire a company with preexisting everything than it is to start something from scratch—but thankfully, we were afforded the luxury of treating this heritage brand like a start-up, and really hit that reset button across the board. A large part of the success we’ve been able to achieve in such a short period of time is due to having been empowered to make those changes, no matter how extreme they may have seemed at first. FA S H I O N W E E K D A I L Y. C O M

DAVID GANDY Who are some of the big names on the Ford roster now? Following the complete overhaul of the company, and, specifically the women’s roster, some of the more established talents we are now working with are Andreja Pejic, Caroline Trentini, Kelly Gale, and Kris Grikaite. We’re also excited to present a new generation of breakout stars, including Ansley Gulielmi, Lex Herl, Theresa Hayes, Hannah Motler, Fran Summers, and a number of others we look forward to announcing over the coming weeks. Our men’s division has established names, like Brad

Kroenig and David Gandy and new names to watch, like Roberto Rossellini. In addition to the model talent, we are also starting to expand into other categories, such as actors, musicians, and even sports—a few great examples of which are Billions’ nonbinary actor Asia Kate Dillon, musician G-Eazy, and the Patriots’ wide receiver, Danny Amendola. We understand you enlisted Fabien Baron to give the branding a face-lift. Yes, the first move was to rebrand the company and re-create the environment within which its talent and identity lived, as far as the digital space and any branding assets. There had to be a distinct separation from the then and now, and while we set out to create more of an editorial space that felt conducive to storytelling and more effectively showcasing our talent, Fabien quickly started to make the most sense based on his history in that space. During our early conversations about the project, he revealed his memories of working with founder Eileen Ford back in the day, which only reconfirmed that the right decision had been made. How do you think Ford has been perceived in the market in recent years? As an institution, it was known as the home of the supermodel. It was the Mother Goddess of agencies. It’s very much the face of an era in that way, but there was a period where it fell out of editorial favor and became more of a commercial company. It wasn’t really participating in the conversation. We kept the family aspect of the brand’s heritage, but we are, of course, bringing the company and its talent back into the conversation, in not only modern but also more innovative ways. We’re making sure that the agency more accurately depicts culture today in the talent it puts forward, and the ways that talent is supported. There are photographs of Eileen Ford throughout the office. What research did you do about her before taking this job? I read everything I could find on her, of course. Some of my favorite stories were about how Richard Avedon wouldn’t shoot a Ford model for a minute of overtime without getting Eileen on the phone to approve it first, because he was afraid of her. When she and Valentino passed each other backstage at a show, they gave each other equal nods. She was really a matriarch in her own right! 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)


Norma Kamali and Gerard Maione


When Norma Kamali turned 50, she made her first attempt to declutter. Now, as she celebrates her 50th (!) year in the fashion industry, she’s selling what remains of her archives through What Goes Around Comes Around. Kamali and WGACA’s co-founder Gerard Maione discuss the designer’s incredible journey in fashion. Norma, what inspired your initial purge? Norma Kamali: One day, I was walking down the street on a really sunny day, and I saw a young girl with long blonde hair wearing this amazing suede skirt. I suddenly realized it was the first skirt I had ever made…and I made it in 1967! I felt like that was a signal to get rid of all the things I was holding on to. Were you familiar with What Goes Around Comes Around (WGACA) before you met Gerard? Kamali: Of course. There are a lot of “vintage” shops, but the quality of WGACA’s selection is what has given them continuity in the vintage world. When I started, I was selling vintage so I know what it’s like. It’s a tricky business if you don’t know your stuff. Gerard Maione: When we started in ’93, we were mostly selling clothes from the Victorian period through the ’60s. Our approach was about curation, service, and merchandising. We wanted every piece to be great and feel relevant. Kamali: Now, there are beautiful clothes everywhere but very few people who are creative about dressing. Vintage gives you permission to do that. In London in the ’60s, I would go to a place called Antiquarius on Kings Road, where every singer and on-the-verge rock star would shop. For example, Jimi Hendrix, who always looked great. There’s a picture of me with some friends in 1967, just layered with stuff from Antiquarius. It ended up running in Paris Match, and they dubbed us “The Londoners.” Maione: The late ’60s and early ’70s period in London is a big part of our DNA—[boutiques like] FA S H I O N W E E K D A I L Y. C O M

Granny Takes a Trip and Biba. Kamali: I would always bring back Biba, Bus Stop, and Ossie Clark. I’d wear $12 dresses from Bus Stop. At that time, I was working at an airline so I could travel. Nobody was talking about London in America yet, but a friend told me to go there. When I got there, I heard about this boarding house off of Sloane Square on King’s Road that was $6 a night. Keep in mind, I was making $80 a week, so it’s all relative! [Laughs] Color was everywhere, and everything was emerging. I was wearing really short miniskirts in London, but when I came back home, everyone was yelling at me in the streets and calling me a prostitute. I wore miniskirts, a fox boa, boots, a wig, and false eyelashes, and when I went to work at the airline, they said, “You have to go home.” But I knew that if I sold the most tours, they wouldn’t send me home, which I did! So I’d wear my boas, and it was fantastic. Then I decided to have my own store. I brought a bunch of clothes back, and I started to make things. You’ve always been an advocate of futurism and an early adopter of technology. Is that something you attribute to your staying power? Kamali: First of all, in the ’60s I was working on a UNIVAC computer for the airline. Can you believe that? But I still don’t know how to type. [Laughs] I would see what was going on at the airlines, and I knew that someday people were going to think of other things to do with that technology. In 1995, I heard you could have a website—nobody was looking

at them, but I had one! [Laughs] I did an event to launch it, and I had mannequins that had monitors for heads. I think because of that early experience, I was never afraid of technology. Is every piece in the archive collection one-of-a-kind? Kamali: Yes. Everything that WGACA has is from a one-of-a-kind collection that I saved. When I turned 50, I got rid of everything—or so I thought. Then Marissa [Santalla, Kamali’s publicist] was digging through the PR storage room in another location not too long ago and she found these pieces. I felt like WGACA would give them the most respect. They picked through and chose some pretty great pieces. Gerard, how many pieces did you end up taking? Maione: We took almost everything from the vintage side. Some pieces went as far back as the ’70s. Kamali: If there was a specific pattern or beading I liked, or a fabric used that is no longer in production— that’s why I kept most of them. WGACA has one of your parachute pieces—is it among the first ones you made? Kamali: Yes. You’ve been collecting parachute for a while, right, Gerard? Maione: Yes, ever since we opened our doors in 1993, we’ve built our own archive of items that are only available for rental. We’ve actually had this parachute dress for a very long time. Norma, why did you start working with parachute material? Kamali: I started doing parachute in the mid-’70s.

A L L I M A G E S C O U R T E S Y/ W H A T G O E S A R O U N D C O M E S A R O U N D


This is a story I didn’t tell for a long time, but I was good friends with Victor Hugo, who was Halston’s designer, lover, and everything else. My shop was a block away from Halston’s. Victor hung out in my store all day long and we were good friends, and he was a creative guy. During that time, I did a swimsuit that was made of one piece of fabric that wrapped around the body. In my little world, it was a big hit. One day, I looked at the cover of Time, and my swimsuit was on the cover, but it was credited to Halston. I was so hurt. Victor knew I was upset. I didn’t say anything because Halston was such a big star, and who was really going to think that I did it? So Victor called to apologize over and over, and he said, “I want to make it up to you. Halston is going away this weekend, and you have to come to his house.” So I went, and Halston had a big, open brownstone that he gutted from the first floor all the way to the top. Victor told me to sit on this big ottoman in the center of the room and he went up to the balcony and he said, “Close your eyes. I have a surprise for you.” Then he dropped a parachute on me. Why? Kamali: He said, “I’m going to make this up to you— you’re going to have a lot of fun with this.” At the time, I was making clothes out of blankets. So I forgave him, and I’ve been making parachute designs ever since! You’ve been copied quite frequently over the years. Kamali: It was tough when I was super poor, and big

“Ultimately, I wanted to create the vintage of the future.”

stores and designers were making a lot of money on my designs. And there I was, so afraid I wasn’t going to be able to pay the rent. I was eating things like Drake’s Cakes, and I barely had money to buy fabric. But you know what? I always have another idea. Now, I’m no longer worried about the rent, so it’s all good! Which pieces were copied the most? Kamali: A lot of swimwear. The sleeping bag coat, of course, and all my sweats have been copied. There are companies that existed for a long time on just five of my designs. I would never name names, but I would get a little annoyed when famous designers would thank me for being an inspiration. When I sold some of my vintage when I turned 50, the top collectors were designers. They would buy big garbage bags full of my clothes! So, of course, I would see versions of what I’d done in other people’s collections. Gerard, what did you think when Norma made these archive pieces available to WGACA? Maione: It was beyond an honor. It’s one thing having a couple of pieces, and over the years, we’ve bought and sold pieces, but to have 70 pieces that cover such a breadth of her designs is just incredible. Kamali: I really like the group you

put together. Up until 1973, I was only wearing vintage. Ultimately, I wanted to create the vintage of the future. I did a collection of jersey dresses, and one of them is the all-in-one, which you can wear 12 different ways. We still sell that dress and the other pieces from that collection. It’s the same style, but the fabrics are much better now. Gerard, which piece in the archive collection do you think is the most special? Maione: The hand-beaded Navajo-inspired jackets. What inspired those pieces, Norma? Kamali: I was using hand-appliquéd fabrics from tribes, and I decided to take all the patterns and do them in beading. I used Native American fabrics, and worked with a place in India to do the beading, and it was all done by deaf girls in a convent. They learned the art and we gladly paid for their work, which was always so beautiful. Have you always been a minimalist? Kamali: No, I collected and collected and collected until I was 50. I had warehouses not only of clothes, but of furniture I was making, too. I turned 50, sold my townhouse, went to India, and cleared my brain— now, I don’t save anything! ß

moving fashion forward Some of Kamali’s designs that are being sold by WGACA.

—Norma Kamali



THE TRUTH ABOUT KITH Thanks to buzzy collaborations with brands ranging from Nike and Adidas to Coca-Cola and Off-White, Kith’s Ronnie Fieg has built a sneaker empire unlike anyone before. How does he make it all happen? A steady diet of Frosted Flakes, for starters. BY SYDNEY SADICK

When did you discover your love of sneakers? In fourth grade. I became friends with a guy named Joey Coronado, and we were both influenced by our sisters, who were all at Cardozo High School in Bayside [Queens]. At the time, we were heavily influenced by hip-hop—it was the days of Kris Kross and LL Cool J. Joey was able to get a lot of different pairs of sneakers because his father was a successful businessman. We’d fan out on the hottest Nikes. Was there as much of a sneaker culture when you were growing up? It wasn’t nearly as big as it is today—now, we’re at an all-time high. What’s your professional background? For 15 years, I worked for a chain of shoe stores called David Z. It was time for me to leave, because I had started to design products that deserved a more appropriate setting. I was big into the footwear scene, and I always loved the boutique aesthetic. So in 2010, I left David Z; I opened Kith in 2011. Where does the name come from? It comes from the phrase Kith and Kin, which means friends and family. I don’t use the word Kin in the brand name, because I believe my friends are my family. Rumor has it that Kith makes more than 50 drops a year. Why? I love being able to put my spin on products and brands that I love. We love educating the consumer and being an experiential brand where people can really live in the product through our space. Storytelling is also a big part of what we do. At the end of the day, I’m a product nerd, so I try to offer things that brands don’t necessarily offer on their own, and add ideas we can bring to the table. How would you describe Kith’s design aesthetic? It’s all designed through a New York lens. Fabrics and textures come first when thinking about product. The aesthetic is really diverse because it’s meant to hit each part of New York, whether it’s uptown in Harlem or in the Hamptons or everything in between. Because I travel a lot and I’m all around New York, I see different cultures and different styles, so [Kith’s aesthetic] is a culmination of all those things we see in New York. FA S H I O N W E E K D A I L Y. C O M

Ronnie Fieg


MERCH MUSTS Some examples of Kith’s offerings.

What sparked your partnership with Bergdorf Goodman? My love for the institution that it is. My mom used to shop the store when I was younger and used to not be able to leave with anything because she couldn’t afford it. That space was always put on a pedestal for me. I thought our brand could really sit between luxury brands and still shine and hold its own. We offer a different experience within Bergdorf, which is what I like most, because I like contrast between brands. What was your first collaboration? It’s debatable…between a Timberland boot and an ASICS sneaker. With the Timberland boot, there were only 48 pairs made, so it wasn’t a really big project. My first real foot-in-the-door type of situation for design and collaboration was ASICS Gel Lyte 111 252 Pack, which came out in 2007 [before Kith]. We have some great collaborations in the works right now. You just reopened Kith’s NYC flagship. What’s your retail strategy? We want to offer product that people feel happy walking out of the store with. We want to give people more than what they paid for in terms of what the store concept is and the product itself. We’re trying

“AT THE END OF THE DAY, I’M A OFFER PRODUCT NERD, SO I TRY TO O OFF FFER FFER THINGS THAT BRANDS DON’T NECESSARILY OFFER ON THEIR OWN.” to give more than what your typical store would offer. To me, Kith is a way of life. My team and I try to figure out the best product, the best story, and the best experience, so people can enjoy shopping. You even offer cereal at Kith… I’m as passionate about cereal as I am about anything else. It is a guilty pleasure, but we need those things in life to get by. [Laughs] It’s definitely something I really enjoy [offering], being part of the Kith family and part of the experience when you walk into the shop. It speaks to my DNA, what I am, and what I do. Favorite kind of cereal? Frosted Flakes. I eat it too often.

When did you notice the lines of people waiting outside all day? When we first opened the store there were lines. We actually had lines the day that we opened based off the following I had with some of the collaborations I was doing. I brought that with me from my days working at David Z. I have to ask: How extensive is your personal sneaker collection? At home or in storage? That answers that! [Laughs] If I had to estimate, I would say between 2,000–3,000 pairs. ß FA S H I O N W E E K D A I L Y. C O M


DESIGNER TO WATCH Àcheval Pampa, the brainchild of Argentinian designers Sofia Achaval de Montaigu and Lucila Sperber, is likely to be the latest South American brand to capture the hearts and minds of the style set. And no wonder, given its clever tributes to gaucho style, elevated with very ’18 details. BY PAIGE REDDINGER



How did you get your start in fashion? I started modeling when I was 21 years old. I came to Paris, because I wanted to study fashion at Studio Berçot. From there, I went to visit my sister, who was living in Belgium, and she was with a booker at an agency called Vision. It was famous at that moment for all the Belgian models, like Anne Catherine Lacroix, Anouck Lepere, and Rose Van Bosstraeten. The agency convinced me to start with them, even though I was still studying in Paris. I managed to do both at the same time. What was your first job? A Mulberry campaign with Inez & Vinoodh—the agency was so excited about it that they wanted me to stop studying. I was like, “I don’t think I can do that. My mother is going to kill me!” [Laughs] After that I did a big editorial for Self Service, then I got booked by Marc Jacobs and Louis Vuitton as an exclusive for

their shows. I also did a Chloé Parfum campaign for two years. What was it like to have your first gig with Inez & Vinoodh? I was really nervous! But I knew everything about fashion before I started modeling. When I was still living in Argentina, I had all the V magazines with Inez & Vinoodh covers. They were my favorite photographers, so it was a dream come true to meet them. The booking was in Turks and Caicos, and it took something like 24 hours of traveling to get there. We were in a beautiful hotel in the middle of paradise, and they were so nice and easygoing. I was so happy. They became very good friends of mine, and invited me to their country house in France on the weekends. How did you transition out of modeling? I wanted to work at a big fashion house, and through friends I met [designer] Vanessa Seward, who was at Azzaro on the rue Saint-Honoré at the time. [Photographer] Sebastian [Faena] told me that I should go meet her and see the showroom, which

BEAUTIFUL DREAMERS Àcheval Pampa’s look combines elements of modern tailoring with traditional gaucho style.

C A N D E L A R I A G I L ( 3 ) ; S E B A S T I A N FA E N A ( 1 ) ; A L L OT H E R S C O U R T E S Y


was full of mirrors like from another era. Vanessa was known for doing the “best of” of Azzaro from the ’70s. She got a lot of press after Carine Roitfeld wore one of the dresses, so it was a cool place to work. I started an internship there, and I got to do everything from jewelry to press. Then I started working as Vanessa’s assistant. I did that for three years, and then I began styling. Now that I’m doing my own brand, everything I learned at Azzaro is coming back to me. What was your first styling gig? A 20-page story with Angela Lindvall for V magazine with Sebastian Faena. We met at school in Argentina when we were 16. I had never styled before…or even assisted anyone! Right away, I got an agent at the Wall Group. I continued to work for V, and I still have my agency in New York and one in Paris, so I will continue to style as I build my brand. What inspired you to start your own collection? I work with a partner, Lucila Sperber, who has the license for Rochas menswear in Latin America. I was styling her campaigns, and she had the idea to work together on an Argentine-inspired brand to sell abroad. She already had investors and everything! I was really interested right away, because I’d had an idea like this for many years, but I needed the financing to do it. It was a great match. She is in charge of the production, but we also have the same ideas from a creative point of view. What does Àcheval Pampa mean? We thought my last name “Achaval” would be good, because when I was in France everyone interpreted my last name as “À cheval,” which means to ride a horse. [Laughs] We thought that would be a great image and then “Àcheval Pampa” came, because “pampa” typically refers to the countryside in

Argentina and Uruguay. How did the pampa idea come into play in the collection? The look of the collection is inspired by the outfits of the gauchos—people who work in the fields. I was born in Buenos Aires and went to school there, but my family has a farm in the countryside, where we spent every weekend and all our vacations. I started riding horses at a very young age. I used to ride with the gauchos to bring the cows to the farm, and they were always dressed in specific pants called bombachas. The fajas are the belts, and the hats, boinas, look like French berets. Every time I wore the gaucho clothes in Paris, people would go crazy and ask me where I got them. I’ve always known I should do [a collection]. I want to respect the origin of the look but develop the clothes with a sense of sophistication. How so? The pants, for instance, come in velvet, sequins, or silk and other materials. The belts are made with Argentine leather and bronze. The boinas hats are done in gold lamé. Shirts have special embroidery. The price range for the collection is similar to something like Isabel Marant’s, and everything is manufactured in Argentina, with the belts being made from Argentine leather in Uruguay. The people making the leather, whom we call talabarteros, are the craftsmen who make all the accessories for horses in Argentina. So everything is high quality. When can the collection be seen? We’re launching in Paris at The Ritz. We will have a showroom in one of their salons. You will feel like you are in the countryside, with trees and flowers and Argentine musicians!

What did you think when Sofia brought you the idea for Àcheval Pampa? Sofia originally had the idea of bringing the pampas to Paris. But when we started talking I had this idea that it should be more about reinstating the gaucho pants. It was more important than any of the other products. So we decided to start with that. The pants range from $650 for the classic style up to $1,200 for the sequin and silk versions, as well as the ones made from Loro Piana fabrics. The pants come in three different styles called the Al Boleo, the Gauchita, and the Al Viento. As co-founders, how do your roles differ, if at all? We work together in regards to design. But I’m the CEO of the company, so I manage the business and retail aspects. I also supervise the production. Sofia handles more of the press and image of the brand. What are your retail goals for the brand? We want to export this concept to the world, of course that is ambitious. We are aiming to sell on the important dot-coms, like MyTheresa, Farfetch, Net-a-Porter, and MatchesFashion. We’re also aiming to be in important distributors, like Saks Fifth Avenue, Barneys, Bergdorf Goodman, Galeries Lafayette, and Le Bon Marché. We’re also looking to be in boutiques, like The Webster and Montaigne Market. Were you familiar with the gaucho style of the Pampas? Yes—Sofia and I have a lot in common! I was born in the Pampas and lived there until I moved to Buenos Aires at age 4. We both love the gaucho style, and the look has constantly influenced designers, but no one was doing it exactly the way it is. ß



eek, around town this w . l al s le tt bo R T W E ady seen LIF hydration fix It’s likely you’ve alre and designers relying on their H2O for a orks of art, eates handheld w cr with editors, mods, y n pa m co s. er at w p their bottle design u p The sleekly branded hi w to s er gn si enlisted sts and de recruiting both arti ng on “Arts In Education,” LIFEWTR zalez, For Series 4, focusi art student Luis Gon Lee. ol ho sc gh hi — ts n avid three young tale Y, and street artist D V IV R K as y pl m si SHOV ALEXANDRA ILYA a cartoonist known BY

LUIS GONZALEZ How would you describe the creative process of designing your LIFEWTR bottle? When I daydream, I feel most creative. Once I focus on an image, I find the materials and colors that best express my vision. When did you first start creating art? Art crept up on me. I always loved to doodle and draw, but I didn’t take it seriously until I got to high school. That’s when I started to work with my high school art teacher and mentor, Ari Hauben. And I began to see how important art was in my life. With his support, I gained the FA S H I O N W E E K D A I L Y. C O M

confidence and skills to find my niche. When people started paying me for my artwork, and then LIFEWTR chose to use my design, I realized that art was the perfect profession for me because it connects my passion with vocation. How has Ari Hauben inspired you? He showed me that my art is more than just an outlet, and that with dedication and perseverance, I can do anything I set my mind to. I found that art was in my everyday life; I was always trying to create something new. This motivated me to finish my schoolwork

early, and spend more time working on my art. Mr. H. really planted the seed, and he showed me that art could let me express my feelings and thoughts while creating something beautiful. And as my interest grew, so did the time he provided for me in his classroom. I was in school more, and connecting with more positive things and distancing myself from the negative. Which artists do you look up to? I look up to Mr. Hauben a lot. I also like street artists—Banksy, Kaws, and Shepard Fairey. They use layering, stenciling, big color, and social messages. I’ve been influenced by branding, logos, cartoons, and even toys. As a Boston native, where are your favorite places to get inspired artistically? My favorite art is at the Boston Button Factory because it displays Ari Hauben’s [and his colleagues’] artworks. I admire the gallery’s use of multiple mediums, which make its work compelling; this inspires me to try different modes of creating. I also love the ICA Boston, because it has an incredible variety of new artists and styles, including street art, abstract art, sculpture, video, photography, and more, showing me that there are no limits on great art. My neighborhood, Dorchester, is the most important inspiration for me. It’s where I feel most myself, most able to connect to things that are important to me. I hope that I can inspire other young people to create art and follow their dreams.

IT’S ALL FLUID Gonzalez’s design for LIFEWTR consists of an organic take on flowing panels of color.

and Peanuts, mostly. As I got older, I dipped into autobiographical zines and other self-published works. I think my work is surreal because I’m surreal. I don’t plan anything out. I just draw, draw, draw. It comes from a weird place inside me. I’ve always loved things that were slightly off-kilter, and spent a lot of my time letting things come out and not trying to confine them. I’m a fan of the strange and bizarre; I think that has something to do with it. How did you get interested in sticker making? I cannot get enough

PERSONALITY DRIVEN KRIVVY’s LIFEWTR bottle features an assortment of characters she created herself.


KRIVVY What was the design process like for your LIFEWTR bottle? LIFEWTR had seen an image I had created previously, and they wanted me to expand on it for the bottle. I drew an embarrassing number of different characters until I settled on the ones for the final image. I drank a lot of coffee and skipped a lot

of work, but I’m super happy with the result. Where did your interest in surrealist cartoons come from? I’m interested in exploring the human condition. I tend to focus on figurative works because I have my loved ones on the brain most of the time. I grew up reading a lot of graphic novels and comics—Calvin and Hobbes, The Far Side,

of stickers. Every time there’s the option to buy stickers, I cave. When I was younger, I hated them because they’re designed for single-use. I’d hoard my favorites and never use them, but then no one would ever see them. As I got older, I let go of the mentality I had as a kid

DAVID LEE A GRAPHIC TAKE Lee’s LIFEWTR design makes use of a bold diamond pattern.

and became a lot more comfortable with letting good things go when they needed to. I started drawing on label paper and sticking them everywhere—on bank cards, on shoes. I just couldn’t stop. Any art mediums you want to dabble in? I’d like to start sculpting, to bring some of these little characters to the 3-D realm. What does your work as a graphic recorder and counselor in training entail? Graphic recording is essentially taping a huge piece of paper to a wall and visually outlining and mapping the goals and objectives of the meeting taking place— whatever the facilitator or group wants to capture. I’ve recorded in both creative and corporate settings. It’s always a new experience. To a certain extent, everyone is a visual learner. I’m also currently enrolled in George Brown College’s Assaulted Women’s and Children’s Counselor/ Advocate program, which will hopefully open new paths to continue working with communities and making a difference.

What inspired your LIFEWTR bottle design? I wanted to create something balanced— that’s what I think of when I think of water. I usually sketch first to get out my ideas, but this time, I just went straight to the computer to create different patterns. The pattern you see on the bottle stuck out to me. As for seeing my work on a bottle, I still can’t believe it. It still feels like a dream. How did doodling as a tween lead you to graphic design? My doodles in middle school were of graffiti and abstract shapes. I wasn’t really good at it, but I like to think if you keep practicing, you get better. But doodling helped me in school. Whenever we had a lecture, whatever the subject was, I would try writing the word in block letters or bubble letters in my notes. When I studied, I’d see them and remember what the teacher was talking about in the lecture. It’s like a photographic memory, but with little doodles. What about graphic design and typography excites you? The thing about graphic design is that everyone can do it. Everyone has their own style. I like to do vectors and some Photoshop. And typography looks so simple, but it’s so much more than just

simply writing. I took a typography class one semester, and it blew my mind. For example, the anatomy of typography opened my eyes. There’s a reason why everything looks balanced, and whenever it doesn’t, it’s because something’s off. Where do you go in L.A. to check out incredible graffiti? I usually go to Little Tokyo, Koreatown, Echo Park, Venice Beach, and downtown L.A. You’ll see one piece one week; the next week, there’s something completely different in the same spot. That is what I love about L.A.—the art is always changing.

Are there any specific graffiti artists that inspire you? Chaz Bojórquez, Retna, Alex Kizu aka Defer, El Mac, and Nychos. How do you think art can make a difference in the world? Art allows people to express themselves when words can’t. Sometimes, I just want to be alone, so I turn to art to express myself. Art helps make words and complex concepts visual so all ages can understand them, and it can also display messages to a variety of people, even when we don’t speak the same language. It helps get the word out. ß FA S H I O N W E E K D A I L Y. C O M


GANG’S ALL HERE Same Scarpetta, different location. On its 10th anniversary, everybody’s favorite Italian dining destination decamped from the MePa and found a new location at the James Hotel in NoMad. LDV Hospitality’s John Meadow, the man who turned the signature tomato basil spaghetti into an empire, shows us around. BY EDDIE ROCHE PHOTOGRAPHY BY HANNAH TURNER-HARTS Why did you decide to leave 14th Street? The business reality is that the lease was up. It’s a typical New York story, like Soho in the ’90s and the Meatpacking District in the 2000s. At some point, areas that are funky, gritty, and perfect for restaurants turn into high-end real estate. In anticipation of the lease expiring, we wanted to look to the next journey. This location, in the James Hotel, gives the opportunity to create multiple experiences under one roof. How so? Scarpetta 14th Street was my baby, love, and joy, but it was only dinner. Now we have breakfast and lunch, FA S H I O N W E E K D A I L Y. C O M

and we’ll be able to host wedding receptions; it’s a broader scope. That’s fun! Have you ever moved locations before? We haven’t, but it gives the opportunity to push forward and evolve. I was 27 when we opened Scarpetta, and the world was in a different place. The NoMad area was still mostly filled with perfume dealers and wholesalers. I love the past, but this is a more accurate expression of who we are as people today. Does this cement the NoMad area as the neighborhood du moment? I remember signing a lease in 2005 when the

Meatpacking was a mix; NoMad is on the cusp of becoming this dynamic neighborhood. It already is, but there’s so much more happening here. Is this a rejiggered take on Scarpetta? There are six locations, but this is our flagship and home. We’ve tried to maintain and preserve that high/low balance, and it’s a natural evolution. There’s raw and organic materials and a certain, accessible warmth to it, but it’s refined and elegant. In this location, we’ve worked with designer Thomas Juul-Hansen, and he pushed us toward higherend, custom furniture. It’s more elegant, but the feeling is equally inviting. We have the same chef, Jorge Espinoza. We’re reacting to the realities of the marketplace, so there’s gluten-free pastas and vegetable-centric, easy sharing plates. It’s not about chasing trends. Healthier diets are real, and we’ve tried to accommodate that. The location is bigger; we have a private dining space, and there’s a breakfast/lunch feel in the front.


What’s on the menu for lunch? The world’s dining habits for lunch have changed. How do you offer salad with a protein, but make it feel like Scarpetta? It’s a lighter, vegetable-heavy offering at lunch, and the same thing is applied to breakfast. At the end of the day, people want poached eggs, but how do we make them Scarpetta poached eggs? With a beautiful stewed tomato sauce that relates back to what we do at night. At its core, it’s a New York restaurant with Italian ingredients. What else is new? One thing that’s fundamentally different is The Seville lounge downstairs. You can have a proper dinner on a Saturday night, and go downstairs for a drink. It makes for an evening of dining and entertainment. I’m at the point in my life where I have kids, and if I have dinner at 8 p.m. and finish at 10:15, I’d love to go for one drink, but I’m not going to a nightclub. Why did you originally call it Scarpetta? Scarpa means shoe, and scarpetta means little shoe. There’s a phrase in Italian [fare la scarpetta], which means to take the piece of bread that looks like a little boot, go into grandma and mama’s pot, and scoop up that last bite of goodness. It’s comfortable and indulgent. All things Scarpetta go back to that high/ low balance, which is why we’ve been successful. What’s your favorite thing on the menu? For 10 years, I’ve eaten at Scarpetta more than

anywhere. Every single time I always have the yellowtail crudo or tuna crudo. They’re both fresh and vibrant. It’s a wonderful expression of simple, quality ingredients. I love the spaghetti, our signature dish. It’s the most precise example of the fundamental philosophy of amplifying goodness. Believe it or not, we also have an amazing roasted chicken. Which wine would you recommend? Brunello di Montalcino by the glass. It’s an elegant, softer wine that pairs well with our food. What’s your relationship like with customers— do you make the rounds, table to table? I don’t. I try to be polite, and I hold the door for everyone. I have a wonderful relationship with our repeat guests and I engage with all of them, but every project is different. With 25 outlets, you can’t play host like [Da Silvano former owner] Silvano Marchetto, the consummate professional. I take my personal connection to the staff members, and connecting to them as humans, seriously. Your team came along to the new digs! When we closed the 14th Street location, it was emotional for me. What was fascinating about this transition was seeing the same staff. A restaurant is about the people. We don’t have many actors or models chasing something else [professionally]; this is their life. How’d you end up in this business initially? LDV Hospitality [Meadow is the founder and president] stands for La Dolce Vita; Fellini’s Rome was very much my grandfather’s world. I looked up to him. We’d always have family occasions at the Plaza Hotel, and I was always smitten by it. My parents were educated New Yorkers who moved to California and were hippies. There was no steak, just macrobiotic cooking. My grandfather would wear a tie on Sundays and say, “You never know who you’ll see in the elevator.” I was smitten by New York restaurants. I love food and beverage, but it was the people coming together that was the driver. What else is keeping you busy? We now have Scarpetta locations in Miami, Las Vegas, and, most recently, at Gurney’s in Montauk, which is one of the most exciting locations we’ve had. It’s the only liquor license on the beach in all of New York state, and it’s a Scarpetta experience at a Montauk beach club

with an outdoor fire. It’s almost like adult summer camp; it’s such a special place. We also get to engage with our New York guests when we lose them in the summer. It’s a wonderful place for people to congregate. I love our steak house, American Cut; you feel the American character and grit. We also have Dolce at the Gale hotel in Miami—I could eat off of that menu for the rest of my life. The beauty of this business is you get to create these experiences. Where do you want to eat with your family? Where do you want to go with your friends on a Saturday night? It’s always starting with something that precise, and then you build up around that. How do you explain your success? I have good taste. If I’m proud of one thing—I’ve always historically been good at motivating our team to evolve. We don’t have the most defined corporate structure or mantra; there are no corporate retreats. But on a daily basis, I’m a passionate person, and I’ve instilled that passion into a lot of our team. Customers come out for that human engagement. Why do we go out? For the perfect duck confit and spaghetti? We can have that at home. It might not be as good, but it’s in the comfort of your own home and costs nothing. You come here for human engagement. What’s next for you? Since 2016, LDV has opened 10 restaurants in six cities. Only one of them was in New York. That’s crazy! To be able to focus on this is such an absolute luxury for me. We’re going to take a pause to nurture this restaurant. I’d really love to do Scarpetta in London someday; we’re very close. We understand you’re a chic dresser. How important is fashion to you? I like the classics, on today’s terms. I have a suit made, but then I like a white lapel with jeans. I love clothing. I’m not wearing the new Balenciaga sneakers—I love the artisan art and effort that is clothing. It’s one of my greatest joys, a pure passion. The most fun I have every day is when I walk into my closet; I share it with my wife and I occupy 90 percent of it. It’s my personal, sick addiction. To me, fashion is a wonderful way to engage in someone else’s craft. ß POWER HUB With a meticulously designed dining room and perfectly executed cuisine, Scarpetta is poised to become the NoMad destination.





We applied a graphic star appliqué using a glue gun for the first time since our ’90s-era Girl Scouts days.


We ignored everything we learned in four years of art school and drew a sloppy daisy with markers and a highlighter.

The original Golden Goose

Admit it—you’ve been ogling Golden Goose sneakers for months now. You see them worn by all the chicest influencers on IG, and you wonder, are they really worth $585? Help is here—your DAILY has painstakingly replicated the look—for pennies on the dollar. No one will be able to tell the difference. We swear! BY ASHLEY BAKER & JILL SERRA WILDE PHOTOGRAPHY BY HANNAH TURNER-HARTS


Scour the market for super basic sneakers. We’re partial to these minimal-chic high-tops from Only $34.99!


Yes, some people still use Wite-Out! In minutes, our flower is done. Also, we loved the gratis high from those fumes!


We sourced a mud puddle on the corner of Broadway and 57th. (Note: Wear waterproof socks when attempting this stunt.) Voilà—you’re a street-style star!

Could I make these myself?


Upgrade your laces. We chose a stretchy style from Amazon in a très ’18 shade of slate gray. Golden Goose on Insta! Selena Gomez and Leandra Medine rock the look. FA S H I O N W E E K D A I L Y. C O M

We don’t just obsessively study the fashion world. We rock it, too. LIM grads are tireless workers, fashion-biz devotees, creative powerhouses. They’ve been taught by expert faculty, brought excellence to several internships with top companies, and adopted mentors from some of the most powerful and influential networks in the industry. Our students turn real experiences into real careers. When LIM grads enter the workforce, it’s with a confidence that distinguishes them from their peers.


ALLISON TRACEY '19 Fashion Merchandising

Since 1947

The Daily Front Row  

The Daily Front Row

The Daily Front Row  

The Daily Front Row