The Daily Front Row

September 2026

It’s SHOW

TIME!

+

THE FASHION MEDIA AWARDS

Inside

Tommy Hilfiger’s CHLOE MALLE BETHANN HARDISON STELLENE VOLANDES JORDAN ROTH JENNA LYONS CORINA LARPIN KAI SCHREIBER WISDOM KAYE and more!

Homecoming at The Plaza

ACIDIC BONDING CONCENTRATE

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Heat protection up to 450°F.

“The longer you leave it in... the better it feels.”

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FMA

Chloe Malle

BUzZ !

It’s almost here! Your, and our, favorite night of NYFW, of course: We’re talking about The Daily’s 13th-annual Fashion Media Awards, at the iconic Rainbow Room.

Hosted by comedian Matteo Lane, expect chic honorees like Vogue’s Chloe Malle, Town & Country’s Stellene Volandes, Bethann Hardison, Stéfère’s Corina Larpin, Jordan Roth, Jenna Lyons, Kai Schreiber, Wisdom Kaye, and all sorts of high-wattage presenters and surprise guests, per usual. See you there!

Kai Schreiber

Jenna Lyons

SCENE • Welcome back, loves! Another splendid summer is behind us, which means we’re diving right into Fashion Month.

Obviously, we’ve got must-know intel on shows, soirées, and major moments to catch this season, so buckle up!

Storm Reid

PARTIES, PARTIES, PARTIES! • Bergdorf Goodman is throwing a huge 125th-birthday bash, dubbed “Very Bergdorf ’s,” on September 9th.

Most Stylish!

• Chloë Sevigny is hosting mytheresa’s cocktail soirée on September 12th to toast its FW ’26 campaign at Cafe Chelsea.

Linda Fargo Yumi Shin

Chloë Sevigny

Dara

POSITIVELY PARISIAN!

Elle Fanning

For Talbots’ first-ever NYFW presentation, the retailer will turn iconic French resto Lafayette into Café Talbots, an immersive experience inspired by the Left Bank, co-hosted by supermod Niki Taylor. Oui, oui!

Things to DISCUSS

• Nordstrom will fête its fall designer campaign with a party at Marcel on September 9th, hosted by Yumi Shin, this year’s CFDA Womenswear designer of the year; Dara, Bulgarian pop star and Eurovision 2026 winner; and photographer Ethan James Green.

1. Denim Tears partnered with the André Leon Talley estate on its Fall ’26 collection of 153 pieces that channel the iconic editor’s inimitable style and swagger.

Denim Tears Fall ’26

Henry Zankov

Sander Lak

4. Don’t miss Chanel’s scentsational café-themed pop-up to launch its newest fragrance, Coco Mademoiselle Crush Absolu, in the Meatpacking on September 11–13 and September 18–20.

30th anniversary at Trove on September 15th, co-hosted by The Daily alongside Charlotte Bickley Meller and Elizabeth Kurpis.

Niki Taylor

GUESS WHOSE SMILE!

Can you identify these fashionettes just by their grins?

Can you guess which Shawn Mendes look is actually from the new Gucci Primavera campaign?

A

B

C

D

2. Henry Zankov is having a busy week! He makes his debut as the new artistic director at DvF, then will hold his own show for Zankov just days later.

3. Sander Lak is back! The designer returns to NYFW with his new brand, Sanderlak, after a hiatus from the cal since the 2020 shuttering of his cool girlbeloved label, Sies Marjan.

• Robinson Pelham celebrates its

CHIC SHALLOT! B

J’adore the latest W cover, starring Harry Styles shot by David Sims, shirtless and clad in a fab custom Miu Miu leather bomber and pants. “New York operates at a higher frequency than I do,” Styles tells W in the interview inside the issue, as he promotes his 30-show residency at MSG. “At times, I find it quite a lot. But for that reason, I’ve always loved performing there so much. You really feel the city during the show, this swelling of energy.” New York or nowhere, baby.

• Coach celebrates its 85th anniversary with a special show and after-party on Wednesday, September 9th, that’s sure to bring out a starry crowd; perhaps including campaign stars like Elle Fanning or Storm Reid...

C Iris van Herpen

The correct answer is…A!

A. Wes Gordon; B. Thom Browne; C. Tory Burch; D. Kate Barton

After a stint in Paris, Snoopy in Style NYC is now open in the Meatpacking District.

The 16,000-square-foot exhibition explores Peanuts’ influence on culture, and for its Big Apple iteration, myriad designers created custom pieces for Snoopy and Woodstock, including BODE, Christopher John Rogers, Sandy Liang, Collina Strada, GAPStudio designed

by Zac Posen, Kith, Levi’s, and LUAR. A must-see!

NEWSSTAND NEWNESS!

Chanel’s chic pop-up

5. Science meets style. The “Iris van Herpen: Sculpting the Senses” exhibition at the Brooklyn Museum explores the designer’s otherworldly work, now through December 6.

GETTY IMAGES (15); ALL OTHERS COURTESY

Matteo Lane

SNOOPY’S

A

Bethann Hardison

Wisdom Kaye

Kai Schreiber and Naomi Watts Huma Abedin

Sailor Brinkley Cook, Christie Brinkley, and Michael Kors

Molly Sims and Scott Stuber

Jason Bard Yarmosky and Katie Holmes

Eddie Roche Editor in Chief

OF KORS!

Creative Director Paul Aubut

Canine Cover Stars!

SCENE • Haute parties from NYC to Out East to Ibiza of late, right this way! • Plus, the buzziest parties, openings, and other must-know chic happenings at NYFW and beyond.

The Kering Foundation’s fifth-annual Caring for Women Dinner is happening September 10th at The Pool. Salma Hayek Pinault and François-Henri Pinault will be co-hosting, alongside Pamela Anderson, Simone Biles, Benicio del Toro, Nacho Figueras, Dakota Johnson, and more.

The soirée will raise funds for organizations working to end gender-based violence.

Epic

Editors-at-Large Charlotte Bickley Meller Elizabeth Kurpis

IBIZA

Contributing Editors Charles Manning Darren Kennedy

NIGHT!

Party planner extraordinaire Bronson van Wyck brought the chic set to Ibiza for “A Pharaoh’s Ball,” a lavish “triple celebration” of the total solar eclipse, his sister Mimi van Wyck’s 50th birthday, and the ancient legend of Cleopatra coming to life inside a transformed rock quarry on the White Isle. The Van Wyck & Van Wyck sibs and co-founders welcomed more than 400 stylish guests, including Charlotte Tilbury, André Balazs, Adrien Brody, Anthony Vaccarello, Riccardo Tisci, Darren Star, and more.

Imaging Specialist George Maier

Giovanna Englebert

Bronson van Wyck

Kent Belden CEO Head of Strategic Partnerships Shane Glass

Marketing Director Nandini Vaid

Fashion Publishing Director Monica Forman Digital Operations Daniel Chivu The theatrics in action!

Georgina Chapman and Caroline Daur with fellow revelers

Manufacturing Operations Amy Taylor Marketing Intern Christina Sawicki To advertise, e-mail: advertising@dailyfrontrow.com.

The Daily Front Row is a Daily Front Row LLC publication, 20 W. 22nd Street, Suite 908, New York, NY 10010. Copyright © 2026. All rights reserved. Reproduction without permission is strictly prohibited.

Requests for reprints, e-mail: editor@dailyfrontrow.com.

Mizrahi and Cindy Crawford

PASS the Popcorn!

Isaac Mizrahi and Amber Valletta

Simone Biles

Managing Editor Joseph Manghise Photo Director Jessica Athanasiou-Piork

The September issue is great and all, but have you seen Vogue’s third-annual Dogue issue!? Its cover stars include Bad Bunny sharing spaghetti with his beagle, Sansa; Lena Dunham’s Mexican hairless, Ingrid, and Chinese crested, Cornichon; and Millie Bobby Brown’s miniature poodle, Winnie (as in, Pamela Anderson Winnie the Pooh-dle). Woof!

DO-GOOD DINNER PARTY!

Executive Editor Alexandra Ilyashov

Dakota Johnson

Legendary 1995 fashion doc Unzipped, chronicling the making of Isaac Mizrahi’s Fall 1994 runaway collection, is (finally!) back on the big screen. Starring every top model of the era, including Cindy Crawford, Linda Evangelista, Amber Valletta, and Kate Moss, the film opens in select NYC theaters on September 25th, then expands nationwide.

Diplo

Surf ’s

UP! Salma Hayek Pinault and François-Henri Pinault

Diplo was the special guest DJ at Surfrider’s One Ocean Gala at Crow’s Nest in Montauk last month. The event raised more than $700,000 and welcomed Taylor and Liev Schreiber, Cynthia Rowley, John Slattery, and Julian Schnabel, among others!

ON THE COVER

Tommy Hilfiger with Mari Lederman (The Society) and Delaney Ortiz (Next Management), photographed

by Alan Silfen (The Only Agency).

BFA.COM (7); GETTY IMAGES (4); ALL OTHERS COURTESY

Michael Kors celebrated Watts, Kors, and Holmes the 45th anniversary of Michael Kors Collection with a special dinner at Swifty’s at The Hedges Inn in East Hampton.

The night welcomed Lizzie Tisch Naomi Watts, Katie Holmes, Christie Brinkley, Sailor Brinkley Isaac Boots Cook, Carolyn Murphy, Molly Sims, Jane Krakowski, Kai Schreiber, Don Lemon, and more!

THE NEW GENERATION OF LUXURY

20 TIMES SQUARE, 701 7 TH AVENUE NEW YORK, NEW YORK 10036 RESERVATIONS 212 398 7017 EDITIONHOTELS.COM

ChicMOMENTS Rebecca Minkoff checking out FIAT’s Topolino

Leni Klum and Claudia Neacsu

Jenné Lombardo and Harvey Newton-Haydon

Aqua Parios

Beach BASH!

All the cool kids hit Montauk’s Barlume Beach last month for a party to celebrate Leni Klum’s recent cover of The Daily. Our gorgeous cover star was there, as well as photographer Jordan Millington Liquorice, Erin Lichy, Sasha and Oli Benz, Jenné Lombardo and Harvey Newton-Haydon, Nadiia Medvedchuk, Ramy Brook Sharp, Rebecca Minkoff, Brandon Cole Bailey, Nick Barrotta, Charlotte Bickley Meller, Yana Khan, Aqua Parios, Greivy, Justin Cao, Evelyn Yuan, Lisa Benson, Katya Tolstova, Susan Shin, Isaac Davidson, Claudia Neacsu, Michelle Steinberg, Nate Yohannes, Kent Belden, Eddie Roche, Nandini Vaid, Jessica Athanasious-Piork, Shane Glass, and many more!

Amber Wang checking out SOJOS Eyewear

Special thanks to SOJOS, Eternal Water, FIAT, Poppi, and the entire staff at Barlume Beach.

Photography by CAROLINE FISS

Katya Tolstova Leni Klum and Jordan Millington Liquorice

Brandon Cole Bailey

Yana Khan DAILYFRONTROW.COM

Charlotte Bickley Meller

Ramy Brook Sharp

Erin Lichy Victoria Anastasia and Jessica Athanasiou-Piork

Sasha and Oli Benz

Rebecca Stoughton and Sarah Moliski Poppi was on hand

Ashley McGee and baby Isla

Nick Barrotta

Jonathan Gonzalez, Domenic Scaglione, Theo Venable, Kelsey Bonacker-Sanchez, and Thomas Schumacher

ChicMOMENTS

Milly’s Hamptons Takeover

Whitney Teach, Gillian Miniter, and Cami Raucci

Jackie Keber, Gillian Miniter, and Margo Ressa

Day 1 The Daily Front Row and Milly united at The Maidstone in East Hampton for two gorgeous days of shopping and events. Gillian Miniter hosted

a special luncheon in the garden of LDV, which was also a shopping experience to get a look from the latest collection from Milly. A portion of the sales went to Central Park Conservancy. The brand has had a successful comeback in recent years with women gravitating to its feminine patterns and bold prints.

Guests for the lunch included Miniter, Neda Navab, Tracey Huff, Barbara Scott, Katherine Birch, Cami Raucci, Anna Bender-Zeckendorf, Angie Brown, Amy Tarr, Aileen Bruner, Sarah Kurita, Heather McAuliffe, Jackie Keber, Whitney Reach, Enrica Arengi, Whitney Rouse, Gigi Stone Woods, Whitney Mogavero, Kathleen Spink, Kathy Riley, Julie Lanning, The Daily’s Eddie Roche and Nandini Vaid, and Milly’s Katie Robin and Michael Lawler. The group sat at beautifully decorated table with flowers by Popup Florist, and went home with their own mini bouquets.

Photography by JEFF EASON

Katherine Birch, Gillian Miniter, and Katie Robin

Gillian Miniter

Candace Bushnell

Fern Mallis and Eddie Roche

Chantel Waterbury, Hunter Kohl, Rebecca Stoughton, and Sarah Moliski

Erin Lichy

Day 2

The next day, Erin Lichy, who was gearing up for the next season of The Real Housewives of New York City, hosted an intimate cocktail party in LDV’s garden at The Maidstone.

The evening welcomed Lichy, Fern Mallis, Candace Bushnell, Kelly Bensimon, Margaret Josephs, Mariah Strongin, Sugie Hong Bruttomesso, Blair Clarke Voltz, Hunter Kohl, Adriel Reboh, Hyoung Kim, Susan Shin, Caitlin Collins, Sachi, Chantel Waterbury, Aksho Pathak, Tatiana Rodionova, Kevin Gessay, and more!

Guests enjoyed tarot card readings from Sarah Potter and speciality cocktails from Holiday Vodka. Everyone’s new favorite soda, Poppi, was also on hand to refresh guests. Our friends at JECT were also there to fill attendees in about their treatments and Bridgehampton location.

Special thanks to the incredible team at LDV at The Maidstone.

Erin Lichy and Jennifer Galante

Nandini Vaid Christina Sawicki

Mariah Strongin

Margaret Josephs and Katie Robin Betsy Ferraro and Kelly Bensimon

ChicMOMENTS

GHOST STORY

VIPs in the makeup world flocked to the launch party for Urban Decay’s new line, All Nighter Ghosting Trio. The event was held at Andys in West Hollywood in partnership with The Daily Front Row. The crowd enjoyed cocktails aplenty and got the scoop on the new first-of-its-kind complexion system. The products feature three new innovations: Ghosting Paste Primer, Ghosting Setting Powder, and Ghosting Setting Spray, which instantly retextures skin for a seamless blur finish and all-day wear. (Trust us, the crowd couldn’t get enough of these products!)

The evening included tutorials to learn about the products, numerous photo moments throughout the space, including a vintage photo booth by L.A.-based studio Photo Illusion, and a special performance from saxophonist Aaron Leibowitz.

DJ Hunny Bee was on hand to provide jams throughout the night and kept the guests moving.

The cute crowd hitting up Andys (the buzzy new venue from musician Anderson .Paak) included Alexis Fabie, Amber Amos, Atiana De La Hoya, Beca Michie, Caitlin Lawson, Madi Webb, Charlene Lefever, Chloe Wells, Courtney Quarantine, Dahvi Shira, Edrys Duran, Freddy Castro, Georgia Bridgers, Gwendolyn Patkunas, Isabel Rose, Joe Jenkins, Justine Babb, Kate Speights, Katrina Stuart, Kirbie Johnson, Kristen McIntyre, Mariah Moss, Melinda Berry, Melissa Rogers, Monica Majak, Natalie McMillan, Nichole Goodman, Nikki Kent, Olivia Cella, Princess Gollum, Rocsi Diaz, Sevah Darbouze, Tatiana Sackheim, Wayman + Micah, Bailey Spinn, Audrey Vargas, Dion Xu, Ellise, Madison Wyborny, Manny Jay, Olay Noel, Pixie Bella, Sean Harris, Tatyana Ali, Toni Bravo, and many more!

The All Nighter Ghosting Trio is now available for $34 each at urbandecay.com, Ulta, Sephora, Amazon, and TikTok Shop.

The only time getting ghosted is a good thing!

Devon Belter and Toni Bravo

Photography by THE COBRASNAKE Melinda Berry and Glam by Addie

Princess Gollum

ALL IMAGES COURTESY

Atiana De La Hoya

DAILYFRONTROW.COM

Pixie Bella and CultofKelby

Mariah Moss and Jessica Jacoby

Madi Webb

Georgia Bridgers and Madi Webb

Beca Michie

Michael Castro-Osborne, Director, Education, Artistry, & Events at Urban Decay Cosmetics at L’Oréal USA Sevah

TommyTIME

Homecoming

KING

Tommy Hilfiger is back on the NYFW calendar this season with its collection showing at New York’s famed Plaza Hotel for the first time. The legendary designer tells THE DAILY what’s in store, why he has such a strong connection to this venue, and how he spent his summer. Take it way, Tommy!

Interview by EDDIE ROCHE Photography by ALAN SILFEN, THE ONLY AGENCY

STYLING: ROBYN FERNANDES, THE ONLY AGENCY RANDY COUSIN, GLOBAL SVP OF COLLABORATIONS AND STYLING AT TOMMY HILFIGER HAIR: ISAAC DAVIDSON, THE ONLY AGENCY MAKEUP: MIZU, THE ONLY AGENCY TOMMY HILFIGER GROOMER: RIAD AZAR MODELS: MARI LEDERMAN, THE SOCIETY DELANEY ORTIZ, NEXT MANAGEMENT

We’re presenting at The Plaza, and we also shot the Fall ad campaign there. It’s my former home. I lived there for a number of years with my family in the middle of Manhattan. It was quite an experience. It’s an iconic building. Everyone visits at one point during their time in New York, whether they’re a tourist or live in the city. It’s the ultimate backdrop to present our collection and shoot our ad campaign.

What can you tell us about the collection?

It’s a rebirth of our classics. We’re reworking the brand icons and making everything with fresh new energy and elevating it with shape, fabrication, detail, and the way we put it together. We’re always evolving and always modernizing. This is a moment where we’re celebrating our classics in a new way.

What is the new way?

The shapes are all changing, and the fabric is becoming more sophisticated and sometimes more technical, more interesting. The way in which it’s styled is relevant for today and speaking to Gen Z and a more youthful audience. I love that we continue to pay attention to detail. The detail inside of the garment is as important as the exterior.

Tell us more about the details.

We have brand codes that we continually twist and utilize. We like to think there could be a surprise and not something you’d expect. We’re reimagining the heritage pieces. There’s a sharper attitude to the collection. It bodes well for the consumer today. The consumer wants to wear it in a certain way. Unlike the classics of the past, these are somewhat more oversized. The trousers are wide legged and low slung.

You’ll see a new proportion. Proportion is important because it shows that there’s modernization and a newness to it.

What is it about putting on a show that you love?

I like to think of it as what it is, a show! I like to put an unexpected twist into every show we have. I also like to celebrate the show in an iconic venue, such as the Staten Island Ferry or the Grand Central Oyster Bar. I like to work with the music and the lighting. That to me is as exciting and creative as developing the whole collection.

DAILYFRONTROW.COM

The football-themed Fall show you did at the Armory in 2015 was unforgettable.

I loved that! I was thinking about the shows we’ve done in the past. In Milan we did a racetrack, in Shanghai we were showing in an iconic spot at The Bund. Then we went to Venice Beach in California, and that was a lot of fun. We did a musicinspired Rock Circus show in London at the Roundhouse, which was also one of my favorites. In Paris with Zendaya, we did it at Théâtre des Champs-Élysées. We like to break it up and do something surprising and unique, but keep it close to the brand.

As you mentioned, The Plaza is so iconic. Why did you want to live there?

I love the architecture and the location. It’s one of my favorite locations overlooking Central Park. I love the old-world charm and the building itself. The Palm Court is iconic—the marble floors and the woodwork. The detail in the building and the architecture is very special.

How did you even end up living there?

I was looking for a new apartment in New York and I knew the general area that I wanted to land in. At the time some developers decided to convert it from just a hotel to a residence and a hotel. I went to the sales office and they showed me a model of the building. I said it would be great if that part of the building could become available. They said it belonged to the current owner of the building. They didn’t think he would sell it but I said, “Just ask!” He sold it, and I bought two floors and combined them.

I had the dome overlooking 59th and Fifth Avenue, and that was an iconic moment in my life. We

GETTY IMAGES (1); COURTESY (1)

Happy to see you’re showing again at NYFW. What can we expect?

loved being there, but we decided to move out of the city and during COVID, we moved to Palm Beach, Florida.

And The Oak Room, where we shot the cover, is so special!

You saw the detail and the hand-carved wood. I just wish it would open again!

Us, too! Is there any nook and cranny or part of The Plaza that you love the most?

The Eloise story is always in the back of my mind. The Palm Court is chic and beautiful with the palm trees. The Art Deco detail is authentic and should never go away. It’s a great backdrop for us.

What did The Plaza mean to you in your youth?

I kept thinking of the Beatles and the Rolling Stones staying there, and the black limousines pulling up front and the fans outside. I also thought of Frank Sinatra, Marilyn Monroe, Sammy Davis Jr., the Rat Pack, all the Hollywood and fashion and music icons frequenting The Plaza when the Oak Room was buzzing. It was a destination for anyone who would come to New York and anyone who would be fortunate enough to stay there.

And the famous scene from The Way We Were with Barbra Streisand and Robert Redford!

Amazing. I saw clips of it recently and it was bone-chilling to see them and know that iconic building still stands and it’s still as important as it was back then.

Do you still get nervous on show day? What’s the day like for you?

I’m a perfectionist, so I walk the runway and walk the room before anyone arrives.

I want to see the lighting and listen to the music and get an idea of what the pacing is going to be like. I’m backstage to see what the hair and makeup people are doing, what the stylists are doing in terms of putting the outfits on the models, and then I’m thinking about the audience and who’s sitting where and thinking about bringing together fashion, art, music, entertainment, sports, and pop culture, and how we’re going to speak to the audience through the show. It happens on many different levels. It happens with the clothes, the casting, the music, the lighting, the audience.

Where do you watch the show?

Backstage in front of a screen, and I look at the entire runway. I look at each model

before they go out.

Our stylists and teams adjust and fine-tune before the models hit the stage.

What do you normally do after a show to celebrate?

There are usually a couple of hours of interviews and catching up with editors who may have come from overseas and then I have dinner with family or the team. It depends on what city we’re in. Certainly being at 59th Street and Fifth Avenue, there’s a lot of fun places we can go afterward.

After all these years showing, you have deep relationships with so many of the people who come to your shows.

I have a lot of great relationships with so many people for more than 40 years now.

I view a lot of them as being loyalists, and that’s meaningful to me to see the familiar faces in the audience. I’m appreciative and grateful of that. It’s hard to express that to everyone on the day of the show or after the show because there’s so many people in the audience, but it’s meaningful to me that that loyalty exists.

DAILYFRONTROW.COM

TommyTIME “I’m a perfectionist, so I walk the runway and walk the room before anyone arrives. I want to see the lighting and listen to the music and get an idea of what the pacing is going to be like. I’m backstage to see what the hair and makeup people are doing, what the stylists are doing in terms of putting the outfits on the models, and then I’m thinking about the audience and who’s sitting where and thinking about bringing together fashion, art, music, entertainment, sports, and pop culture, and how we’re going to speak to the audience through the show.”—Tommy Hilfiger The Tommy brands always working with the coolest people, like Gigi Hadid, Zendaya, and now Travis Kelce is in your campaign and you’ve collaborated on a line, which is such a get. What can you tell us?

It’s created between Travis and our team. We brought him to our archive and showed him styles that he grew up wearing and he was very familiar with them. He also wanted to try different things. We put together a collection of Kelce and Hilfiger that’s a part of both of us. A lot of his fans will be happy with it and a lot of our fans will be over the moon. It was well thought out, and he was involved in every step of the way.

What did you learn from Travis?

He has an incredible personality, a great sense of humor, down to earth, humble, fun, funny, and full of life.

[New York Knicks shooting guard] Josh Hart is now a friend of the brand. Are you a Knicks fan? What’s it been like getting to know him?

I’m a Knicks fan. The Knicks somehow became the world stars. I love the fact that the team is so harmonious, and I think that’s meaningful. It shows that if you have a team working in harmony with like-minded thinking you can win. I think that goes not only for sports but anything else, including in this business for sure. Josh is very humble, down to earth, kind, chill, and calm. With so much success, some people allow it to go to their head and I don’t see it with these guys. I think that’s their grounding and their fierce competitiveness. They don’t let all that the noise get in the way of their performance.

What were you up to this summer?

I was in Europe for the Grand Prix. We sponsor The Cadillac Formula 1 Team. I was then in Capri and Portofino. I go every year. They are fashion cities but the food, the ambiance, the Mediterranean in the summer is fantastic. I love it. Then we went to the Hamptons for a few days, then Malibu and then we went to the Hamptons again!

Then we went to Sardinia. Now we’re back grounded and going to Mystic. Packing everything in before my son goes back to school and before we really dive in. Though we are working every day!

How does it feel when you travel and see people wearing Tommy Hilfiger.

That must never get old.

I see more of it in Europe than I do in the States, but I’m always looking at the item they’re wearing, thinking if we were to redo that, how would we redo it? Or I’m not sure if I like a color and I may have done it like this.

I’m always critiquing it.

I don’t miss [seeing] the flag. Even if ’s a small flag on a T-shirt 20 feet away, I see it! I don’t take it for granted!

I love the fall, and I love it when the weather starts to change. When we start delivering our Fall collections, it’s my favorite part of the entire year. My Fall collections are always my favorites and then we roll into holiday, which is always a lot of fun. We hope the consumer is as active and excited about fashion as they’ve been in the past and surprisingly in recent months. Part of the fun of this business is the change. We like to change without losing the DNA of the brand. How do we keep the DNA? How do we keep the codes of the brand alive while still evolving the brand?

DAILYFRONTROW.COM

GETTY IMAGES (7)

What are you looking forward to this fall?

Travis Kelce, three-time Super Bowl champion and husband to Taylor Swift, was named Global Brand Ambassador and creative collaborator for Tommy Hilfiger earlier this year. Kelce appears in its Fall campaign and the partnership with continue into the Spring 2027 campaign.

VOGUE, Magazine of the Year

Malle’s Moment

When Chloe Malle nabbed perhaps the most coveted role in fashion media as the Head of Editorial Content, Vogue US, last year, the industry had a collective sigh of relief that the Condé title would be in the capable hands of one of our own.

Over the past year, she’s put her own stamp on the title while maintaining the brand’s legacy—and she’s been killing it. (The Anna and Meryl cover alone was pure genius!) THE DAILY sat down with the charismatic editrix to discuss her first year on the job, how she tackles everyone’s very strong opinions, and what makes a good issue.

By EDDIE ROCHE

You’ve been in the role for a year now. What have you been loving about the job?

I sound like Pollyanna saying this, but it really is true for me, the people that I work with are the thing I love most about Vogue. I’ve been here for a long time, so some people that I work with now I’ve worked with for 15 years and are some of the people closest to me. I’m so excited to be in meetings during the day and problem-solving with our team and thinking about how we’re going to cover the Chanel barefoot sandals and how we’re going to make this year’s Fashion Month coverage feel different and exciting and something people want to engage with. Laughing and problemsolving have always, and continue to be, what I love most about what I’m doing.

Any surprises?

Something that remains important to me and maybe is surprising to other people is I think of Vogue as a news organization; Vogue should be making and breaking news. That tends to take the form of fashion scoops from Vogue Runway and Vogue Business. Our weddings have been some of our biggest “news moments” because we are providing the first images of certain celebrities and people of note’s weddings and dresses. Those stories perform so well. It’s exciting to see how much traction that vertical has. It’s what Vogue should be doing best—an authority in the space that’s not purely fashion news, but about how people live fashionably and with style. That should be across all different areas.

When you got the job offer, what was the timeline, and how hard was it to keep it a secret?

It was difficult. Anna [Wintour] was very strict about the secrecy involved. My family was up in Connecticut at the time, and I was going back and forth to the city. My dog, Lloyd, was my first confidant! I purposely didn’t tell my mother [Candice Bergen] because I was afraid she would forget and tell one of her friends because she was excited about it. There was a lot of speculation. It was difficult with colleagues and friends who I was working with, but it wasn’t that long. It was about a week.

It was exciting to start this role at the exact moment that 15 creative directors were starting at fashion houses. Watching them was quite instructive and it was inspiring to see the way that young new creative directors were reinterpreting these historic maisons. Seeing someone like Matthieu Blazy, who approaches Chanel with such joy and gratitude and whimsy. Every time you meet with him about one of his collections, you feel like he’s a kid in a candy store. He is so reverent and informed by Coco Chanel and also Karl Lagerfeld and also so his own person. His collections feel so distinct and yet so Chanel. For me, I have always loved and read Vogue. I’ve worked here for most of my career. It wasn’t about ripping up the publication and starting new. It was very much an evolution and not a revolution. Certainly there was a list of stylists and photographers and writers who I wanted to be working with and bring into the fold, but I also love a lot of the people we have as contributors and have worked with for a long time. Our September cover paired Steven Meisel with [stylist] Spencer Singer, a young burgeoning stylist who is so talented. Carlos Nazario has come on in the past

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Chloe Malle

ALL IMAGES COURTESY

Every new editor wants to make their mark. What were some of the changes you wanted to make?

year as our contributing fashion editor, and that’s been so exciting to see his point of view. I want people to come to Vogue for the writers, the editors, the photographers who are bringing their own perspective. That’s been important to me.

What are the ingredients to a good issue of Vogue?

Obviously now Vogue extends beyond a physical issue, but I do think of the physical magazine as the center of a bicycle wheel and these other platforms become spokes that are coming out and speak in communication with what is featured in the magazine. It doesn’t have to be a direct connection; it can be a sensibility that’s shared. The issue will then inspire podcasts, events, social strategy, social concept, etc. I was just rereading Tina Brown’s Vanity Fair Diaries and she talked about when [Condé Nast Editorial Director] Alex Lieberman came to look at her first issue and said, “Where’s the glory? Where’s the glorious moment in the issue?”

I feel with each issue you want one moment that feels breathtaking. What I’ve always loved about Vogue is how wide-ranging it is.

The Kaia Gerber and Homer Gere cover was great. Their parents, Cindy Crawford and Richard Gere, were famously on the cover while they were married 30 years ago.

What’s the story there?

We love Kaia, and she’s been a Vogue girl for a long time. I think she’s a really talented model. She’s also such an A student, in the best way. She comes to a podcast prepared with notes with what she’s going to talk about. She’s such a joy to work with. I’m always happy to do something with her. Ryan Murphy has his grip on the culture, and we knew The Shards would be a big end-of-summer moment.

“I HAVE ALWAYS LOVED AND READ VOGUE. I’VE WORKED HERE FOR MOST OF MY CAREER. IT WASN’T ABOUT RIPPING UP THE PUBLICATION AND STARTING NEW. IT WAS VERY MUCH AN EVOLUTION AND NOT A REVOLUTION.” I’m personally a big Bret Easton Ellis fan, so that was exciting to me. When we found it was one of Homer Gere’s first roles, we did all think of the Herb Ritts cover with Richard Gere and Cindy Crawford. A lot of us came back from the shows in March and our overarching feeling was it’s so interesting to see how these new designers are reinterpreting the heritage of the houses. It suddenly started applying to a lot of the features and editorials we were thinking about for the September issue. How do you reinvent your heritage and reinvigorate the history you come from? Kaia and Homer felt so appealing for that. From a personal perspective, it was my first September issue and I really care about the history of Vogue and have great reverence for it. I feel no pressure to run away from that. I want to look at how we’re respecting what Vogue does best, but make it feel true to what I am and what I care about but also fresh and relevant for 2026 to today’s audiences across all our platforms. We certainly had Richard and Cindy in mind as a bit of a wink, but it was never the main proposition for why we’re doing it.

Everyone has an opinion about Vogue. Do you look at what people are writing and saying about it? Obviously, some people are going to be negative. How do you deal with that?

It’s hard to totally ignore what people are saying. I’ve also tried to pull back a little bit. I recently posted the photos of our September cover and I started getting negative comments, and I decided I wasn’t going to look at the comments. Then I had friends and colleagues leave nice comments and they asked if I saw them and I said, “No. If you don’t look at the bad comments, you don’t look at the good comments.” It comes with pluses and minuses. I was reading an interview with Tom Holland [recently] and he said someone gave him advice once that if they have a problem with me they should text me and if you don’t know my number, you don’t know me well enough to have a problem. Obviously that doesn’t apply

because I’m not a superhero star. I’m sensitive to feedback and criticism and notes from people that I respect and work with. There’s a healthy balance to how that is taken. The minute the September cover photos came in, my heart skipped a beat. I thought, “This was classic, joyful, Meisel Vogue.” If people don’t like them because of the gray background, that’s okay. It doesn’t affect me. I really love these. If the issue had gone to press and I wasn’t sure I loved it, maybe I would have felt different. But because I knew I loved it, it didn’t affect me.

What does it take to be on an American Vogue cover? What do you look for in a cover star?

Someone who is directing or influencing the zeitgeist. Someone who is changing the way we’re thinking or interacting with culture. You could say Kaia and Homer are two young kids, but they are both good actors and in a show that people are talking about. It feels like a cultural moment. That felt exciting. It’s also about telling the wider story of the issue, which in this case was about looking back to look forward. How do you take your history and your heritage and reinterpret that? They worked for that. You want to be surprising and want someone who people want to know more about and also that people know who that person is. It’s a delicate balance of surprising people, so it’s not exactly who they expect but also bringing someone the thing they didn’t know they wanted. We like to be timed to a new film, a new album, TV show. It’s nice to have a news peg so they feel like they’re part of the cultural conversation.

Dogue is so cute and shows your sense of humor.

Vogue has always had a sense of humor, and Anna has always prioritized that.

Maybe I’m hitting it harder over the head. That can extend beyond our Dogue cover. We did a story in our Summer issue on the enduring appeal of the potato.

Our food writer went searching for a potato in Spain and compared tiny Spanish potatoes to Idaho potatoes. For the [story] image, we bejeweled a potato. It’s one of my favorite images in the issue because it feels so Vogue and cheeky and has a point of view. The Dogue meetings are such a joy. We all get such a kick out of talking about how these dogs should be photographed. It’s become its own engine.

What can you say about the upcoming Vogue World in San Francisco?

I’m very excited about Vogue World Milan. Everyone keeps asking about San Francisco, and I have to get through Milan! Vogue World Milan is going to be amazing. I was just writing my October editor’s letter, and our October issue is dedicated to Vogue World and we have three covers. I attended the first Vogue World as a guest as I was not involved in the creation of it. It was such a feast for the senses and celebration of every art form from dance to music to film and obviously to fashion. That’s what I’ve always found exciting about this event. It’s throwing everything together to bring Vogue to life. San Francisco was exciting to us because Vogue World is about celebrating a city and what its unique proposition is. For us, San Francisco has been this cultural hub but also a city that is so created by and celebratory of immigrants and these immigrant communities.

We’re excited to investigate.

Your September issue was very heavy! Why do you think print still matters?

People love to hold something. The experience of reading something you know is curated with you in mind as a reader is important. I find that as a reader and as an editor, there are certain pieces that I’m excited to have in the print issue that I know might not necessarily travel as far online, but they feel like an interesting surprise in print. Sometimes you’ll be excited about how they do travel online. For example, we like to have a long, surprising read at the front of the magazine. A New York Times political journalist, Annie Karni, wrote a piece about how after she got divorced, she started talking about it to all the political sources she had. It’s such a smart and funny piece. It did well online, but it’s such a treat at the beginning of the September issue to get there. People who might not read that online might spend time with it when they’re reading it on their travels. We increased our page stock weight and I do feel the difference of that. My goal is if you buy Vogue at the airport and you take it on the plane, I want you to think at the end of the flight that you bring it with you, you can’t leave it on the airplane. This is something that feels like a special product that you want to keep.

What are you still wanting to do with Vogue? What are your goals now?

What’s been exciting has been seeing how targeting smaller communities of Vogue readers has had great success. We launched a book club and to see young subscribers come to these book clubs and say, “It’s such a treat to feel seen. I love fashion and I’m a comp lit major at Yale and I get to read Emily Brontë and be part of the Vogue community.” I’ve been writing a newsletter every week that feels very personal and specific to me, and people have responded strongly to it. We’re playing with how our writers and editors are communicating with our audiences—really connecting with people at every level and space they can be.

What did you do for fun this summer?

Half of my family lives in France, so I went and was with my sister and three nieces in southwest France. It was lovely and such a treat to be there. I was there for about 10 days. My family has a house in northwest Connecticut, and my kids and husband have been there all of August doing forest camp. I’ve been going back and forth.

Good summer?

Really good summer! This summer felt really long, which is nice!

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BETHANN HARDISON, Lifetime Achievement

What A Life!

By ALEXANDRA ILYASHOV

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Hardison and Marisa Berenson Janet Jackson and Hardison GETTY IMAGES (6)

For decades, Bethann Hardison has been changing the industry for the better, from her own modeling days (see: 1973’s historic Battle of Versailles show) to lifting up other models while running her own agency in the ’80s, Bethann Management, to tirelessly calling for more diversity in the fashion business.

Hardison continues to make a difference and say what needs to be said—and always with humility, honesty, and humor.

How did you get your start?

I started out in the garment industry—my first job was at a custom button factory—before I got discovered by [designer] Willi Smith. When I went to work with Willi, first it was as an assistant, but also a muse, and he asked me to model. I went from Willi to Stephen Burrows, starting as Stephen’s showroom model before I became his right-hand assistant and ran the design studio with him. Willi and Stephen were my two key pillars; I really came up with them.

Who else played an important part in your early career?

Bruce Weber and Steven Meisel were also important to me; both believed in me and were big supporters of mine. Bruce was introduced to me by Willi Iman and Hardison Smith, back when Bruce first picked up a camera and started to do photography. He and I would go to Central Park and take photographs, because Willi believed I could be a fashion model of that ilk—a print girl—even when I didn’t. Steven believed in me as a person, too; he thought I had a great eye. They both supported me when I later started my own [model management] company. There are so many people who decided to stick with me, chose to take the risk with me when I started my independent little model agency in Tribeca, and they wanted me to do what I didn’t want to do. I never wanted to have a model agency, but I got talked into it.

How did you get convinced to launch Bethann Management in 1984?

I was working at an agency at the time, and somebody in Paris wanted to start her own agency in New York and knew me and poached me. I knew she was so successful and had such a great eye, so I sort of went along with it. But it turned out, she didn’t have the same intentions as she’d told me she had. She wasn’t going to make me a partner; she was just going to have me work for her, which I learned through my accountant. I was close with Calvin Klein and Perry Ellis, and they were always saying, “But I thought you owned part of that company. Why are we

Bill Kaiserman, Hardison, Stephen Burrows, and Betsey Johnson

supporting them?” Stephen was telling me to start my own agency; everyone was saying I should. It was meant for me to do, obviously, but at the end of the day, it was never my idea. I never wanted to. That’s why I quit 13 years into it, at the point of success, because I felt that I just didn’t want to die knowing that on my tombstone would be “Bethann, who had a model agency.”

So you had other ambitions.

No ambitions! I had other ideas, maybe, but ambition, no. Ambition’s not my strength. Maybe bravery. By year 11, I was saying to my assistant, “I gotta get out of this thing,” so I made my decision then that I had to be out by year 13. And I was! Well, I kept the office, in Tribeca on North Moore Street, for some time after I gave up the agency. I wanted to get rid of Tyson [Beckford] as a client, but then I couldn’t, because Ralph Lauren had just given us a deal and I had to continue to oversee it. So I got rid of all the models except for him, and I kept my office.

You’re quite close with Naomi Campbell, too.

Naomi, I call her a Buffalo soldier, because she really stayed on top of what was going on in the industry. She would always make me aware of things. Most people think I represented Naomi, but I never did. I was just always close to her.

How did you meet Naomi?

The women who discovered her in London, Beth Boldt, called me when I’d had my agency for just a year. She said, “I have a girl for you that I think you should take care of, and I’d like you to come meet her.” So I went to London to meet Naomi and her parents. And when they came back, I didn’t wind up getting her. She didn’t come to me. She went where she went; she went to Ford, who had already been in touch with her, but she didn’t know anybody else in America. The only person she knew was Bethann. So as soon as she got to a studio where they were shooting—she was brought in for direct booking—she called me and said, “I’m here, and please, I don’t know anyone. I want to stay close to you.” And I met Iman when she first came to the country, so she always calls me her Statue of Liberty.

You’ve mentored so many. Do you go to many shows these days?

I don’t love fashion shows, but I love to watch anything that Marc [Jacobs] or Ralph [Lauren] does. There’s this community of younger independent brands that started back in 2018 that I like to support, like Keith Herron, the creative director at Advisory, and Sergio Hudson. I go to their shows when I can. Oh, and there’s this designer I’m absolutely crazy for, I keep saying I’m going to go to his show but I never get there. This year, I’m going. It’s a Mexican designer named Patricio Campillo. I finally got the opportunity to meet him in Mexico City recently; he’s a good friend of my friend. We went to dinner, and I was like a groupie, I was so excited. And I love what Alessandro Michele is doing with Valentino; anything he does, I want to see. I got hired by Gucci as their global consultant and advisor from 2019 to 2025, while Alessandro was there, and I still work with them in a different capacity. I’m still working, whether I’m spending time in upstate New York, downstate New York, Mexico, and Morocco, living between different time zones.

I’m always working.

Liya Kebede, Iman, Hardison, and Naomi Campbell

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JORDAN ROTH, Fashion Innovator

Everything’s Coming Up Jordan!

A decade ago, Jordan Roth was a reserved Broadway producer in a trim, gray Prada suit, little known outside the tightknit world of New York theater. Now he’s a couture-clad red carpet icon, an Instagram sensation, a performance artist, and—thanks to a decadently camp turn in Ryan Murphy’s hit FX show The Shards—a bona fide TV star. He’s also proof positive that fashion—when wielded with genuine passion and fearlessness—can be truly life changing. By CHARLES MANNING

When did you first fall in love with fashion?

I was always aware of fashion as an escape, as a tool, as a magic carpet. Even as a child, seeing beautiful fashion made me feel something. I remember my mother going out in this extraordinary white strapless dress that still resonates with me. In first grade, I was in a talent show at school, and of course I took it way more seriously than anyone else. I sang a song from The Wiz, and I found this emerald green GUESS shirt with a bit of a power shoulder and I put these circles of emerald green glitter on my cheeks, like a doll. That’s what I remember. Not the singing. Not the performance. It’s the clothes—how much weight they carried for me.

You’ve had so many iconic looks over the past decade.

What is your favorite?

That’s an impossible question. I can’t. But I will say that the Iris van Herpen look I wore for the Met Gala “Camp” [exhibition] was a meaningful piece for me, because it was one of my first experiences of cocreation with the designer at a high level that was also a sort of personal excavation.

That look also launched you onto a world stage as an emerging style star.

Absolutely. And I think people started to understand, and I started to understand at the same time, that I was working toward something that was more than just getting dressed.

Always. And in the early days of this high-wire act— because that is what it feels like on those big nights— if I looked at any images right after the event, I would spiral. Then I’d wake up the next day and look again and I’d be like, “Oh, okay. We’re okay.” So, mostly, I have just learned to not look that night.

Is there anything you won’t wear?

I haven’t found it yet.

What prompted your transition into acting?

I always thought I was going to be an actor. Growing up, that was always my passion. It was what I was doing at school, in extracurricular programs, at camp, and then, ultimately, what I trained for in college.

But you started producing instead.

I found this play called The Donkey Show [based on William Shakespeare’s A Midsummer Night’s Dream] and I loved it, but I didn’t want to act in it because

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LEFT: FABIEN KRUSZELNICKI. RIGHT: GETTY IMAGES (2)

Are you ever nervous about an outfit?

the character they wanted me to play wore these little go-go shorts and body glitter and at that point in my relationship with my body, I was like, “I can’t do that.”

But I loved the show. They were doing a sort of garage disco aesthetic, and I thought it should be a Studio 54 disco aesthetic, in a real nightclub, so I went out to find one and that was how I started producing. I just kind of fell into the role and it fit well for me at the time.

That period is also when I birthed the uniform of my business life: the black, blue, or gray Prada suit with the white shirt untucked and the buzz cut. That was my uniform of authority as a 22-year-old trying to run a business. And for a long time I thought that [uniform] was how I would ride out the rest of my life.

But then I started to feel bound by it, and for the first couple of years I didn’t quite know what that was. And then I started to understand that I was missing my own creative expression. Then I came to understand that I had this daily opportunity, when I was getting dressed, to express myself. That I could look at each day of clothes as a small creative practice.

[Through that practice] I started to sort of steer my way toward this form that I have come to call “narrative fashion performance.” It started at these events and then the performance art—the Louvre and Venice—grew out of that. And while I was engaging with this mode of personal expression, I realized that I was also reengaging with my actor self, and just waiting for, searching for, how that would come out.

I knew it had to happen—and I desperately wanted it to. Do you know this story?

As I understand it, Sarah Paulson suggested you try acting in something of Ryan Murphy’s, and then Ryan proposed the character of Steven Reinhardt in The Shards to you.

Had he ever seen you act? Did you audition for him?

No, but what he had seen, unbeknownst to me, was my Instagram. He’d actually been following along quite closely and seeing the building of these different characters there.

Jordan Roth wearing Robert Wun at the Met Gala in 2026.

Roth wearing Iris van Herpen at the Met Gala in 2019.

Your relationship with your body derailed your acting career in your twenties. Has that changed?

My body and I have been in a long, complicated relationship all of our lives. I always felt that my body was wrong. As a child, it was too fat and then not boy enough. And then, when I came out, I thought that would all be lifted, but my body was still not boy enough. So I spent years working out and trying to be bigger with more muscles, less hair, more this, less that. And it was only when I stopped trying to make my body [be something else] and allowed it to be what it naturally wanted to be—something both masculine and feminine at the same time—that it started serving me, that I could understand it and live in it. And I think it all comes back to the clothes I wanted to wear. They wanted this body—the one I had been rejecting—and I came to understand that my body wasn’t the problem, it was the struggle that was the problem. And those of us who are in complicated relationships with our bodies are always in complicated relationships with our bodies. These don’t just go away. But we come to live together with a little bit more peace and a little bit more grace.

How did you prepare for your role in The Shards?

I spent several months working with [acting coach] Greta Kaufman on building the character and with [movement director] Julia Crockett on revealing the character’s physicality. And then while we were filming, preparing each of the written scenes as they came out.

Your character, Steven, has some of the most camp outfits in the show. How much influence did you have over his look?

A lot. When Ryan first called me to do this part, he said, “We will find the look together.” And I thought he was just being nice, but he really meant it. And the direction he gave me in that first conversation was that he imagined Steven was scouring the runways of Paris, the music scene in London, that he was aware of what was happening culturally. And this is before that was easy to do, like on Instagram and on the Web and wherever. So I printed out every runway show from 1981, and I did a deep dive on the New Romantics and New Wave and that whole London scene, and then the first thing I started thinking about was the hair, and my first impulse was [David] Bowie in The Man Who Fell to Earth and I was talking about that with Brent Lawler, who does my hair in my life, and he said I should look at [singer] David Sylvian, and he sent some pictures and I was like, “Yep, that’s it!”

So Brent made a test wig and I did some pictures and I sent them over, and Valerie Jackson, who is the head of hair, was like, “This is amazing,” and showed them to Ryan, and he was like, “Yep, that’s Steven!”

Then, when we first were looking at mood boards with Josh [Marsh], Lou [Eyrich], and Serrita [Coleman]— our costume designers— they were talking about Saint Laurent—the person, not the brand—as a sort of silhouette inspiration. But then, when the hair

came, that felt like a mismatch, so that turned into what Steven is now: the broad shoulder and the nip waist, and that sense of power that he’s striving for.

And the shoes were vital. They brought in what is actually a current Saint Laurent shoe, but it has a very long toe and a real chunk of a heel, but it’s still a man’s shoe. Early on, I had the impulse that Steven was pushing the envelope as far as he could in terms of his expression, just until he got his hand slapped. So that heel, it’s still a man’s shoe, but the heel is just a little bit higher than regular. And then his nails are painted, but they’re painted nude, so they’re not screaming, but they’re there. So there are all these different ways in which he’s kind of screaming from the inside. And once we got the look, his physicality and his body and his courage came quite naturally.

What was it like working with the other actors: Kaia Gerber, Homer Gere, Evan Rachel Wood, Wes Bentley?

It was truly the most joyful, supportive group. There was real camaraderie. I didn’t know how much I missed that, and how much that is part of being in an acting company. And it made the process such a joy.

And to get to work with people that you love and are wowed by is a gift. And then there’s Ryan, who is the mastermind of it all and is such a brilliant student of our culture, the way that he synthesizes so many references across time and space and then creates worlds out of them that we get to live in. First as actors, but then also as audience members.

And you’re working on a film now about Robert Mapplethorpe and his lover/benefactor Sam Wagstaff?

I’m in the early, early days on that, but I’m interested in the relationship between them. I have always been interested in that sort of relationship—Yves Saint Laurent and Pierre Bergé, Sam Wagstaff and Robert Mapplethorpe, the artist and the person we believe is the business support. Probably because I hold both of those roles in myself, and I think both of them are artists, so I’m interested in that exchange of power in that relationship.

You’re changing so quickly and taking on all these new projects. Do you ever have any doubts?

All the time, but what I’m learning to do well is to question whose doubts they are. Are they my doubts, or are those somebody else’s doubts I have internalized?

And regardless of whose doubts they are, the work is to have the doubts and do the work anyway.

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There are a lot of big milestones this year. For you personally, this marks a decade of leading T&C, and 15 years at the mag. What’s your secret?

No. 1 is the team. Some of us have been here all 15 years together, and a lot of us have been here for a decade. It’s a team that deeply believes in what we do, and loves it. Those things sound simple, but they’re rare! There’s a spirit of T&C in everything we do—and we care about everything we do. If something has the Town & Country name attached to it, whether it’s a cover, a Snob’s Guide, or an Instagram caption, it has to feel, look, sound like T&C, and we all agree on the details that make that difference, and so it is, and we all love the process of making that all happen.

Media Icon Award, Town & Country

What makes it such a special group?

We are really out there in the world. One of my great mentors was Richard David Story, who I worked for at Departures, and he instilled in me that to do this job well, empty your pockets at the end of the day—this was before the iPhone, obviously. Where’d you have breakfast? Who did you have breakfast with? What exhibition or play did you go see? What did you talk about at lunch? What names did you hear and write down so you could research them later? It’s the idea

Joey Arias, Sandra Bernhard, and Volandes celebrating Bernhard’s cover

ART

O F T H E Curveball

As Town & Country toasts its 180th birthday, dynamo editrix Stellene Volandes is also celebrating a decade of running the glossy. Of course, the heritage brand pulls from its rich history, but nostalgia isn’t enough for Volandes—ahead, she explains how an element of surprise is essential to the magazine’s past, present, and future. By ALEXANDRA ILYASHOV DAILYFRONTROW.COM

StelleneVolandes

Why is being on top of—and in—the zeitgeist particularly important to T&C?

For a brand with so much heritage, DNA, a lexicon, and a visual vocabulary, the sense of inspiration and constant curiosity is essential. You need that as any kind of brand, but especially one with a lot of history.

Stick to who you are, but never get stuck in it. A cover I reference often is from the 1960s, featuring Cleveland Amory, chronicler of a certain set and frequent T&C contributor; it’s his face really close-up, and he’s smoking a cigarette, the ash is ready to fall off, and the only cover line is “Society?” It’s a great cover, and it’s our guiding light, because of that question mark.

Society, heritage, taste, power—those are all very T&C words, but you always, always need that question mark to stay relevant—so we’re constantly investigating and questioning what those words mean today. The power of the curveball is important, too. But it only works if it happens occasionally; it has to be a surprise, or else it’s just what you do. We know when to deliver what people expect from T&C…and when to surprise them with what we know is also T&C. It should never feel like a time capsule, or that it could be an issue from any time.

Timely and timeless is always our litmus test.

Happy 180th to T&C! What’s on tap?

You know, anniversary issues are both my least favorite

PORTRAIT: HUNTER ABRAMS; BFA.COM(1); GETTY IMAGES(1); ALL OTHERS COURTESY

that you’re out there in the world, constantly listening and learning. It’s something the team does exceptionally well; they’re all inspired by all that we see, and there’s a constant infusion and a curiosity.

actually harder to get in now, or are we all just driving ourselves crazy? Why are people so crazy about getting their kid into Vanderbilt suddenly? We’ll be talking about the top-10 myths and what to believe or what not to believe. We’ll also do specific targeted workshops about college essays: Does it help you get in? Also, what not to say and how to get through writer’s block.

Let’s talk cover lines. You’ve had some great ones.

What’s the trick?

Volandes commanding the room at a T&C event

and my favorite thing to do! Approaching them feels like there’s such a nostalgia trap. For a brand like this, you have to be so careful about anything that feels nostalgic. I was at a Ralph Lauren event, and my friend showed me cuff links from the ’70s from a brief collaboration between Ralph Lauren and Tiffany. All of a sudden, I thought, “Iconic American duos! Ooh!” Town & Country—another iconic American duo. What makes a duo, a duo? The ampersand. So we had four artists custom-make ampersands for each cover.

You’ve got a few membership programs now, too.

Tell us more!

It’s amazing how strongly people feel like they’re a part of this brand, feel like it belongs to them and they belong to it, and so membership was a natural next step in creating a direct relationship with our readers and creating a community. It’s a word that’s overused, I know, but it’s this inner circle. We’re your friend who knows everything. It’s strengthened our core franchises, especially travel, like our Snob’s Guides, and college admissions content; beauty and plastic surgery advice are also now big topics people can’t seem to get enough of.

How did college admissions coverage get so big?

As an editor, the most important thing you can do, besides being out in the world and not just at your desk, is to listen, especially while out at parties or openings or dinners. Our focus on college content— and now events—came out of that. College admissions is really in the culture. T&C always did education content, like the best boarding schools; we started newer lists, like the Alt-Ivies. Eight to 10 years ago, people started to freak out about how to get their kids into their dream school. More importantly, we realized it had become a “throw money at the problem” issue. And whenever there’s a “throw money at the problem” issue, we come in. We could see anxiety was high, but that there was also a whole economy being built around that anxiety, so we began to cover it.

That network of journalists, advisors, and admissions officers began to grow, and the content became something we know our members would love to access early. And, now, in person.

How so?

We’re doing our first-ever college summit for our Town & Country members here at Hearst on September 18th. It’s a morning of discussion about whether it’s

My friend William Li, who’s one of our contributors, likes to say that you can make a T&C cover line out of anything if you add the words “revenge, scandal, or Harvard,” and there is some truth to that! Also, words like “society, status, revenge, scandal, power, or the Ivies.” We’re not afraid to use the word “rich,” and we often do it in a way that indicates an arched eyebrow, like, “Mommy, are we rich?” Eccentric is part of the

T&C universe as much as anything else, but people don’t always know that. But looking at our archives, our cover lines now are tame compared to the cover lines in the ’60s. We’re always looking for an off-thewall cover line.

What’s the brainstorming process like?

We do cover lines via text chain with a group of six editors, and I generally throw six out to start, and we go back and forth. Then our art director, Kristin Fitzpatrick, places them. Does one offer service? Does one feel like important news that readers want to hear through the T&C lens, and does one feel completely current? Is there a classic one, and also an off-thewall one? The verdict is delivered by our copy chief, James Lochart, who’s not afraid to tell any of us that something is dumb or doesn’t make sense. You need that voice. Always have someone on your team who’s not afraid to tell you no.

Darren Walker, president of the National Gallery of Art, and Volandes

JENNA LYONS, FASHION FORCE

The

LYONS Tale

Jenna Lyons made her name during 20-plus memorable years at J.Crew where she eventually became president and executive creative director, but her second act has been just as fun to watch. Between TV gigs, consulting, and just being the coolest person in every room, it’s time to check in with this beloved fashion fixture.

By EDDIE ROCHE

After leaving J.Crew, I spent time consulting with Jonny Bauer’s team inside Blackstone. I focused primarily on value creative projects related to real estate, home, and fashion. I was excited about the opportunity to do the actual work as opposed to managing a massive team. I enjoyed the visibility across categories and seeing trends evolving in real time. After two years, Jonny decided to carve out a team and start his own company. He asked if I would join him, to which I quickly replied yes. My previous experience at J.Crew Group, as well as sitting on the board of Shake Shack for 10 years, has informed my thinking around the work I’m doing now. Our focus is giving a brand a set of organizing ideas that become the filter for every decision—brand strategy that focuses on value creation.

J.Crew is where you spent a lot of your career and made your name. What are your fondest memories from your time there?

There’s nothing more powerful than your heroes or the people you look up to coming to celebrate your work. I remember distinctly when I asked Solange [Knowles] if she wanted to come to our show [at

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Lincoln Center] and she said, “Can I bring my sister?”

I said, “How many sisters do you have? Do you mean Beyoncé?” and she said, “Yes,” and she asked if they could wear something. I didn’t have any experience in that world of dressing celebrities. We had never really done that. Truthfully, I didn’t know how it worked.

We sent her one dress. It was that moment you realize you’re being recognized as a team on a much bigger level. It was so rewarding, and we were so excited.

She was a hero of mine. And of course, the Obamas wearing our clothes and having an opportunity to

go to the White House and share in that moment was just otherworldly. I still can’t believe it. Because there were no cameras at those events; a lot of people don’t know about it. I went to Michelle Obama’s 50th birthday party and got to watch Prince sing four feet away from me, and Stevie Wonder sing with tears running down my face. I couldn’t believe I was there. To hear Stevie Wonder sing, not through a microphone, but to hear his voice standing in that room. It gives me chills just thinking about it. It was incredible. There’s those moments, and then there’s

LEFT: HEATHER HAZZAN. RIGHT: GETTY IMAGES (3)

What are you up to these days?

I thought he was the most fabulous person I had ever met. He was so outspoken and would make comments about what people wore, good or bad. He took me to the pier, and I watched men having sex on the pier.

And he took me to Nell’s, which was a crazy club.

This was pre-Giuliani. He changed New York so much and made it more sterile. It felt gritty. I saw Paris Is Burning and started going to drag shows. We would go to Florent at 3 in the morning after staying out all night and go to school the next day. It was so fun and crazy. I was literally a deer in the headlights.

You’re on podcasts a lot as a guest. Why haven’t you done your own yet?

There’s quite a few women who did. What I loved about Diane Keaton was that she had a playful and relaxed approach to dressing. I was shopping in the men’s section because I couldn’t find things that fit me. She was shopping in the men’s section because she liked the way it looked. I was fascinated by this woman who embraced it, and the public embraced her and yet she still wore lipstick. She wasn’t playing a character; she was saying this is the way she likes to look. I found that charming, especially because she was so warm.

I loved Diana Vreeland, too, but she was much more about a bold statement.

The Real Housewives of New York City is back this month, and you’re not on it this season. How do you feel about that experience in retrospect?

Did Diane Keaton have a big impact on your style?

Barack and Michelle Obama were fans of J.Crew during Lyons’ time there. Michelle wore their gloves to the Inauguration in 2009.

the simple moments. I remember standing in an airport in London and seeing our clothes on people.

That was special.

Do you think someone could have the longevity you had at J.Crew today?

The way it happened for me, exactly, probably not.

That was a specific point in time and life and the world. We’re seeing some incredible trajectories of brands that are breakout and in the zeitgeist. I know a lot of people have a lot to say about Kim Kardashian, but what she’s done with Skims is pretty remarkable.

Aimé Leon Dore has completely exploded. It’s pretty impressive. That didn’t exist 10 years ago, and they did it on their own. I did it inside of a company. I think it’s absolutely possible, but the way you play the game is different. The way you execute it would be different, but it’s 100 percent possible.

What were you like growing up? Were you the cool girl in high school?

I have a genetic disorder that affects my skin, my teeth, and my hair. When I was younger, I had chronic yellow teeth because they were shaped like cones, and I had big bald spots in the back of my head and I have scars everywhere. I was teased mercilessly. My mom was a piano teacher and didn’t know anything about fashion or care about clothing. It was not part of my lexicon.

I was definitely an outcast, for sure. I remember in seventh grade, I took a home ec class, and I learned how to sew. I was shopping in the big-and-tall section because I was so tall, and I made a bias-cut skirt and it fit me perfectly. It was the first time I had anything that really fit me. One of the popular girls in school sent me a note in social studies asking where I got my skirt. And it was the first time I had positive reinforcement, and it was something that I had made.

It made me feel so good that someone liked something I was wearing, and I felt good about the way I looked.

It was one of those moments that was really powerful.

My grandmother gave me a sewing machine for Christmas, and I got a subscription to Vogue and that was it. I was hooked. I was not the cool girl by any stretch of the imagination.

You came to New York at 18. What were you like back then?

I was so naive. I came in 1987, and I remember so specifically that I had never met a gay man before. I came from a small suburb of L.A. There were no out gay men. I certainly never met a gay woman before.

I remember my first day at Parsons, I met this guy and

I felt like everyone was jumping on the bandwagon.

I was going to do one at one point, but then they started asking me this, this, and this and I thought, “Okay, you need me to do all of that?” I was juggling so many things and had too many irons in the fire. To do podcasts well is actually a big job. I didn’t realize how much output that would take. To do something well, you need to put time to it. The ones that I like the most are when there are two people, when there’s a cohort. If that were to come up, maybe!

I’m happy I did it and happy I understand what that engine is about, and it demystified it quite a bit. There are a lot of misconceptions about how it’s done and what it means. I feel a lot of clarity around it. I feel good that I didn’t do this season. I saw the trailer and I thought this is probably what it needs to be, but it’s not the right thing for me. I’ll be a viewer, and that’s fine. I spent 27 years in one job and did everything that everyone expected of me from getting married, having a baby, buying a house, and all these things. I was always concerned that I was representing the brand in public. I remember distinctly at one point I was thrown in a pool at a party and I got called into HR [at J.Crew] and they said I represent the brand, I can’t be thrown in a pool. I was like, “I didn’t throw myself in the pool, but noted.” It was the first time in my life when I didn’t have to answer to anyone so I thought, “Why not?” about doing the show. I have no regrets, but it was f**king weird.

What are your passions these days?

I still love interior design. I’m trying to not do as much as I used to do. I used to have a full dance card. I’ve been trying to spend more time on the water. We have a little boat, and that’s my absolute happy place. That’s been so nice to spend less time doing and more time ideating and thinking.

Obama wore a J.Crew cardigan and mint green pencil skirt on her first official trip to the U.K. as First Lady. The cardigan sold out in mere hours after she wore it.

Who are some young designers on your radar today?

I love what Willy Chavarria is doing. I think he’s created such an amazing world. It doesn’t feel like anything else. It feels completely his. You really feel like Willy Chavarria’s world is his own. He’s been at it for awhile, but I love how he’s being embraced. The clothes hold up. I really love Petar Petrov. He’s not American. I wear a lot of his clothes. I love Husbands Paris. I send every man I know there. [Nicolas Gabard] has a strong narrative and has created his own world. I love what the girls at Matteau are doing.

I love Kallmeyer.

Why haven’t you started your own brand?

Oh, God. Because it’s so hard. I was on the CFDA/ Vogue Fashion Fund committee, and I saw how hard it was. If you don’t have a big company behind you, it’s very challenging. I had already worked really, really hard. I was exhausted. Having your own line is 24/7.

I had already put my blood and tears into J.Crew and I needed a break. When I took the break, other things happened, like I started doing TV. It never really presented itself. I would be more excited to take on Ralph Lauren or something that has a preexisting road map and continue it. I think it’s something I would have done when I was younger.

Solange Knowles and Beyoncé with Lyons at a J.Crew presentation in 2011.

DAILYFRONTROW.COM

CORINA LARPIN, Accessories Designer of the Year

Worldly GEMS Stéfère Jewelry founder Corina Larpin not only designs striking pieces for her jet-setting clientele, the globetrotter’s striking baubles reflect an international past, an insatiable love of travel, and a glamorous, bold approach to accessorizing. By ALEXANDRA ILYASHOV

I was born and raised in Romania during the Communist era, and that experience shaped me more deeply than I realized at the time. When the revolution came in 1989, suddenly a completely different world opened up to me. I discovered fashion, glamour, luxury, and, most importantly, the freedom to express yourself creatively and individually. My journey eventually took me to Hong Kong, which became an important chapter of my life; the city is an incredible source of energy and inspiration. It constantly pushes you to think bigger, be more ambitious, and, creatively, always go one step higher. For many years, I lived among Geneva, Hong Kong, Los Angeles, and Greece, while constantly traveling around the world. That international lifestyle gave me a broad perspective on fashion, jewelry, luxury, and how women use what they wear to express who they are. Jewelry became a particularly powerful medium for me: It’s intimate, yet incredibly expressive. It can transform an outfit and also reveal lots about the woman wearing it—personality, confidence, sometimes even a rebellious side.

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What did you set out to create with your own label, Stéfère?

Stéfère came from a desire to look at jewelry differently, instead of following traditional ideas of what fine jewelry should be. I wanted pieces with personality; pieces that are bold, unexpected, feminine, and sometimes even provocative. I wanted Stéfère to feel like a woman: sophisticated and sensual, but also strong, independent, and never afraid to break the rules. I started the brand with my best friend in Paris, but she didn’t stay on long, so I became the owner very fast. Then, my sister joined the brand seven years ago, and she’s my partner for the U.S. market. It’s amazing working together. We’re close; we’re very different, but we have the same vision.

Our relationship as sisters has become even stronger. We talk for hours every day!

It’s something I always dreamed about, and it happened. That feels magical.

What sorts of hurdles did Stéfère navigate early on?

Establishing a clear identity in a jewelry world that can be quite traditional was a big challenge. Instead of simply competing to make versions of what already existed from other brands, I wanted to create luxurious, beautifully crafted jewelry

LEFT: MARKUS KLINKO. RIGHT: COURTESY (8)

How did you get into jewelry design?

with a point of view. Another challenge was learning how to balance creativity with the realities of building a business. You can have endless ideas, but you also have to understand your clients, build relationships with retailers, develop the right production, and ensure that the quality always matches the vision.

How would you describe the Stéfère aesthetic?

I think Stéfère reflects a lot of my own personality and personal style. I’ve always loved being feminine, but I also like being strong, unexpected, and rebellious.

I don’t like to look like everyone else! I think that naturally comes through in the jewelry. Stéfère is about confidence and individuality. I love volume, sculptural shapes, beautiful stones, and pieces that have a lot of attitude. I don’t want jewelry to be quiet. Sometimes you want it to enter the room before you do! I want the pieces to feel personal, too. You can wear a spectacular Stéfère piece with an evening gown—and also with jeans. Fine jewelry doesn’t have to be serious; it can be sensual, playful, dramatic, provocative, and even have a sense of humor.

Who was your first VIP client?

My first celebrity client was Lady Gaga, who wore a pair of Stéfère skull earrings.

It was an exciting moment for me because she was such a strong and distinctive personality, and the Stéfère aesthetic felt like a natural fit for her. Celebrity relationships have developed organically over the years, often through stylists and creative teams. I love that celebrity clients are often willing to take creative risks, and want to wear jewelry that helps tell a story. They’re not simply looking for something beautiful. I’ve also worked with celebrities like Madonna, Beyoncé, Adele, Cher, Janet Jackson, Khloé Kardashian, and Taylor Swift, among many others.

What was it like working on a number of iconic Met Gala 2019 pieces, starting with Cardi B’s 44-carat ruby nipple covers?

The Met Gala is obviously a great example of the kind of creative projects I love.

The Cardi B look was completely extraordinary because we were asked to create something that was almost impossible to ignore—the 44-carat ruby nipple pieces for her Thom Browne look. It was such a bold concept! I loved the challenge of creating jewelry that’s an integral part of the entire fashion moment, instead of just an accessory. We didn’t have a lot of time to source the stones; the first stones were beautiful but didn’t quite work with the dress. My whole team worked day and night to make it happen—it was Easter, everything was closed, no one would answer the phone. I thought, “I cannot find them so quickly,” but then I remembered. I never say no to something. No is not an option!

You also created pieces for Zendaya and Janelle Monáe to wear at that year’s Met Gala.

Zendaya’s Cinderella moment was completely different than Cardi B’s pieces; we created the full accessories set, and the jewelry had to work as part of the magical transformation. Janelle’s rings were an exciting opportunity to work with form and volume. I love sculptural jewelry, so projects like that allow me to push that side of my creativity. What makes these projects so exciting is that there is usually an entire creative team involved—the celebrity, stylist, designer, creative director, and often a fashion house. Everyone brings something to the table, and sometimes you have to rethink your first idea completely. I find that exchange is incredibly inspiring.

How did Stéfère land its roster of retailers?

It’s always been about finding the right partners, versus simply trying to be everywhere; it’s important a retailer understands Stéfère and the woman we’re speaking to. Hong Kong was particularly important because of my history there and because it gave Stéfère an international perspective early on. From there, international luxury retailers became a natural part of growing the brand, like Maxfield and The Swan House in Los Angeles, and Marissa Collections in Florida.

Each of these retailers has its own unique identity and clientele, and I love the way they curate and present Stéfère within their world. Our relationships with Bergdorf Goodman and Saks Fifth Avenue has grown beautifully, too.

How does travel inspire your designs?

I spend the summer in Greece, from May through October. We have a holiday house in Mykonos, and all my friends and family meet there in the summer. My team joins me, too. You’ll see a lot of blue in my collections, and that’s inspired by the shades of blue in Mykonos. I just love this country—the people, the colors, the food, the music.

You’re even planning ultra-luxe adventures for others now! What’s the concept behind Travel with Stéfère?

It’s a project close to my heart that started three years ago and has grown into an incredibly successful, important part of the Stéfère universe. We invite our VIP clients to travel with Stéfère around the world, bringing together carefully curated groups of 20 to 40 people from different countries for special destinations. We’ve done Vietnam, Mykonos, Paris, and Cannes so far. Interest has grown so much that our client list is already full for some upcoming destinations! We also love connecting Travel with Stéfère to meaningful causes, like amfAR and Global Gift Foundation. Combining travel, fashion, jewelry, philanthropy, and our community in one experience is special. Seeing friendships develop between people who may never have met otherwise is incredibly rewarding for me.

How much of your workload is custom pieces versus collection design?

Both are important to me, but they inspire me in completely different ways.

Collections allow me to express a larger creative vision. I can develop a theme, experiment with shapes and stones, and create an entire Stéfère universe around an idea. Custom pieces are more intimate. You’re designing for one particular person, so you have to listen carefully. Sometimes a client comes to me with a clear idea, and sometimes they simply tell me about their personality, their life, or something they love, and we start creating from there. I love when a client says, “I have always dreamed of having this.” Then we work together to make that dream possible.

How has the jewelry industry changed over time since you’ve worked in it?

Women are defining jewelry on their own terms. When I started, there were more traditional ideas about what fine jewelry should look like, when and how you should wear it. Today, women are more interested in individuality, whether that’s mixing fine and fashion jewelry, wearing spectacular pieces during the day, or combining different metals and styles. That evolution is aligned with what Stéfère does.

How does it feel to toast two decades of Stéfère?

It’s an incredible milestone, and I’m incredibly grateful. So many people have believed in Stéfère along the way. I hope I’m still just as excited in 20 years from now when someone comes to me and says, “I have a crazy idea. Can we make it?”

Lisa Rinna Beyoncé

Lady Gaga

Winnie Harlow Zendaya

LookingBACK

DO YOU REMEMBER YOUR FIRST TIME? We love a trip down memory lane, so we asked some of our industry favorites to tell us about their first time attending a fashion show!

SKY KIM

Hairstylist; Clients include Lola Young, Tove Lo, Bebe Rexha, Alysa Liu, and Suni Lee

“My first NYFW was in September 2015, when I was 22, working backstage with TIGI. I remember being equal parts terrified and completely exhilarated. I was such a baby, barely knew any fashion designers, and had no idea what ecosystem I was stepping into. One moment that makes me laugh now was when someone handed me a little Y.S. Park pouch for a blow-dryer diffuser and I had absolutely no idea what it was, so I secretly Googled it while internally hemorrhaging from anxiety. Watching all that backstage chaos suddenly transform into this controlled, beautiful runway moment completely fascinated me, even though I didn’t yet understand the designers, politics, or history behind what I was witnessing. Looking back, I think what makes it so special is that I realized I had found a world I wanted to be part of.”

DANI MICHELLE

Stylist; Clients include Daisy Edgar-Jones, Hailey Bieber, Bruna Marquezine, and Kendall Jenner

“It’s so hard to remember what my first show was. I wish I did. What I do remember is the awe of the moment.

The excitement of the holding music, the rush of street-style photographers, and the crowds looking for their seats.

The feeling when the lights drop, and the music turns up. I can remember the excitement to rush backstage and the chaos of the models and quick changes. I can remember all these highs because it’s the pretty part of what we do, the moment of pure inspiration and live art.”

Christy Turlington, Naomi Campbell, and Linda Evangelista brought the star power to Anna Sui’s Spring Ready-to-Wear runway show in 1994

Stylist; Clients have included Lewis Hamilton, Ashley Graham, and Maura Higgins

“I was invited to attend Diane von Furstenberg’s runway show. I think it was September 2013 in New York, as I stocked her dresses in my stores in London, and I would go each season for buying trips. I remember the time being super tight and, of course, getting stuck in traffic coming from the airport. Devastatingly, it was raining, and I turned up looking really disheveled. I met Diane the next day in my buying appointment and was starstruck. She was so glamorous and confident.”

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GETTY IMAGES (1); ALL OTHERS COURTESY

EMILY EVANS

MATTHEW MAZUR

Stylist and DJ; Clients include Kim Petras, Melanie Martinez, Ava Max, and Coi Leray

DAVID CHEN

Casting Director; Clients include La Mer, Self-Portrait, Roland Mouret, LaQuan Smith, Neiman Marcus, Calvin Luo, Hermès, and COACH

“My first memory of NYFW was in 2013, in my former life as director of special projects for fashion designer Yigal Azrouël. I was in-house producing his show at Highline Stages. The picture [above] was taken shortly after our first rehearsal, when we were making sure the lighting and music cues were perfect before the show started. I loved the energy and chaos of it all. It was my first real taste of NYFW from behind the scenes.”

ANASTASIA WALKER

Stylist; Clients include Shaboozey and Hudson Williams

“My first NYFW experience was Mercedes-Benz Fashion Week, the Tents at Bryant Park, in 2008. I found a listing on Craigslist looking for people to work the shows.

I had no idea what I would be doing until the day prior. I was assigned the role of greeting and seating VIPs between the front row and the Amex suite.

This was the most glamorous era of NYFW. There were so many shows at that time; it was pure organized chaos. I was just an intern, hired only to seat people, yet somehow was taking notes detailing the collections under the fantasy of one day being an editor. Back then we would photograph looks with a digital camera and notate them from memory using a notepad. Beyond the obvious excitement and glamour were 12-hour days with minimal food or breaks and constant reminders that you were literally at the bottom of the food chain. I was just happy to be there. I remember a coffee run where I attempted to give my superior her change from the cash she had given me to purchase it.

She looked at me and said, “I don’t do coins; I don’t jingle. Jingling isn’t chic.” She was referring to the noise the change would make in her purse while moving. This was just a small precursor of how specific and neurotic the people in this industry can be. Nonetheless, I walked away knowing I had to be a part of this world.”

“My first real core memory of NYFW was actually walking in the Jeremy Scott show in September 2014 for Spring/ Summer 2015. I was working for Jeremy at the time and, being a total first-timer, I was doing a little bit of everything—PR, design, whatever needed to be done. During fittings the day before the show, I was asked if I wanted to walk in it. Apparently, I was the right fit for the collection, so I said yes. I had just gotten this wild red hair done because I was being called “Linda”—a reference to Linda Evangelista. She was famous for constantly changing her hair and had this iconic red-haired moment. I remember being so nervous before the show.

Then I walked out and I can still remember hearing everyone cheering. My mom and my family were there, which made it even more surreal. I had always wanted to sneak into shows when I was younger, but I also knew I was probably not someone who could fly under the radar. I have this energy where people tend to know I’m there, so I could never really get away with using another name to get into parties or shows. Instead, I always told myself, ‘I’m going to work so hard that my name will be on these lists.’ And now, a decade later, it is. I was so young and had so many dreams at the time, and it’s pretty surreal to look back and realize I’ve accomplished most of them. Of course, that just means I have a whole new slew of dreams to go after now.”

DAVEY MATTHEW

Hairstylist; Clients include Sarah Squirm, Avantika, Ariana Madix, and Taylor Momsen

“My very first NYFW show was quite an experience. A baby hairdresser, still living in Florida, I had the opportunity to come up for NYFW with a brand my salon carried. What was a dream of a lifetime quickly turned into the fuel of nightmares. Eager and ready to impress, I figured I needed to ‘throw a fit.’ Clad in a plunging V-neck down to my navel from a place once called American Apparel, the tightest pleather pants known to man, and obviously a leather blazer to match, I showed up backstage only to realize the glamour lives on the runway. Tight quarters and no AC left me looking like I went swimming instead of doing hair. After that settled in, I realized my dreams actually were coming true, because that’s what Fashion Week really is— blood, sweat, and tears. That is, until my Forever 21 pants failed me again, splitting open to reveal my slutty gay underwear. With all that being said, let this be a testament to never giving up on your dreams, and no matter how embarrassing something is, keep going. A decade and some change later, I now key my own shows and dress appropriately for backstage.”

MAEVE REILLY

Stylist; Clients include Eva Longoria, Emma Grede, and Madeline Argy

“One of my earliest fashion memories is sneaking into Fashion Week at Bryant Park in New York, back when the Tents were still there. I had no invitation, no reason to be inside—just an obsession with fashion and the feeling that I needed to be in that room.

I found my way in, took it all in, and remember thinking, ‘This is exactly where I’m supposed to be.’ Looking back now, it feels like such a perfect snapshot of how I started: a little fearless, probably a little delusional, and willing to find my own way through the door.”

Amanda Lepore, Richie Rich, Paris Hilton, Traver Rains, Nicky Hilton, and models at the Heatherette Spring 2007 show

ChicSPREE

Coated cotton barn jacket, $229

Pretty pinstripe everyday relaxed shirt, $100

FALL FASHION IS HERE! Paris stripe embroidered bateau-neck tee in White/Bright Apple, $70

ALL IMAGES COURTESY TALBOTS

This year, Talbots has been celebrating the Art of American Style with a coast-to-coast journey, which began in Northern California for spring, Hawaii for summer, and arrives in New York City for fall. The collection feels right at home in the city, blending polished tailoring with modern classics and rich autumn textures.

Peruse some of their fabulous pieces to add to your wardrobe this season!

Effortless Horseshoes square scarf, $70 DAILYFRONTROW.COM

SHOPPING PROMOTION

Katelyn Bit Nappa loafers, $149

Harvest Heart necklace, $80

Corduroy straight-leg pull-on pants in Sand Barrier, $100

Corduroy single-button blazer in Indigo Blue, $199

Mixed stripe poplin ruffle top, $100

All available at talbots.com

ChicSPREE Lustre, $50

Aria, $50

Over the past two years, SOJOS has expanded their collection with a premium line of sunglasses crafted from handmade acetate, combining timeless craftsmanship with modern design. Inspired by the beauty and elements of the ocean, each piece reflects their belief in creating eyewear that feels unique, expressive, and personal. With fans like Bella Hadid and Anne Hathaway spotted wearing the brand recently, their collection has something for everyone.

Lovelace, $150

ALL IMAGES COURTESY

Carapace, $30

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Melody, $150

Staghorn Coral, $50

Camille, $50

Sunrise, $50

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A CampaignINTEL

ll bout nn

Shifting the narrative on what it means to be a working woman, Ann Taylor’s Fall 2026 campaign marks the brand’s first major 360-degree marketing campaign in years. Breaking away from idealized onedimensional depictions of corporate life, the rollout is inspired by the brand’s actual customers—multi-dimensional, modern working women who navigate career, personal passion, and family every day. This Is Ann celebrates women who move seamlessly among work, weekends, evenings out, and everything in between. Confident, ambitious, and multifaceted, she isn’t defined by a single role—and neither is her wardrobe.

The glam campaign was shot by photographer Dan Martensen in New York City—where Ann Taylor’s HQ and design offices are based—on the Upper West Side and in Central Park. Embodying Ann Taylor’s “Love what you wear” tagline, the images dispel outdated perceptions with fresh looks that feel aspirational and relevant, while connecting with real working women. The goal? To reignite current Ann fans while also engaging new audiences with fashion-forward wardrobing that works for everything and anywhere.

As for the clothes themselves, they’re the ideal blend of polished professional wear with elevated, luxe textured pieces—in other words, the epitome of a versatile, modern wardrobe. Highlights include rich materials, one-of-a-kind layers that feel dimensional and polished, plus detailed elements, such as standout structured blazers, stunning scarf prints, and redefined denim that are designed to transition from work to evening with ease.

DAILYFRONTROW.COM

ALL IMAGES COURTESY

Sure, you might think you know Ann Taylor, but take another look, because this season, the heritage brand has undergone a chic glow-up with its This Is Ann campaign. Ahead, the full scoop on how the stylish concept and imagery came together, the sleek collection, and some exciting NYFW happenings. Allow us to (re)introduce you to Ann!

To bring the campaign to life, the brand has an immersive Soho activation to kick off NYFW, transforming the streets of Manhattan into an interactive expression of the brand’s evolution. Think: bold campaign imagery, custom branding, and a quintessential street food cart, along with a editorial-inspired newsstand stocked with exclusive This Is Ann campaign materials, including fall magalogs, collectible postcards, and even campaign-wrapped issues of your dear Daily.

“This Is Ann marks a new chapter for Ann Taylor, celebrating the woman at the center of our brand—confident, stylish, and moving seamlessly through every part of her busy life,” said Heather Gruccio, Executive Vice President and Chief Merchandising Officer. “The campaign and our Fall collection is a reflection of what the brand is today, a brand for the modern woman and her multidimensional life. We designed Fall for the way she’s dressing now, from modern suiting that works well beyond the office to fashion-forward pieces she can make her own. The campaign reflects that same versatility and energy, and brings a modern point of view that feels distinctly Ann Taylor.”

But that’s not all Ann is up to these days. Continuing to expand its community-focused initiatives and digital footprint, the brand recently launched The Desk on Substack to serve as a modern digital hub for career and style insights. Plus, the brand is expanding Style 101, its successful online styling series for versatile wardrobe-building tips with top fashion stylists. Also on the horizon: an exclusive brand ambassador program launching in early 2027 to amplify authentic voices of the women who love and wear Ann Taylor.

GreatIDEAS

IPSY does it

IPSY has become the ultimate beauty subscription, delivering monthly drops of the most viral, coveted beauty discoveries curated and delivered straight to your door! How does it work and what do they have lined up for NYFW this season? Stacey Politi, Chief Marketing Officer at IPSY, tells THE DAILY how you can get in on the action!

GIVE US THE DETAILS ON YOUR SUBSCRIPTIONS!

ALL IMAGES COURTESY

IPSY subscriptions start at $15 per month for IPSY Original, but we also offer other subscriptions to fit any lifestyle or preference.

• IPSY Original: $15 per month Original helps you discover your new faves with five personalized, deluxe-size beauty samples (worth up to $70) sent in a collectible Glam Bag. You also get to choose one product for your bag each month.

• IPSY Extra: $32 per month All the faves you love—full size. Extra delivers you five curated, full-size beauty products (worth up to $200) in an IPSY Drawstring Bag. You get to pick three of your five products each month.

•IPSY Ultimate: $65 per quarter Feeling a little premium? Ultimate is a quarterly upgrade to your monthly IPSY subscription that includes eight full-size products (worth up to $400). Think of it as your all-access pass to the most-coveted brands, hottest launches, and need-to-try products in beauty—and you even get to choose three of your full-size products every shipment.

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Who is IPSY for?

Our members don’t just love beauty; they approach it with a hobbyist mindset. They explore, experiment, collect, and share. Their relationship with beauty is always evolving—chasing the next discovery, shopping with the precision of an investor, pushing boundaries, treating beauty as a wellness ritual. What unites them is that beauty is personal, purposeful, and worth caring about. Together, we’re millions strong. IPSY exists to give Ipsters the tools, confidence, and community to celebrate their passion at every phase of that journey, whether they’re just exploring or ready to level up.

How do people sign up for an IPSY subscription?

It all starts with your Beauty Quiz on ipsy.com.

You’ll take a quick questionnaire about your beauty preferences, skin tone, brow color, favorite brands, and more, then leave the beauty homework to us. Using your answers, we curate products that are unique to you and deliver a new assortment each month.

What are some of the products and brands that you work with?

At IPSY, we curate cult favorites, trending skincare, and indie makeup brands so you know what’s worth knowing, trying, and adding to your routine. Every product we recommend is tested and vetted, because that’s the beauty standard you deserve. Shop our exclusive launches that inspire you to express your unique beauty—from iconic brands like Tatcha, Glow Recipe, Benefit Cosmetics, and Drunk Elephant to cult favorites like Oliviaumma and Kulfi Beauty. At IPSY, there’s always something new to discover.

F

“

ashion Week is the perfect moment for us to show up in person. There’s real synergy between what happens on the runway and what happens in someone’s beauty bag. Our Touch-Up Carts are a small way to bring that discovery energy directly to New Yorkers on the go.”

—Stacey Politi, Chief Marketing Officer, IPSY

You’re in the city this month making a splash with IPSY New York Beauty Week! Why was coming to NYC during Fashion Week important to IPSY?

New York has an energy unlike anywhere else, and after an incredible experience here for our Fourth-Annual IPSY Awards and IPSY Soho pop-up store in April, NYFW felt like the perfect moment to return. There’s an undeniable connection between fashion and beauty— both are about creativity, self-expression, and pushing boundaries. We’re here to celebrate the designers, makeup artists, and hairstylists shaping what’s next in fashion, beauty, and style.

NYFW will give IPSY a great in-person opportunity to meet new customers. Where will you be popping up around the city?

Fashion Week comes with packed schedules and long days, so we’re bringing our IPSY Beauty Week Touch-Up Carts around the city for quick beauty touch-ups and product giveaways, including our exclusive Glam Bags filled with NYFW beauty essentials. Keep an eye on our socials for real-time location updates!

ALL IMAGES COURTESY

What else is new at IPSY?

With 74 percent of consumers now prioritizing selfcare and wellness as part of their beauty rituals, we’re expanding beyond beauty into wellness—applying the same curation approach members already trust us for with makeup and skincare. IPSY Wellness cuts through the overwhelm with trusted brands, credible ingredients, and realistic rituals, all thoughtfully vetted so there’s no guesswork.

ItBAG

JUST Hammitt bags are having a moment! With pieces featuring their signature studs flying off the shelves and a growing celeb fan base, this L.A.-based brand is hot, hot, hot. What’s behind their success? Let’s find out!

CLASSIC DNA, REIMAGINED Hammitt’s recent growth has come from balancing its heritage with an instinct for current trends. Its design and merchandising teams continue to reinterpret classic signatures, particularly soft leathers and iconic rivets, through modern silhouettes that capture the moment without losing the functionality customers expect.

At the same time, Hammitt has increasingly found its way into the hands of celebrity stylists and fashion editors, introducing the brand to new audiences organically.

But growth isn’t just about visibility.

Hammitt prioritizes connectivity over transactions, creating experiences that give customers a reason to gather. Activations take place nearly every weekend across its retail stores, providing opportunities to build genuine one-on-one relationships with communities around the country.

FASHION MEETS FUNCTION Among Hammitt’s most popular silhouettes is the Kyle, a style that encapsulates the brand’s approach to marrying fashion with function. The bag includes signature details like a discreet cellphone pocket and optional crossbody strap, allowing it to transition easily throughout the day. Multiple sizes offer even more versatility.

This ease of use sets Hammitt apart. While rivets may be the brand’s most recognizable visual signature, the experience of carrying the bags is equally important. Here, soft leather, durable hardware, smart functionality, and distinctive style all coexist in unique harmony.

THE RISE OF THE RIVET As studs and hardware details have returned to the fashion conversation, Hammitt has found itself particularly well positioned. Rivets have been part of the brand’s design language for decades, making their renewed popularity both fun and gratifying.

Rather than simply repeating the same treatment, the brand continues to explore its signature rivets through different sizes, hardware finishes, and placements. The result is a spectrum that speaks to personal style, from minimalists to maximalists with edgy rockerinspired energy.

Barbara Palvin wears the Tom Large

AN “IT GIRL” FAVORITE That versatility has helped Hammitt resonate with a growing roster of celebrity fans. Jenna Ortega has carried the Tom Large around the world, helping put Hammitt on the “It Girl” map. Alix Earle and Lola Tung have each worn special editions of the Kyle bag, while Charli XCX and Barbara Palvin, who has also carried the Tom Large, have returned to favorite Hammitt styles repeatedly.

“I think I stole this during a fitting with my stylist.…I love the black and red combo,” Ortega told Vogue of her Hammitt bag on the publication’s YouTube channel.

Each woman seems to gravitate toward her own signature silhouette, reflecting the Hammitt philosophy as a whole. Core components and materials provide a recognizable foundation, while different shapes, sizes, colors, and treatments allow customers to find something that feels distinctly their own.

QUALITY WITHOUT COMPROMISE Even as Hammitt has expanded its reach, maintaining an approachable price point remains an important part of the brand’s philosophy. Most importantly, growth has never meant compromising the product itself. The result? Deep, authentic trust.

Hammitt remains committed to not cutting corners on quality. That will always be the brand’s North Star.

Ultimately, that combination of enduring quality, recognizable design, real-world functionality, and genuine community helps explain Hammitt’s continued momentum. The brand has evolved with the times while staying rooted in what has been there all along: Los Angeles design, exceptional materials, iconic rivets, and bags made to move through life alongside the people who carry them.

Jenna Ortega wears the Tom Large

BACKGRID; ALL OTHERS COURTESY

Founded and designed in Los Angeles, Hammitt has evolved through many eras since the early 2000s, but its core values and design pillars have remained the same.

Today, the brand continues to champion that DNA through soft leather, suede, exceptional fabrics, and jewelry-grade hardware.

Hammitt creates thoughtfully crafted accessories designed to move seamlessly through every part of life. The bags are made to develop character through every adventure and endure long enough to be passed down. And perhaps no detail captures the brand quite like its iconic rivets. Instantly recognizable, they have become a subtle calling card among fans and a symbol of a community rooted in connection, confidence, and self-expression.

HouseCALL Why did you want to do the show in the first place?

I always knew I was going to be part of media somehow.

I have a lot of other passions, too. This is just the beginning.

I spent a lot of my life in real estate in new development and building that business.

I found this creative side that was always burning inside of me.

That’s why I started my interior design firm. I also had a handbag line.

Lichy and The Real Housewives of New York City cast.

Who are your besties on the show?

I don’t want to give away too much, but everything shifts. By the end of the season, it shifts even further and it’s actually shocking who I end up getting close to.

The end of last season was dramatic. What’s your take on it today?

It was awful. I love Ubah [Hassan]. She’s like a sister. I thought we were taking it a little too far. At the end of the day, we’re on a show. We know we have to be ourselves times 10. Everyone can accept a little conflict or whatever, but when it goes to a place where we’re character assaulting someone and make them look like they’ve done something terrible, it’s crossing a line and makes everyone feel uncomfortable. It’s not good.

What’s it like for you when the episodes finally air?

The REAL DEAL

I’m usually biting my nails. I’ve kind of come to peace with it. The show was so intense this season that it feels like a pressure was lifted. It’s weird. All the previous seasons, we were tiptoeing around one another a little more. There’s a sense of looseness now where everyone is like, “F**k it. This is who I am, and this is what I stand for.” If people don’t like me, it’s okay.

What were you like in high school?

People used to call me “Plan A Girl” because there was no Plan B. I would get into [the club] Butter on Mondays nights. I was bopping around town! I was a club girl.

I was at Bungalow 8 in high school!

How did you afford to go to Bungalow 8 in high school?

I didn’t pay for a thing! I never took a dollar out of my bag. It was such a great time!

We’ll never get that time back. No phones. We were dancing with DJ AM. I rolled a blunt for John Mayer once. Those times were fun! It was looser.

Tell us more about your professional background. What did you want to be when you grew up?

Erin Lichy

The Real Housewives of New York City’s breakout star Erin Lichy has entertained viewers with her blunt and direct personality, and this season she’s warning us to buckle up for their juiciest season yet. The Manhattan native (and our current crush) tells us what’s in store!

By EDDIE ROCHE Photography by SOPHIE ELGORT

I didn’t know for a long time, or I did what was available and what I was good at. I went to NYU after college for sustainable real estate development. When I was 23, I had already sold four new developments by myself. If I continued, I’d probably be making so much money right now, but it wasn’t my passion. I started my interior design firm and then I got tapped by the show randomly. One of my friends was supposed to be on the show and said, “Come to think of it. They’re looking for Housewives. Would you ever do it?” I didn’t think I was a fit, but she said they were rebooting it. I was like, “Okay!” That was in June and by July 1st, my 35th birthday, I got a contract. I didn’t have much time to process but knew it was the right step for me. Everything changed for me. The first year was stressful and I pivoted, and now I’m asking myself, “What do I want?” And I feel like I’m listening to myself. I want to fill my creative passions.

Do you get recognized now? How does that feel?

I still feel exactly myself. I don’t think I’m famous. Sandra Bullock and Meryl Streep are famous. I don’t have a big head about it.

How did you meet your husband, Abe?

We met at a bar. I wasn’t looking and neither was he. We locked eyes and it was actually love at first sight, which I never believed in. It’s the best.

You have four kids. How do you do it all? You don’t seem stressed.

What can you tell us about this season?

COURTESY

Season 3 is so different than anything we’ve ever filmed. It’s very personal and followed the moments of my life that I’ve never shown. My houses flooded. They followed that. My process with grief. It was personal, which I think was a good thing. We pulled back the curtain and you get to know me a little bit more. We were all much more raw and open. There was no holding back. If someone was pissed with someone, they said it. If I felt a certain way about someone, I did not hold back.

It’s intense, but that’s how it should be!

You have to be easygoing about it. We had a conversation with our kids when we first started that if they feel like filming, they can, and if they don’t feel like it, they don’t have to. Nobody is pressuring them to film. That makes us feel good, too. People don’t realize how amazing the behind-the-scenes crew is. They become like family.

What are your other passions?

Was there a lot of drama?

I really do love fashion, and I’m enjoying it more. I’m allowing myself to love it. I’ve also always had a passion to be in a scripted series or movie. For the first time in my life, I feel like I can do it. I’m working with an [acting] coach. If you’re a creative person, you get to be creative on the show and off the show.

How do you feel about watching yourself?

I love Jacquemus, Bottega Veneta, Milly, Aknvas, and Christian Siriano.

Beyond. I’m a little nervous to see it.

What designers do you love?

Generally fine. I’m confident in my own skin. Sometimes I’m like, “Why did I open my mouth!?” I’m very direct. Almost to a fault. I’ve always been like that. You’ll know based on the way I look or my facial expression with how I’m feeling. For [the show] I’m an ideal housewife because I don’t shut the f**k up and I say exactly what I’m feeling. It can also get me into hot water.

Anything else we should know or talk about?

I just did a fun brand deal with Natrelle for my breast implants!

We didn’t see that coming!

I don’t gatekeep. I let everyone know that after four kids I got implants, and I’m happy about it. I’m an open book!

DAILYFRONTROW.COM

JetsetESSENTIALS

MINI but MAJOR Want to keep your strands looking their best when you’re on the go?

Redken, the leading professional hair brand in the U.S., to the rescue, thanks to the launch of travel-ready mini sizes of three best-selling treatments (now available at Amazon, Ulta, and redken.com). Ahead, a trio of Redken Artistic Ambassadors—Lindsey Olson, Rodney Cutler, and Maggie Perry—explain what makes these must-pack products so special, and how to use for coif perfection.

LINDSEY OLSON

@lindsey.marie.olson/@sloane.stevens.salon

What’s the appeal of Redken’s All Soft range?

All Soft is the O.G. of moisture, which is the component of hair that’s most important to texture.

Everything for hair starts with the shampoo-andconditioner process and products, so moisture is especially important on waves, curls, and coils. If the shampoo process doesn’t cleanse and condition properly, then the rest of the regimen will fail. All Soft delivers hydration through its RCT protein complex, creating the perfect solution to provide moisture and softness.

What hair types or lengths is All Soft Argan-6 Oil best suited for?

I love using it on multiple textures and methods.

Anytime I’m styling waves, curls, or coil, and I’m breaking a cast from a gel, it’s the perfect product.

I use it as a [post-wash] day two or three refresher, too, because it glides over curls to add hydration and shine. Also, for hair that’s dry and brittle, I use it while hair is damp as a lightweight treatment styler that gives added moisture and shine. It melts into the hair for a perfect finish.

How else do you love using All Soft on clients, and do you have any go-to products you tend to pair it with?

I use it on both wet and dry hair! On wet hair, I use it for a blowout for shine and movement on medium to coarse textures, combined with Redken’s One United, and on dry hair I use it for refreshing, enhancing, and styling waves, curls, or coils. I would use Redken’s Curl Sculpting Gel on wet hair, then All Soft Oil for the dry styling: Slide and glide the hands over curls, then spread it on curls one by one for more volume from a defined style. Add One United after this process, and use a diffuser on low heat and low airflow; this adds more shine, volume, and finish to curls.

DAILYFRONTROW.COM

RODNEY CUTLER @cutlersalon Why do you love Redken’s Acidic Bonding Concentrate 24/7 Night & Day Serum?

We’re using ABC (Acidic Bonding Concentrate) Serum more than ever, as hair does overtime between blow-dries, heat tools, and pulling it back into varying styles! This serum provides the optimal, beautiful, healthy hair we desire while simultaneously repairing it. I also love that you can use it on wet or dry hair to further enhance its ability to moisturize, nourish, and strengthen the hair.

What kind of hair is ABC serum suited to?

It’s light enough that it can be used on any and all hair types, and it’s most effective on fragile, processed hair. The formula is also buildable because of how light it is, so you can tailor your usage to your hair needs.

Any tips for using ABC serum?

If you’re using it in the salon for hair health, the best method is to apply the serum to wet hair and then blow-dry it in, so it’s sealed with the hair cuticle. Alternatively, you can use it as a finishing product applied to dry hair for a more sleek look. You can also use it as an overnight leave-in serum so the product can work overtime to help repair and moisturize your hair while you sleep.

MAGGIE PERRY @maggiemh/@hir.salon

What makes Redken’s Naked Gloss lightweight oil so special?

I love how it gives real glass-like shine without weighing hair down or feeling greasy. On color-treated hair, it keeps the color looking fresh and vibrant longer, which my clients notice right away. Hair just looks healthier and more expensive with almost no effort.

ALL IMAGES COURTESY

What kind of ’do is Naked Gloss ideal for?

It’s especially good for color-treated hair that starts looking dull or dry between appointments. The formula helps seal the cuticle, so color stays richer and hair feels smoother. It also works well on finer hair that can’t handle heavy oils, or any hair that needs shine and light frizz control without the weight.

How do you recommend using Naked Gloss for optimal results?

On damp hair, apply Naked Glass after the Acidic Color Gloss shampoo, conditioner, and leave-in conditioner; a couple pumps through the mid-lengths and ends before blow-drying gives smooth shine and heat protection. On dry hair, I use a tiny amount as a finisher for extra gloss. Start with less than you think you need! Focus on the ends, and only work up if the hair can take it.

DAILYFRONTROW.COM

HighLIFE

Rainbow Connection Is there a more magical venue than the Rainbow Room?

Situated at the top of Rockefeller Center, it has been home to THE DAILY’s Fashion Media Awards and countless special events over the years. Find out why this room and its breathtaking city views have endured for more than 90 years.

By EDDIE ROCHE

City landmark, preserving the eastern portion of the 65th floor as one of the city’s most celebrated examples of historic design. Notably, the Rainbow Room is one of the few remaining interiors from the early 20th century, making its landmark designation particularly significant in preserving a rare piece of New York’s architectural and cultural history.

What movies has the Rainbow Room been featured in?

Sleepless in Seattle, Prince of Tides, The Curse of the Jade Scorpion, and Respect.

The Rainbow Room was also the inspiration for the fictional Club Raymond in the 1936 Ginger Rogers and Fred Astaire film Swing Time.

What is the Rainbow Room primarily used for today?

for several years.

What can you tell us about the history of the Rainbow Room?

The Rainbow Room opened in 1934, at the height of Rockefeller Center’s rise as a symbol of New York glamour and sophistication. On the heels of Prohibition, it was New York’s high-end supper club—a place to see and be seen, attracting celebrities, socialites, and the city’s elite. For more than 90 years, the Rainbow Room has remained an iconic destination for dining, dancing, entertainment, and unforgettable celebrations, evolving with New York City while preserving its timeless elegance.

Why is it called the Rainbow Room?

The Rainbow Room was originally called the Stratosphere Room, but in August 1934, it was renamed the Rainbow Room. The name was inspired by a model of an organ that changed colors in response to the tone of the music, creating a rainbow-like effect. The name captured the room’s sense of innovation, glamour, and spectacle.

The Rainbow Room has received many awards and praise for design and architecture.

What are some of the honors it has garnered over the years?

In 2012, the Rainbow Room’s iconic interior was officially designated a New York

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Today, the Rainbow Room continues its legacy as one of New York City’s most iconic event destinations, hosting weddings, galas, corporate events, and everything in between. From intimate celebrations and milestone occasions to high-profile corporate gatherings, award ceremonies, and spectacular social events, the Rainbow Room provides a truly unforgettable setting high above Rockefeller Center.

New York City has changed so much over time. Why has this space endured?

New York City has transformed dramatically over the past 90 years, but the Rainbow Room has remained a timeless symbol of the city’s glamour, energy, and celebration.

The Rainbow Room has a timeless elegance to it that truly never goes out of style; you step into the room and immediately feel the history, as well as the energy of the countless events and unforgettable moments that have taken place there for more than 90 years. While the city around it continues to evolve, the Rainbow Room’s iconic design, breathtaking views, and ability to bring people together have allowed it to remain a truly special part of New York City.

What’s something we’d be surprised to learn about the Rainbow Room?

One of the most surprising things about the Rainbow Room is how much of its original magic is still intact. The iconic dance floor actually rotates, while the chandeliers and crystal banisters are original to the Rainbow Room’s opening in 1934. And the famous photograph of construction workers casually eating lunch while sitting on a steel beam high above New York City? That photograph was taken during the construction of 30 Rockefeller Plaza itself, capturing the extraordinary— and daring—spirit of the building’s creation.

MICHAEL JURICK; INSET: CAROLINE FISS

The Daily’s Fashion Media Awards have taken place at the Rainbow Room

ChicSTAYS

Inside

EDITION

The Times Square EDITION has been a chicster hangout since opening its doors in 2019. Chad Kemler, the five-star hotel’s general manager, tells us what’s happening at this tranquil escape on West 47th Street.

What’s new at The Times Square EDITION?

There’s always a bit of something new at the hotel. We’re constantly changing programming in The Lobby Bar or updating menus in our restaurants and adding new shows to Paradise Club. What I’m the most excited about is some of the fun things we have planned for the festive holiday season and New Year’s Eve!

What are some of the amenities at the hotel that make it special?

We have multiple dining options provided by Michelin-star chef John Fraser. We also offer suites with outdoor balconies overlooking Times Square, Le Labo bath products, and a gym with floor-to-ceiling windows.

What can you tell us about the rooms at the hotel?

I would describe them as calm and serene, surrounded by all the excitement of NYC. They start on the 14th floor and go all the way up the 40th. We have many amazing views, and all our suites have outdoor terraces.

We have beautiful terraces at all our dining venues. These spaces are open from spring until fall. We try and keep them open for as long as possible, until the weather is too cold to be outside. The spaces overlook Times Square and are a great place for a happy hour cocktail, afternoon coffee, or just to enjoy being outside.

Where’s the best place at The EDITION to have an after-work drink meeting?

Our lobby bar and exterior terrace is a great option for both crafted cocktails, thoughtful wines, and a vibrant atmosphere to unwind or conduct business.

What’s new at Paradise Club? Are there weekly performances open to the public?

We’re excited to be welcoming back “Moonrise” to the Paradise Club in September, which will run through the end of the year. Moonrise is our immersive dinner show experience. Paradise Club is also open as a nightclub on select weekends.

Yes! Most any type and style of event you can think of has taken place in Paradise Club. From corporate meetings to fashion shows during NYFW to product launches, awards dinners, and galas to celebrity-led performances, Met Gala parties, and comedy shows. The space can be transformed in so many ways that it’s conducive to whatever you want it to become. The space is a state-of-the-art performance venue with top-tier lighting and sound. We also have the ability to live stream from inside the venue to different locations, including our jumbotron attached to the side of the hotel looking into Times Square.

That’s very cool. For our New York City readers, what would a staycation at The Times Square EDITION look like?

As a lifetime New Yorker, our hotel is an unexpected experience. Each floor is uniquely designed and programmed. We are a place where you feel like you’re literally anywhere in the world, as well as being strongly rooted in this great city.

It’s up to you how you want to raise or lower the volume, and we’re here to curate exactly that memorable experience for you.

ALL IMAGES COURTESY

NIKOLAS KOENIG PHOTOGRAPHY (5)

Some would be surprised that you have such a beautiful outdoor space. Tell us a little about it!

Is the space available to do private events?

DAILYFRONTROW.COM

WheelDEAL

TOP-NOTCH The Topolinos are so cute! What are people using these vehicles for primarily?

The Topolino is designed for those little journeys that make life more enjoyable.

We’re seeing owners use them to cruise through beach towns, gated communities, resorts, country clubs, and neighborhood parks. It’s less about getting somewhere quickly and more about enjoying the ride. Many of our customers love being among the first to bring this unmistakable piece of Italian style to their communities.

What colors do they come in? Are other colors coming?

We launched the Topolino in our signature Verde Vita, a color that perfectly captures its carefree Italian spirit. Looking ahead, we’ll introduce additional colors with our 2027 model-year lineup. What’s been especially exciting is seeing how eager customers are to personalize their Topolinos. Whether through accessories or unique touches, the vehicle becomes a reflection of their own lifestyle and personality, which is very much in the spirit of FIAT. We’re also working with Motori Customs in Florida to add customization and personalization for our Topolino customers.

Why did FIAT decide to bring the Topolino to the United States, and when did it launch here?

Micromobility is becoming increasingly popular in the U.S., and we saw an opportunity to bring something truly different to the segment. Many people already use golf carts and neighborhood vehicles for short trips, but the Topolino offers an alternative that’s just as practical and infinitely more stylish. We launched the Topolino because we believed Americans would embrace its blend of design, simplicity, and Italian charm, and that’s exactly what we’re seeing.

What does this specific FIAT vehicle represent to the U.S.?

The Topolino represents a different way of thinking about mobility. It’s not about speed or utility. It’s about embracing la dolce vita and finding joy in everyday moments. It’s the kind of vehicle that makes people smile, sparks conversations, and turns an ordinary ride into something memorable. In many ways, it brings a little piece of Italy to America.

Where in this country have these become most popular?

Naturally, Topolino has found a home in beach communities and warm-weather destinations, where open-air leisure is part of everyday life. But what’s surprised us is how broadly its appeal has spread. Some of our strongest dealer demand has come from states such as Michigan and Minnesota, which have a large number of lakeside communities, in addition to beachside communities in New York and Florida.

Whether you’re by the ocean, a lake, or simply enjoying your local neighborhood, people are embracing the joy and personality that Topolino brings.

What kind of feedback have you received from customers?

The excitement has been incredible. One couple from Florida fell in love with the DAILYFRONTROW.COM

Topolino while traveling in Europe and were thrilled to finally own one here in the States. Another customer from Minnesota proudly brought theirs to New York to share the experience with friends and fellow enthusiasts. What we hear most often is that Topolino makes people happy. It attracts smiles, waves, and conversations everywhere it goes.

Where can people find a Topolino to buy?

The Topolino is available through FIAT dealers across the country. Today, approximately 80 FIAT dealers have inventory on hand, and more retailers are joining as demand continues to grow. Customers can visit their local FIAT dealer or go to fiatusa.com to learn more about availability in their area.

What makes Topolino stand out compared to its competitors?

The Topolino stands apart because it combines unmistakable Italian design with genuine automotive heritage. It’s playful, charming, and stylish in a way that only FIAT can deliver. Beyond its personality, it’s backed by a global automaker and supported by an established dealer network. That gives customers confidence while allowing them to enjoy a vehicle that’s unlike anything else on the road.

At what speed does the Topolino travel?

The Topolino is designed as a neighborhood electric vehicle with a top speed of 19 mph. Customers also have the option to upfit the vehicle through participating dealers, allowing it to operate as a street-legal low-speed vehicle with a top speed of 25 mph, depending on local regulations.

Have you found that Topolinos are more popular with men or women?

One of the most interesting things about Topolino is how universally appealing it is.

Our customer base is remarkably balanced because the vehicle speaks to a mindset rather than a demographic. Topolino is for anyone who appreciates fun, style, and a little Italian flair. It’s often the most-talked-about vehicle in the neighborhood and seems to always bring a smile to people’s faces when they see one.

What else is on the horizon for Topolino and FIAT?

The Topolino story is only beginning. We’re exploring new colors, additional body styles, expanded personalization options, and even more ways for customers to make the vehicle their own.

For more information, follow @fiatusa on social media.

ALL IMAGES COURTESY

You can’t help but smile looking at the FIAT Topolino, which is bringing a piece of Italy and a lot of joy to the United States.

Andrew Waterhouse, Head of FIAT Brand, North America, tells THE DAILY all about this adorable and stylish micromobility vehicle! Who’s getting us one?

BaubleTALK

Nirvana enamel diamond bracelet in Turquoise, $7,100 Star Crawler diamond earrings, $3,566

How are you celebrating the label turning 30?

We developed an campaign that looks to the ’90s for inspiration: the model, the styling, hair and makeup, photography, and perhaps most importantly, the mood. Our anniversary collection, Summer of ’96, is a celebration of the spirit of Robinson Pelham. We looked back at the year we started, but not simply to re-create the past— the pieces translate the energy and optimism of that period into new jewelry.

How has the jewelry industry evolved since the 1990s?

The way women buy jewelry has changed so much over the years.

There’s more of a culture of women buying for themselves now, which is wonderful. You don’t necessarily have to wait for a birthday or an anniversary; if you see something you love, you can buy it because you want to wear it. Versatility is quite key to our design philosophy. That’s naturally influenced how we design. We want our jewelry to be something you can live in—perhaps something bold that you wear every day, that transitions effortlessly into a piece worn in the evening. I think women are much more confident about mixing things up now, wearing color, combining pieces, and making jewelry their own. That sense of freedom is very much part of Robinson Pelham.

What’s your design process like?

Thirty and THRIVING British jewelry brand Robinson Pelham, known for its bold designs and surprising color palettes, is celebrating three decades this year with aplomb, including a residency at Trove in the West Village. Ahead, creative director Vanessa Chilton fills us in. By ALEXANDRA ILYASHOV What was your pathway into the jewelry world?

I trained at Chelsea College of Arts before studying jewelry and goldsmithing at Central Saint Martins. After graduating, I designed for a few established jewelers in London and abroad before joining forces with Kate [Pelham Burn] and Zoe [Benyon]. I’ve always loved fine jewelry, and the process of designing with precious materials, bringing a piece to life, and creating something to be enjoyed and treasured forever is incredibly fulfilling. Also, my husband, Alex, is a graphic designer who runs a creative design firm, so building out Robinson Pelham’s brand identity has also been rewarding.

ALL IMAGES COURTESY

How did Robinson Pelham come about?

Kate and Zoe met whilst studying gemology, and I knew Kate from school. We all had different skill sets in jewelry, so we decided to set up the business together in 1996, making bespoke jewelry in a small London atelier. We’re proud that our original three female founders are running the company today. We each have different areas of expertise, including design, marketing, merchandising, sales, and gemology. The three of us source stones personally, and I develop the designs before working with our London team of jewelers, polishers, and engravers. That combination of different perspectives is what keeps the business interesting.

I’m very hands-on creatively, so drawing, sketching, and gouache painting remain important parts of how I work. My process normally starts with drawing. With bespoke jewelry, we begin by talking to the client and understanding what they want from the piece. From there I create technical drawings using pencil, gouache, crayon, and ink. We then source stones personally, and once the design is finalized, it goes to our London team of jewelers, polishers, and engravers. We enjoy that dialogue between the drawing and the finished piece, and particularly the relationship with the client throughout the process.

What pieces do you personally wear on repeat?

I wear my Identity necklace almost daily; it’s one of our most iconic designs and won the Couture Design Award in 2025. Gwyneth Paltrow has been a fan since we first produced it in 2015. It’s incredibly versatile; the ID connectors, bars, charms, and other additions are like acquiring a new piece every time you style it.

I’m also always close to my Tron ring—a custom piece I designed that’s a wonderful example of our love of color and unexpected combinations. It has a strong graphic shape, and a story.

What are you proudest of over the past three decades?

There have been many wonderful moments, but being asked to design earrings for the royal wedding was certainly an extraordinary one. It brought a huge amount of attention to the business, but it was also particularly special because bespoke jewelry is where we began. More broadly, we’re proud that after 30 years we still have the same curiosity and enthusiasm for jewelry. The business has changed enormously, but that desire to make something interesting and work closely with our clients has remained.

What’s up next?

We’re looking forward to our residency at Trove in the West Village in September.

We knew we wanted to celebrate in New York, and the West Village is such a vibrant, colorful destination. Trove is a beautifully considered space that brings together jewelry, art, design, and the ritual of collecting. I love that the whole environment is designed around the idea of treasured pieces and the stories they hold, which is very much in keeping with our identity, so it was a natural fit. We will have our collection on display there for the entirety of the month, with activations and private events, including a couple of celebratory anniversary moments during NYFW; cocktails, fun, and jewelry—what’s not to love?!

How would you describe the brand’s design M.O.?

Color has always been part of our DNA, and we love experimenting with unusual combinations. Our clients are receptive to that, which gives us the freedom to keep pushing boundaries. In our bespoke business, we work with exceptional stones, some belong to customers, which we redesign—and we never grow tired of diamonds.

Star split diamond ring, $1,709 DAILYFRONTROW.COM

Paragon diamond necklace, $27,360

ChicESTATES

29 Wills Point, Montauk

HOME SWEET HOME

Summer is ending, but the undeniable appeal of the Hamptons is very much year-round. Just ask seasoned real estate pro Kyle Rosko of Douglas Elliman, who explains the season’s top sales, trends, and why the art of the narrative is so important.

How’s it going, Kyle?

Market activity has been just spectacular. The projects and people I work with continue to just get more interesting and exciting! The developments, architects, and builders I’ve worked with on successful projects has been so special. There’s a great waterfront property in Montauk, 29 Wills Point, that I listed and sold in just a few days to the first person who walked through the door. That’s rare, impossibly rare. It’s the most expensive sale ever in Montauk not on the ocean.

It’s my own record I’m breaking from last year, actually. I’m focused on what I’ll do next. I don’t look at the accolades and things behind me. The accolades are a function of what you do on a daily basis, the consistency of how I communicate and do the best I can for each client. The accolades come as a result of having the discipline to show up, be consistent, and continuing to refine how I do business and set goals.

DAILYFRONTROW.COM

Kyle Rosko @nycsilversurfer

What’s in the pipeline for you next?

We’re about to break ground and start construction on something unbelievable with Noa Santos, a prominent designer working on some of the most exquisite projects around the world. He’s doing his first development for sale—not for a private client—in Water Mill, at 393 Cooks Lane. It’s going to be one of the most ambitious projects the Hamptons has ever seen. It’s got 360-degree views surrounding a farm, so you see rolling fields and hills; you’re looking out on Atlantic Golf Club and out to a private polo field. It’s just an incredible environment to build a beautiful home, and I think it will redefine the Hamptons market.

What’s the draw of Water Mill for this particular project?

Water Mill is just magic! It’s central, so you’re close to everything and can get everywhere reasonably quickly. That’s why the Bridgehampton and Water Mill areas are super popular lately. You can get to Sag Harbor, Southampton, Sagaponack; everything is just very accessible. Plus, there’s elevation and rolling hills on the site; the topography is something special. To have that amount of open space surrounding you, with no developable property around; it’s hard to achieve that. There’s forever vistas; these incredible views that will never change.

The house was built entirely inspired by the surroundings; this is not a spec house, it’s a custom house that Noa entirely dreamed up from the inspiration of the property it sits on, and from the surrounding property that it will enjoy views of forever.

What are some other current properties of note?

I have a special property at 30 Bay Lane listing for $24 million, and it’s magic.

It’s got 2.7 acres on the water, an incredible tennis court, an apple orchard, and an architecturally designed home on a beautiful property with western-facing sunsets. It’s got all these incredible attributes. If you had a wish list of what you could want in the Hamptons, this checks so many boxes. It has a true estate feeling that’s so hard to come by. Also, Kristy Naddell, my colleague at Douglas Elliman, and I have 6 Great Circle, a property on Shelter Island. It’s such a stunning home, the first of many beautiful, architecturally designed properties by the Juno Homes brand that are going to be built on Shelter Island.

What are the pros and cons of selling new developments versus existing properties?

Whenever you’re breaking new thresholds within a market, it’s challenging for the market to understand it, so you need to tell the narrative of, “This is why 393 Cook’s Lane is $27.5 million.” Fortunately, we have a house on the same block that’s more than $100 million, so it’s not like we’re breaking entirely new ground on the asking price thresholds, but we are breaking new ground in the sale price thresholds. That’s what I’ve done time and time again in recent years—getting the market to understand why a property is worth more than any other house in the neighborhood, why it’s so valuable. It’s so important to be able to convey that; it’s an art.

How do you communicate that value to clients?

I have an oceanfront property in Montauk that’s the most expensive oceanfront single-parcel home that’s ever been offered for sale in Montauk, at $60 million.

393 Cooks Lane, Water Mill

For people understand why it’s that price, I have to invite them to the property. You have to be there. You’re not going to understand it on paper or via a video. You need to be on-site and pay attention to the touch and feel of being there. So it’s uniquely challenging. It’s not something that statistically makes sense just by looking at a number on paper; you need to feel the property, and understand the love, care, and details that have gone into it. That’s something I pride myself on, because I really love the properties I represent.

Where do your clients hail from, locally or more far-flung?

Our core demographic of buyers are from the New York area, which is obviously a major player, and from Florida, where a lot of former New Yorkers end up; they’re also from California. There are actually many Connecticut buyers, too, coming from Greenwich or nearby. There are no boundaries to where people are coming from when something is so special! I sold the Stone House in Montauk on the ocean last year to an Asian buyer. He fell in love with it, and that was that. People from everywhere in the world find this place inspiring.

On that note, any exciting recent or upcoming travels?

I just got back from Big Sur and Santa Barbara, California. My girlfriend and I did a five-day road trip there; we stayed at the Post Ranch Inn and went to Carmel-by-the-Sea. I’m going to Japan for the first time at the end of September for one of my best friend’s wedding. I’ve been wanting to go to Japan my whole life, and now I get to celebrate his getting married, be with his family and some of my closest friends to celebrate love, and then explore that beautiful country and incredible culture. I couldn’t be more excited.

ALL IMAGES COURTESY

6 Great Circle, Shelter Island

DAILYFRONTROW.COM

FASHION IS A FULL-CONTACT SPORT Agent R.E.D. International Founder Genie Parada-Fishman on the beautiful insanity of fashion, the people behind the product, and why in a world moving faster than ever, human connection may be the industry’s greatest luxury.

FASHION IS NOT FOR THE FAINT OF HEART

From the outside, this business can look like fabulous clothes, beautiful people, parties, and champagne. And yes, happily, there is plenty of that! But anyone who has truly lived inside fashion knows another reality entirely.

This business is physical. It is exhilarating, relentless, stressful, wildly creative, and completely consuming.

Every season asks you to start again—to reinvent, react, problem-solve, anticipate what’s next, and somehow summon an almost inhuman level of energy to make it all happen. You have to really love fashion to thrive in it.

More than two decades into Agent R.E.D. International, I still get a ridiculous rush when a new box of samples arrives. I want to tear it open immediately, touch everything, try things on, call a retailer, call the designer, move a rack around, start selling it in my head. That feeling has never gone away. Call me intense. Call me overthe-top. I’ll happily answer to both.

FASHION WAS NEVER MEANT TO PLAY IT SAFE—AND IN A SEA OF SAMENESS, THE SPECIAL PIECES ARE OFTEN THE FIRST TO SELL

Every season, I hear buyers reach for the word safe: the safe color, the safe silhouette, the safe buy. I understand the instinct, but safe is an illusion in fashion. The piece with personality—the novelty, the unexpected detail, the item that makes you stop—is what creates an emotional connection and ultimately drives the purchase. My job is to help retailers balance the proven with the special and trust that instinct when something has magic. Basics may fill the racks, but special pieces create desire—and desire is what drives fashion.

EVERY BRAND IN THE AGENT R.E.D. INTERNATIONAL HIGHLY CURATED SHOWROOM, HAS A REASON TO BE HERE—AND A DISTINCT ROLE IN THE MODERN WARDROBE.

I’m incredibly consistent about the brands I represent because I believe real brand building happens over time. Every name in the Agent R.E.D. portfolio has a reason to be there.

XCVI has spent decades perfecting that elusive intersection of casual, polished, comfortable, and incredibly wearable. Wearables takes that same understanding of a woman’s real life and delivers the pieces she reaches for constantly—trusted fits, fantastic value, and travel-ready product that earns its place in her wardrobe. Threads 4 Thought proves that purpose and great product can coexist beautifully, creating modern essentials with a genuine commitment to more responsible materials and manufacturing.

TRACTR Jeans brings the fun: sexy, flattering denim with stretch, novelty, and enough attitude to make a customer stop in her tracks. And Project Social T brings an entirely different energy—effortless contemporary knits with a rock ’n’ roll heartbeat.

This dynamic portfolio delivers what matters most to me: distinctive product with a clear reason to exist—something retailers can believe in and consumers actually want to wear.

“IT’S NOT PERSONAL. IT’S JUST BUSINESS.” I COULDN’T DISAGREE MORE.

All of my brands are family businesses, and I choose every partnership with tremendous care. We don’t simply work together— we build together, season after season, through risks, wins, travel, laughter, and the occasional fashion disaster, until these families genuinely become part of my own. I love my clients and designers fiercely, and when I believe in someone, I’m all in. My brands know I’ll fight for them, my retailers know they can rely on me, and that loyalty runs both ways. The human connection is the business.

AND THEN THERE’S PROJECT SOCIAL T… TALK ABOUT THE UNIVERSE GETTING IT RIGHT.

Asking me to pick a favorite brand is like asking a mother to pick a favorite child—but right now, Project Social T has me especially excited. I had a front-row seat as Alon Zeltzer and XCVI moved to acquire the brand. Then I learned Daniella Clarke would lead the creative direction—and suddenly, it became personal.

She still has that fearless rock ’n’ roll instinct, now with an even sharper point of view. The collection is elevated, effortless, and cool, with a distinct rock ’n’ roll attitude—and retailers are responding.

Reorders are already coming in from some of the strongest stores in the country.

COTERIE IS WHERE THE INDUSTRY CONVERGES—RETAILERS, DESIGNERS, MEDIA, AND OPINION LEADERS ALL TALKING ABOUT WHAT’S NEXT.

Our booth is a celebration of the industry itself—buyers touching, trying on, weighing in, and discovering. One opinion sparks another, and suddenly the whole booth is part of the conversation. That spontaneous exchange is the magic of the trade show floor. @agentredintl

Project Social T After introducing a new chapter under the XCVI family last season, Creative Director Daniella Clarke is turning early momentum into something bigger—more attitude, more novelty, and plenty of that signature Project Social Tease.

Last season we talked about a new chapter for Project Social T. Now that you’re actually living it, what’s changed?

Danielle Clarke: The response has been incredibly exciting. We came into this wanting to respect what women already loved about Project Social T—the softness, ease, and wearability—while giving the collection more personality. Now we’re seeing retailers respond to exactly that combination. It confirms that you can evolve a brand without losing the reason people loved it in the first place.

What’s getting the strongest reaction?

Danielle Clarke: The pieces with personality. Women still want comfort, but they also want something that

THE VOLUME IS UP—AND RETAILERS ARE LISTENING.

feels special—an unexpected silhouette, a stronger detail, and a confident energy. Those are the pieces women naturally gravitate toward—and ultimately want to wear.

You’ve always had a very recognizable point of view. How far can you push Project Social T without changing its DNA?

Danielle Clarke: That’s the fun part. I’m not interested in turning it into something it isn’t. The foundation is already fantastic. My goal is to turn up the volume—push proportion, add novelty, bring in more edge while keeping everything effortless enough that a woman actually wants to live in it.

What should retailers expect from Spring 2027?

More attitude, more individuality, and more pieces that create that instant I need this reaction.

The collection still has the ease and softness Project Social T is known for, but now there’s a stronger point of view—unexpected details, innovative silhouettes, and that little jolt of Rock n Roll cool that makes a woman want it immediately. @projectsocialt

XCVI

CASUAL CHIC, PERFECTED.

Lilia Gorodnitski, Creative Director of XCVI, talks modern comfort, enduring style, and how a brand with such a strong identity continues to evolve

Tractr Jeans

Diane Kuczer, Founder and Creative Director of TRACTR Jeans, talks flattering fits, fearless denim, and why comfort and sex appeal absolutely belong in the same pair of jeans.

DENIM THAT KNOWS HOW TO GET ATTENTION.

XCVI has such a recognizable identity. How do you keep evolving without losing what women already love about the brand?

TRACTR has always understood that women want denim to do more than simply fit. What makes a great jean truly irresistible?

What are women gravitating toward now?

The days of suffering for great denim are over. How does TRACTR combine sex appeal with serious comfort?

Lilia Gorodnitski: We always design with intention and a clear point of view. The foundation is always comfort, flattering fit, and clothing that works in a woman’s real life. Each season we evolve through proportion, fabric, wash, color, and detail—giving her something new while still making it unmistakably XCVI. Lilia Gorodnitski: XCVI has always been known for its superior-fitting pants and its unique take on casual chic, and that continues to resonate. Women are still drawn to pieces that feel easy, but with personality. A great pant still has to fit beautifully, but it’s the fabric, wash, proportion, or detail that gives it that added perspective and makes it the one she naturally reaches for. The most successful pieces feel effortless without ever feeling ordinary.

What should retailers expect from TRACTR for Spring 2027?

Lilia Gorodnitski: Confidence and ease. The collection feels modern, relaxed, and expressive, with the comfort women expect from XCVI and enough novelty to make the wardrobe feel new again. The goal is always the same: clothes that make getting dressed easier—and make a woman feel fantastic once she is dressed. @xcviofficial

Diane Kuczer:It starts with the way she feels the second she puts it on. The fit has to flatter, the fabric has to move with her, and there has to be something special that makes the jean feel exciting. The best denim doesn’t just fit your body—it changes your attitude.

Women don’t want to choose between looking sexy and feeling comfortable, and they shouldn’t have to. We use premium stretch fabrics that move beautifully while still giving the jean shape and structure. The magic is creating denim that hugs in all the right places and still feels incredible to wear.

What should retailers expect from TRACTR for Spring 2027?

Diane Kuczer: Spring 2027 is about delivering premium denim with strong fashion appeal at an exceptional price. We’re combining beautiful fabrics, flattering fits, great stretch, directional washes, and standout details— while keeping most of the collection under $100 retail.

The customer gets the look, feel, and quality of premium denim without the premium price tag. @tractrjeans

Wearables

Lilia Gorodnitski, Creative Director of Wearables, talks trusted fits, extraordinary value, and why the best clothes are often the ones women refuse to stop wearing.

THE ART OF WEARING IT ON REPEAT

Wearables has become known for the pieces women buy—and then come back for. What creates that kind of loyalty?

Lilia Gorodnitski: It starts with consistency and reliability. When a woman finds a pant that fits beautifully, a dress she can take anywhere, or a top she reaches for constantly, she wants it again— in every color—because a great fit has a way of becoming an obsession. Wearables is built around those dependable wardrobe staples, but we keep them exciting through new colors, washes, fabrics, and seasonal details. The goal is to create the pieces she wears so often, they become signatures.

Value is central to Wearables. How do you keep the price accessible while making the product feel elevated?

Lilia Gorodnitski: That distinction is incredibly important. We design every piece to deliver exceptional quality, fit, and style at an accessible price. Fabric, construction, and detail still have to feel special. The price may be accessible, but the quality and design should always feel exceptional.

Wearables has an unusually broad customer—from different ages, lifestyles, and style sensibilities.

How does the collection connect with such a wide range of women?

Lilia Gorodnitski: We design with real women in mind—across body types, lifestyles, and ways of dressing. What connects them is the desire for clothes that feel flattering, current, comfortable, and easy to make their own. Great style has a way of transcending generations.

@xcviofficial

InsideSCOOP

STAGE!

You asked for it and they listened! This season, COTERIE returns to the Javits Center to coincide with NYFW. Purvi Kanji, VP Events, COTERIE by Informa, tells THE DAILY what you can expect.

Why is the show starting a little sooner than usual?

This decision comes directly from listening to our community. Over the past few seasons, we’ve heard consistently from our exhibitors and buyers that they want our dates to coincide with New York Fashion Week, and it’s clear this alignment addresses a real need. Many of our attendees have expressed the desire to maximize their time in New York by attending both events during a single trip, and we absolutely understand the value in that.

You’ve built your international presence at the show in recent years. What are some of the returning countries we will see?

International discovery continues to be a major part of the COTERIE experience, and this September we are thrilled to welcome back many of the markets that have become integral to the show’s global point of view.

Italy, Brazil, Türkiye, Greece, France, and Korea are all returning, alongside representation from Morocco and Africa, and the diaspora through CANEX. The Italian Trade Agency [ITA] remains a major presence at COTERIE, and we’re excited to again welcome brands including Temptation Positano, DON’T @ ME LABEL, and MeiMeij. Brazil returns through ABIT with Água de Coco, Dress To, and Osklen; Türkiye

DAILYFRONTROW.COM

What are some of the new international brands we should be on the lookout for?

There are so many strong names to discover this season. From Brazil, buyers should make time for Água de Coco, Dress To, Osklen, Colcci, OPEN, and Emi Rio as each brings a distinct approach to lifestyle and resort-driven dressing. Greece’s Pearl & Caviar, Lace the Label, and FELUS will bring a fresh Mediterranean sensibility, while Morocco’s Atelier Stone, En Shalla, and Nadia Chellaoui offer thoughtful design and artisan-led perspectives across accessories and ready-to-wear. We’re also particularly excited about the CANEX presence, including Rich Mnisi, Nalebe, and Margaux Wong. These brands bring compelling points of view rooted in African and diasporic creativity, and they will offer buyers something truly distinctive within the contemporary market.

What about France and Korea?

Paul & Joe, Carel, and Jiji Studio are key names to know, spanning recognizable Parisian fashion, heritage footwear, and directional ready-to-wear. Korea’s COC Seoul, Refined902, Fibreno, MMAM, and NUMBERING will also be exciting additions, especially for buyers looking for accessories, jewelry, and modern design with a strong visual identity.

As you said, ITA remains a major force at the show.

ITA has been an incredibly valuable partner in helping COTERIE bring the depth, creativity, and commercial strength of Italian fashion to New York.

Italy is such an important market for our buyers because it represents an extraordinary range of design, from refined ready-to-wear and resortwear to accessories, footwear, and contemporary collections with a strong sense of craft. The ITA presentation adds a true destination to the show floor. Buyers know they can come to COTERIE and discover both established Italian names and emerging brands with a clear point of view, all within a thoughtfully organized environment. This season, brands such as FLOOR, ANT45, Moaconcept, and in bed with yOu will each bring a new and different expression of contemporary Italian fashion. Beyond the product itself, ITA’s continued commitment has helped us strengthen COTERIE’s role as a global marketplace. Their partnership demonstrates the value of bringing international fashion communities directly to the buyers, retailers, and industry decisionmakers who are shaping the U.S. market.

What else is new at COTERIE this season?

The fashion industry is evolving faster than ever. Staying competitive means having access to the right technologies, services, and strategic partners. That’s exactly why we created the Business Solutions Center at COTERIE. This space Purvi Kanji is designed to support businesses by connecting brands and buyers with the cutting-edge tools and expert resources needed to thrive in today’s dynamic marketplace. Whether someone is looking to streamline operations, adopt the latest technology, or forge strategic partnerships, this area provides a comprehensive hub for fashion professionals ready to elevate their business and stay ahead of the curve.

ALL IMAGES COURTESY

CENTER

joins us through ITKIB; and Enterprise Greece will introduce buyers to an especially strong mix of resort and lifestyle brands. France, Korea, Morocco, Africa, and CANEX will each bring their own distinct creative perspective to the floor.

ItalianBRILLIANCE

GO, A L ESS I O,

GO!

Three years into his role as head of the Fashion and Beauty Division at Italian Trade Agency (ITA), Alessio Nanni has been hard at work expanding the reach of Italian brands stateside.

Here, the Roman talent shares the latest ways ITA is boosting awareness for Italy’s chicest exports and more.

What are you looking forward to at COTERIE this year?

The COTERIE show is always one of the most relevant moments on our calendar where we promote womenswear, which is such an important part of Italy’s economy inside the fashion system. Italian brands want our assistance and presence, and we elevate the trade show experience for them by creating real buzz and visibility. This season, we’re doing photo shoots on-site with models, so they have great images they can use on their websites and to promote their brand, and by increasing the presence of buyers—and working with The Daily, of course. It’s a big networking moment for our brands.

How did the latest Italy on Madison event go in May?

It was demanding, tough, and ambitious, and a real game changer for us! We transformed ITA’s offices for four days to more than 200 Italian brands, across several sectors—design, food, wine, fragrance, beauty, apparel, shoes, and accessories. We always try to have bigger and bolder ambitions, and I think we succeeded with Italy on Madison. It was open to the public, so on top of our traditional activities, which are dedicated to the trade sector, we were talking to consumers. It’s part of my job to discover new ways of promoting Italy’s rich heritage. For next year, we’ll be thinking even bigger!

Are you seeing a surge in interest for any specific categories?

Beauty has been doing very well for the past two or three years. It’s incredible. Over 45 percent of makeup is made in Italy; I’m talking about private labels, too, because many big brands source and produce in Italy. When you think of Italy, people are naturally going to think about two categories—fashion and food—but beauty is important today, too. Fragrance is big now as well. There’s a lot of attention to the storytelling of a fragrance, how it’s linked back to a specific region, why the founder started their company; consumers like to know the roots and the story behind a scent.

Tell us about Beyond the Sea, ITA’s theme for COTERIE this season.

It’s all about the Italian beach club feel and look, and bringing you directly into that universe of the Italian seaside. From the striped umbrellas to yachts to islandhopping. It’s a total summer vibe; a mix of exclusivity and relaxed elegance. There’s a sense of quiet luxury.

CAMERON BURTON

That quiet luxury concept is everywhere lately. Does it have Italian roots?

I think so! I was just discussing this with someone at a recent menswear show.

I think there is an understated elegance and a love of the best materials and fabrics that is rooted in our culture. Say, combining a camp collar shirt with a jacket, or pairing stripes and espadrilles. It’s all about expressing yourself, elegantly.

Where are your favorite beaches in Italy?

Sardinia; it’s got the most beautiful sea in the Mediterranean.

You’re three years into your four-year stint in NYC. How does it feel looking back?

It’s been a roller coaster, especially at the beginning, which I’ve loved! Now, three

Alessio Nanni

years in, I feel like I have a more routine life here; it’s not home, but it’s the place that I live. It’s the most exciting city in the world!

Where do you go locally for a taste of home?

There is a little, tiny place on Second Avenue, Donna Margherita, that’s my favorite, for pizza and pasta; it’s one of the best Italian restaurants here. I love Fellini Coffee, too; it really feels like a café in Italy. And when I walk Lexington Avenue in the 60s, it reminds me of Rome, where I’m from; it feels a bit like a village around there.

Any authentic Italian pizza you’d recommend around town?

San Matteo on Second Avenue on the Upper East Side is very good, and also Song’E Napule, Donna Margherita, and Ribalta. I prefer Roman-style pizza to Neapolitan; it’s thinner and lighter.

What do you miss most about Italy when you’re in NYC?

The piazzas, where people just have coffee, walk around, talk to each other, there’s lots of seating outside. I was walking in the West Village in July, and everyone was outside eating outside on little side streets, and it reminded me of Italy. The vibe was very similar to home.

What’s on your bucket list for the rest of the year?

Well, we’ve still got a ways to go within ITA’s fashion and beauty calendar; this year is packed! We’ll be relaunching the newest edition of our EXTRAITASTYLE digital platform, with some cool and innovative wholesale tools designed to make it easier for American retailers to discover a huge assortment of Italian brands online—and browse over 8,000 products, all for free! Plus, ITA will host our widely anticipated Aura Fragrance Experience in late October in NYC. If I have any time left over, I’d love to finish seeing all of Central Park, which I’ve been slowly exploring, and visit more of this city’s incredible museums. I’ve done the Metropolitan Museum of Art, the American Museum of Natural History, and the Museum of the City of New York so far. I’m hoping to enjoy the city in any spare time I can find, as I will miss it a lot.

It’s a busy fall for you! How and when will you unwind?

I’ll get to have some rest in Italy in December, when I go to the thermal baths in Tuscany. Hot water, massage, sauna, the beautiful hills, good wine—I can’t wait!

DAILYFRONTROW.COM

ItalianBRILLIANCE

BEST IN SHOW

READY TO WEAR Alpha Studio For more than five decades, Alpha Studio founder Franco Rossi has turned out sleek knits designed to mix and match beautifully. (costanza@alpha-studio.com; Booth 5854)

Amina Rubinacci Launched in the 1970s, this Neapolitan label focuses on timeless, elegant, and directional clothes. (nicoon5th@ gmail.com; Booth 5868)

Amina Rubinacci

Alpha Studio DAILYFRONTROW.COM

MARIUS BROZEK (1); SAMANTHA RAPP (1); ALL OTHERS COURTESY

Made In Italy fashion is all about impeccable quality, design, and craftsmanship! With 77 brands participating, here’s a first look at the stylish Italian labels showing at COTERIE this season from September 9th to 11th at the Javits Center.

Anna Seravalli

Anna Seravalli Gorgeous knits and separates are the focus of Venice-based brand Anna Seravalli, led by founder William Bianco. (julia.simon@edite.us; Booth 5233)

Boldettistudio

Archivi Tessili Milano This label’s exclusive prints are designed entirely in-house, then splashed on tailored outerwear and separates that always make a statement. (amm.palestrodigitalesrl@gmail.com; Booth 5271) B-Yu There’s an art to layering, and B-Yu nails it. The label’s rich hues and fun prints offer a polished boho aesthetic that’s also cheeky and fun. (patric@consortium27. com; Booth 5553)

Bazar Deluxe When it comes to next-level outerwear, look no further than Bazar Deluxe’s refined designs, sporting unique detailing and embroidery, among other chic touches. (olgafd@o-dvision.com; Booth 5151) Bessi Fresh, modern color pairings are a signature for Bessi, splashed on feminine flowy shapes. ( fashion@ averardobessi.it; Booth 5138)

Boldettistudio Expect impeccable shirting from this label based in Turin. The versatile yet never boring button-downs feature unexpected touches, such as ultra-oversize silhouettes, crop cuts, and bow detailing.

Bazar Deluxe

(giulioboldetti@gmail.com; Booth 5737)

B-Yu

Archivi Tessili Milano

Bessi

ItalianBRILLIANCE

READY TO WEAR Caliban With an emphasis on dresses and blouses, Caliban offers stylish contemporary takes on wardrobe essentials you’ll reach for time and time again.

Daniele Callegari

Cigala’s

(m.petrali@gruppomatteinc.com; Booth 5861)

Casa Mastro Positano There’s nothing quite like wearing breezy linen—summer or not—and this Amalfi Coast–based label makes all its airy pieces, constructed of linen with gauze and lace detailing and manufactured in its namesake (and home base) of Positano. (info@casamastropositano. com; Booth 5038)

Cigala’s Situated in the Marche region’s “Denim Valley,” Cigala’s specializes in sustainably produced premium jeans and other tailored trouser styles. (samuele@ cigalas.it; Booth 5547)

Daniele Callegari With its in-house supply chain spanning everything from design to logistics, vertically integrated label Daniele Callegari offers customers transparency about where and how its threads are made. (info@danielecallegari.it; Booth 5358) Caliban

Casa Mastro Positano

Decata

Decata Pieces you’ll love and wear for the long haul is the aim of sustainable brand Decata, which uses raw materials and offers after-care on pattern-packed designs. (info@jdcstudio.it; Booth 5134)

De Santis by Martin Alvarez Made for standing out on, say, a red carpet or gala dance floor, this label is known for theatrical gowns rife with sparkly and textural detailing. (vigevanosrllab@ gmail.com; Booth 5857) DON’T @ ME Twin sisters Virginia Penna and Victoria Penna started DON’T @ ME in 2020 during the pandemic with a focus on unconventional pieces— from denim to beach cover-ups to tie-dye—that celebrate individuality and encourage self-expression through personal style. (info@dontatmelabel.com; Booth 5004) Floor Sharp lines, vintage-inspired patterns, and voluminous shapes are hallmarks of Floor’s designs, which are meant for the multitasking realities of day-to-day life. (jacopo@jacopofoti.com; Booth 5826)

De Santis by Martin Alvarez

DON’T @ ME Floor

ItalianBRILLIANCE

READY TO WEAR FrancescaGeraci This Naples-based label is known for its feminine aesthetic, neutral tones, and ethical craftsmanship. (office@francescageraci.com; Booth 5259)

Gaiofatto For more than a dozen years, Venetian brand Gaiofatto has built a following for its delicate silk dresses and shirting, produced by local artisans with top-notch fabrics. (michela@gaiofatto.com; Booth 5845)

Giovanna Nicolai Feminine and tailoring-focused, Giovanna Nicolai’s textural pieces strike a balance between bold and unapologetically pretty. (info@giovannanicolai.it; Booth 5842)

Goodmatch Founded in Parma in 1964, Goodmatch is all about practical yet polished wardrobe staples. (olgafd@o-dvision.com; Booth 5151) FrancescaGeraci Gaiofatto

Goodmatch

Giovanna Nicolai

Hand Cashmere

Hand Cashmere Finely crafted cashmere, alpaca, and silk are go-to materials utilized by this eco-minded, ethically produced Umbrian label. (linopuccio@aol.com; Booth 5253) in bed with yOu Printed knitwear is this cheekily named brand’s M.O. (luigi@

Landi Fancy

inbedwithyou.it; Booth 5766)

Landi Fancy Colorful waterproof trenches and jackets for men and women have been Landi Fancy’s specialty for nearly six decades. (landi.m@lrlandi.it; Booth 5372) Maurizio Massimino After stints at major fashion labels globally, Maurizio Massimino struck out on his own in 2012 with his eponymous brand, a personal passion project focused on pitch-perfect trousers. (info@ mauriziomassimino.it; Booth 5140)

Meimeij Architectural pump up the volume!

Meimeij is all about architectural and sculptural pieces that make a bold, modern statement. (jacopo@jacopofoti.com; Booth 5825)

in bed with yOu Maurizio Massimino

Meimeij

ItalianBRILLIANCE

Of Handmade

READY TO WEAR Of Handmade Soft, comfortable, ethically made knit pieces are Of Handmade’s specialty, from tees to skirts to frocks. (amministrazione@backupsrls. com; Booth 5859)

Pho Firenze Tuscany in all its delicious, gorgeous splendor is translated into Pho Firenze’s beautiful dresses, suits, and more. (mef@pholya.it; Booth 5017) Pietro Brunelli Milano Refined contemporary pieces that make the wearer feel empowered and confident are the aim of Pietro Brunelli Milano’s designs. (info@edite.us; Booth 5233) Ploumanac’h High-end leisurewear with flattering draping and lots of layering potential that’s equally comfortable and stylish? Yes, it exists, thanks to Ploumanac’h. (olgafd@o-dvision. com; Booth 5151)

Ploumanac’h

Pietro Brunelli Milano

ALL IMAGES COURTESY

Pho Firenze

POUR MOI Maglieria Italiana

Richard Grand

Purotatto

Rosso35

Queen Moda Positano

POUR MOI Maglieria Italiana Known best for its knitwear, this label also offers pleated maxi skirts and crisp trousers to pair its sweaters with, plus denim. (pourmoisrls@gmail.com; Booth 5255) Purotatto Go au naturel with your wardrobe, thanks to Purotatto’s breathable outerwear and separates in materials like cashmere, milk fiber, jersey, cotton, silk, linen, and wool. (jacopo@ jacopofoti.com; Booth 5820)

Queen Moda Positano Breezy and beachready! For nearly four decades, Queen Moda Positano has channeled the Amalfi coastal destination’s spirit of luxe leisure in the region’s signature palette of lemon yellow, oceanic turquoise, and sky blue. (info@queenmodapositano. com; Booth 5126)

Richard Grand Sumptuous cashmere in bright shades and with intricate embroidery define Perugia-based brand Richard Grand’s designs. (mariarita@richardgrand.com; Booth 5850)

Rosso35 Founded in 1973, this family-run brand known for tailored pieces in rich hues was revamped in 2026 by Luca and Paola Signorelli. (jacopo@ jacopofoti.com; Booth 5835)

ItalianBRILLIANCE

READY TO WEAR Sandro Ferrone Look for tasteful separates and dresses from this brand, which dates back nearly 75 years. (jacopo@jacopofoti.it; Booth 5836) Seventy Venezia Come for the suits, stay for the stylish accessories from Seventy Venezia designer Sergio Tegoni; the brand’s name nods to its 1970 inception. (jacopo@jacopofoti.com; Booth 5832)

Shaft Blues with attitude! From classic jeans to lightweight outerwear, like blazers and bomber jackets, Shaft is all about unexpected takes on denim. (olgafd@o-dvision.com; Booth 5151) Stefano Ghilardi Fashion is a family affair for Stefano Ghilardi. The designer’s father started a leather goods label four decades ago; today, the brand is known for eclectic, high-quality pieces that artfully play with proportions. (emiliano.baccarini@ultramoda.com;

Stefano Ghilardi

Booth 6370)

Shaft

Sandro Ferrone

Seventy Venezia

Suprema Luxe warm outerwear in smooth leather and shearling has been the focus at Suprema since its debut in 1981.

Temptation Positano

(olgafd@o-dvision.com; Booth 5151)

TA.SK. Knits with wit…and history!

Founded more than 40 years ago, TA.SK. specializes in buttery-soft sweaters you’ll love cozying up in, all winter long. (italianlifestyl_2013@libero.it; Booth 5657)

Temptation Positano Beloved for its handmade macrame pieces that epitomize resort chic, Temptation Positano has built a following for more than five decades for its vacation-ready creations. (macramesrl@ virgilio.it; Booth 5018)

VLT’s by Valentina’s Patterns, please!

From crisp striping to lush floral motifs, VLT’s by Valentina is a print lover’s dream. (linopuccio@aol.com; Booth 5257)

Suprema

WHYCI MILANO Natural fibers like wool, cotton, silk, and linen comprise WHYCI MILANO’s uniquely detailed designs. (maria@marialiotti. com; Booth 5860) TA.SK.

WHYCI MILANO

VLT’s by Valentina’s

ItalianBRILLIANCE

Barbieri

ACCESSORIES Angela Caputi Giuggiù Since its 1975 inception, Angela Caputi Giuggiù has crafted stunning jewelry, proudly Made in Italy. (angelacaputi@giuggiu.com; Booth 6858)

ANT45 Elegant yet comfortable, ANT45 prides itself on contemporary socks that are versatile and beautifully crafted. (info@ant45.com; Booth 6958) Barbieri Known for its iconic twilly scarves since debuting in 1945, Barbieri’s hand-painted, hand-printed silk creations are imaginative yet sophisticated, including flowy kimonos and caftans. (noemi@larioseta.com; Booth 6859)

CHIO L’aura

CHIO Whether soaking up the sun poolside or sipping cocktails at a sunset beach soirée, CHIO makes resortwear meant to be donned all day (and night). (sales@chio-online.com; Booth 5010) L’aura Since 2004, designer Laura Angelilli has been crafting cool totes and clutches, all produced sustainably. (denise@legendcollectivesales.com; Booth 6807B)

Mela Free-spirited jewelry brand Mela was founded by Manuela Girone and Francesco Di Tommaso, who craft Mela’s boho chic jewelry from organic silk, natural pearls, and gemstones by hand at their atelier in Southern Italy. (vicmelafra@ gmail.com; Booth 6920)

Serà Fine Silk Made with 100 percent Italian silk, Serà Fine Silk’s collection includes ties, pocket squares, scarves, and other refined accessories for men and women. The Milan-based brand’s handmade pieces are all produced in the Como region. (info@serafinesilk.com; Booth 6876)

Serà Fine Silk

ANT45

Mela

Angela Caputi Giuggiù

Cuoieria Fiorentina

LEATHER GOODS Allegra Bortoli Elegant, architectural, and timeless, Allegra Bortoli’s tasteful leather handbags sport distinctive asymmetrical lines and a quiet luxury feel. (info@allegrabortoli.it; Booth 6905)

Athison For more than a century, Athison has been crafting its high-quality leather belts and bags, using materials like waterbased tincture-dyed hides and potato starch–waxed cotton thread. (athison@ manifatturadomodossola.it; Booth 6771)

Boldrini Selleria Dal 1955 This Tuscan leather-goods label’s vegetable-tanned cowhide bags are designed to wear and love for the long haul. (roberta@boldriniselleria.it; Booth 6869)

Cuoieria Fiorentina Fresh distinctive accessories, artisanally crafted, are Tuscanybased Cuoieria Fiorentina’s signature. (info@o-dvision.com; Booth 5151) Allegra Bortoli Athison

Boldrini Selleria Dal 1955

ItalianBRILLIANCE

LEATHER GOODS Gavazzeni Offering premium leather belts and bags with personality, Gavazzeni’s pieces feature refined buckles and a sophisticated look for women. (slarese@unisourceinc.com; Booth 6843)

Hidesins Hidesins’ handmade Italian leather bags, featuring clever functional details and a sophisticated aesthetic, are produced right outside Florence. (chicco@hidesins.com; Booth 6810)

J’Essentia Sicilian artist and designer Francesca Jennifer Puzzo is behind J’Essentia’s wearable masterpieces—leather handbags and silk scarves made sustainably from upcycled materials. (4creativesoulssrl@gmail.com; Booth 6870) Lap Exotic skins and softer-than-soft calf leather are used to make Lap’s beautiful belts and wallets. (stefania@milfordleathers. com; Booth 6779) J’Essentia

Ripani Dating back to 1967, Ripani is a second-generation family business known for its durable sustainably produced natural leather bags. ( franco@ripani.com; Booth 6873)

Lap

Hidesins

Ripani

Gavazzeni

Roberta Pieri

Roberta Pieri Roberta Pieri’s leather-trimmed bags are crafted from Linylen, a breakthrough lightweight 100 percent nylon fabric that undergoes a proprietary finishing process for crisp lines and extra durability, which offers the look of a linen-cotton blend while also being structured and water-repellent. (sales@robertapieri.com; Booth 6952) Roberto Pancani Hand-hewn raffia bags and other chic woven accessories are Roberto Pancani’s specialty. (info@robertopancani.it; Booth 6871)

ViaMailBag Innovative handbags abound in ViaMailBag’s collections, which meld cool design details with first-rate quality. (alessandra.volpi@ tribecashowroom.com; Booth 5061)

Visonà Italia 1959 Just horsing around! This second-generation Venice-based brand is known for its signature saddlery stitching. Sewn by hand by founder Plinio Visona until the 1970s, the brand now does its equestrian-inspired stitching on a patented sewing machine. (roykean@aol.com; Booth 6839)

ViaMailBag

Visonà Italia 1959

Roberto Pancani

ItalianBRILLIANCE

AHDIID

SHOES AHDIID Want to make a statement with your shoes? Look no further than AHDIID; the brand’s creative director Mario Pini plays with color and proportions to create undeniably fun footwear. (abiy.paulos@ silverthreadagency.com; Booth 7123)

Brador Brador’s sandals have a vintage vibe, and are crafted using the time-honored tinto in capo process.

Brunate

(brador@brador.it; Booth 7011)

Brunate This century-old footwear brand based in the Lake Como region outside Milan is known for comfortable yet style-conscious shoes with pain-free touches like soft materials and flexible soles. (roberto@

Brador

theprivatedesign.com; Booth 7008)

Cristina Millotti Founder Millotti Natalfranco opened his first shoe factory in the Tuscan town of Arezzo circa 1967, and has since made the Cristina Millotti name synonymous with premium quality kicks. (roberto@

Donna Carolina

theprivatedesign.com; Booth 7010)

Donna Carolina Trendy footwear for all occasions and tastes is Donna Carolina’s focus, from block heels to booties to ballet flats. (info@ donnacarolina.it; Booth 7113)

El Vaquero Italy Sporting a Western feel and vintage look, El Vaquero Italy’s boots are skillfully constructed from premium leather. (scott. neighbors@ryanmichael.com; Booth 7053)

Cristina Millotti

El Vaquero Italy

Giovanni Fabiani Luxurious and innovative, the Giovanni Fabiani brand has been crafting its timeless shoes since 1971. (bettacarrano@aol.com; Booth 7153)

Jo-Ghost A family-run label based in the small town of Montegranaro, Italy, JoGhost is a family-run footwear label that’s been around for more than five decades. (emiliano.baccarini@ultramoda.com; Booth 7024) Jo-Ghost

La Scarpetta di Venere This brand’s elegant limited-edition shoes are crafted with supple leather and utilize innovative techniques in the Marche region. (alice@

La Scarpetta di Venere

scarpettadivenere.it; Booth 7026)

Michele Lopriore Milano Celebrating 40 years in business, Michele Lopriore Milano’s comfortable, elegant shoes are feminine and timeless. (sales@michelelopriore. com;Booth 5867)

Moaconcept This Florentine brand has been known for its cool sneakers, street artist collabs, and sought-after capsule collections since debuting in 2013. (nicola. artegiani@moaconcept.com; Booth 7022)

Nerogiardini Based in the Marche region, Nerogiardini produces quality bags for men, women, and children. (stephanie.pena@ nerogiardini.it; Booth 7109) Nerogiardini Moaconcept Giovanni Fabiani

Michele Lopriore Milano

FinalBITES

CHRISTIAN SIRIANO Mashed potatoes, eggplant, turnip DONATELLA VERSACE Pasta, potato skin, nori, turnip, mashed potatoes

Incredible Edibles Food, but make it fashion: For the past dozen years Harley Langberg has been crafting whimsical, detailed masterpieces using only edible ingredients for his passion project, Harley’s Food Art. (Quite a contrast to his finance career.) Here, Langberg shares some stylish favorites he’s whipped up over the years, from Karl Lagerfeld to an Hermès Birkin bag constructed from asparagus, plus three brandnew portraits, crafted exclusively for THE DAILY, of Donatella Versace, Demna, and Christian Siriano.

Bon appétit! By ALEXANDRA ILYASHOV

ALL IMAGES COURTESY

ANDRÉ LEON TALLEY Roasted bell peppers, beets, turnip, mashed potatoes, chia seeds

BAD BUNNY Tortilla, mashed potatoes

KARL LAGERFELD Eggplant, rice noodles, prunes, mashed potatoes, dried anchovies

DEMNA Nori, mashed potatoes, turnip, eggplant, dried anchovy

DAILYFRONTROW.COM

FENDI BAGUETTE BAG Cucumber, pear HERMÈS BIRKIN BAG Asparagus, turnip

tommy.com

T R AV I S K E L C E