ummertime for us wasa wild, intense time of work andplayaswegeared up forour fourth editionofImage Makers —our largest edition to date.The yearly issue is alwaysanexcitingand intimidating opportunity to drawalistofsomeofthemostdaringandinnovativeartistsworkinginfashiontoday.We’resharingwithyoujusta sliceofthatlist,onewethinkspeakstothecollaborativelaborandtruelovethatgointomakingmemorableimages.
NoonequiteencompassestheinterdisciplinarynatureandgroupeffortofmakingartlikeHumbertoLeon.When wecalledhimtoseewhathewasupto,hisanswerwasbothsurprisingandnotatall:Hehadbeenworkingasthe creative director for Katseye,a global K-Pop group.Leon,known forco-founding Opening Ceremony, is amultihyphenate. In his words, everything he does is really about“doing somethingfor culture.” Hislatest jobisno different,asJulissaJamesmakesclearinherdelightfulpiecethatfollowstheKatseyemembersandtheir“fashion fairygodfather,”Leon,overtwodays.
Thequality and reachofwhat youcreateare alwaysgreater whenyou open doorsand allowothers into your process.ThisisoneofmanyprofoundtakeawaysfromartistMariaMaea’sinterviewwithZerinaAkers,stylistto Beyoncéand otherstars. Sometimesthose collaborations are moreintimate, as is the case with Zana Bayneand Bustedbrand,twodesignersworkinginleatherandlatexwhometandfellinloveandhavesincebeeninaflourishingcreative partnership.And sometimesthose collaborations cross borders, as in EricSolis’ photos connecting twobrandsandcities:theL.A.-basedPlanetaandMexicoCity-basedWavey.Wedon’tneedtotellyouthatL.A.’s cultural presence is,ofcourse,global.Ina special series, ourfashiondirectoratlarge, KeylaMarquez, went to Paris and styled Vincent Frederic-Colombo of C.R.E.O.L.E.and ClaudiaRivera, two artists with unique takes on howtotellstorieswithfashion.
In puttingtogetherthis issue,wehad the privilege of gettinganintimateglimpseintothe fun, sweatand mess of making imageswith image makers. Stylist Ann-MarieHoang pulledout herfavorite items from her closet, and Natasha Newman-Thomas, acostume designerfor film andTV, styledherself with different characters in mind. Prada shared the painstaking process of embroidering adress made of ribbons,and Guillermo CuevasofDunrite Leatherworks revealedhis designs for the perfect studded belt. Andinaparticularlymoving project, photographerEmanuelHahnreimaginedwhatbeautypageantswerelikeinL.A.’sKoreatowninthe1980sand’90s,following thecontestantsfromglamtostage
AngellaChoe (Page 64) is a LosAngeles-based photographer and director working across fashion, music, sports and technology Her true passion comes from shooting everyday people by amplifying their stories through an unconventional lens @angellachoe
EmanuelHahn (Page 74) is a LosAngeles-based commercial and documentary photographer-director. He is interested in topics of identity, culture, diasporic experiences and the question of what it means to belong. @hahnbo
AndyJackson (Page 42) is a fashion and lifestyle photographer based in Brooklyn, N.Y. Originally from Delaware, his imagination had grown vivid past the boundaries of his small town. Being inspired by the fashion magazines he could snag at grocery stores, he aspired to work in the industry @anndyjackson
NataliaMantini (Page 58) is a multidisciplinary artist shaped by her many Scorpio placements, cycles and elements of nature, an obsession with cinematography, and the lush ambience of growing up in various subcultures of East LosAngeles and NYC. @nataliamantini
IMAGE FLAG +LETTERING
Zoe-Zoe (Cover, Page 27) is a Los Angeles-based creative maven, artist and production designer Her eclectic background spans fine art, graphic design, illustration and sculpture, fueled by a passion for art and the creative process. Zoe-Zoe has built worlds for
clients such as Adobe, Netflix, Adidas, Vanity Fair and Uninterrupted. @zeez.louize
WRITERS
EugenieDalland (Page 70) is awriter based in New York. Her essays, profiles and reviews have appeared in the Los Angeles Review of Books, Hyperallergic, BOMB, Cultured Magazine, the Brooklyn Rail and elsewhere. She publishes the arts and culture magazine Riot of Perfume @eugeniedalland
MariaMaea (Page 36) is a multidisciplinary artist working in sculpture film, installation, performance and sound. Through her art practice,
commitment to quality, Dunrite creates unique leather goods that tell a story of skill, dedication and the vibrant spirit of L.A. @dunriteleatherworks
PHOTOGRAPHERS
CodyCritcheloe (Page 70) is adirector and photographer based in L.A. but he’s always down to travel anywhere at any time He loves laughing hysterically and staring at the sky for extended periods of time He loves cinnamon rolls and is often bummed that he can’t find a decent one in L.A. Please email him with any tips! @ssion_official
KaylaJames (Page 36) is a self-taught photographer looking to tell stories through her lens @kbillions
JennelleFong (Page 54) is aphotographer whose work indulges in the exploration of intimacy, space and feeling She champions the quiet moments, and the unexpected detail is her dearest collaborator. @jennellefong
DRESS, MAISON MARGIELA TABI SHOES, SHILITA CRÉATIONS JEWELRY
she deepens her connection to land, somatic memory and ancestry @maeamaria
GothShakira (Page 33) is a digital conjurer based in Los Angeles. @gothshakira
ARTISTS
BethHoeckel (Page 33) is a multidisciplinary artist and illustrator from Baltimore currently based in Boulder, Colo @bethhoeckel
DunriteLeatherworks (Page 90) is a made-to-order leather goods company based in Downtown Los Angeles, crafting bespoke pieces that seamlessly blend traditional craftsmanship with contemporary style With akeen eye for detail and a
EricSolis (Page 80) is a multidisciplinary designer and artist with work that spans architecture, visual storytelling, photography, fashion styling, experiential design and live event production. Originally born in L.A. and raised throughout SoCal, Eric holds dual U.S./Mexico citizenship and has been based in Mexico City since 2020 @eric_solis
NoelQuintela (Page 86) is a Mexican Spanish photographer living in Paris Born in Mexico City and raised in Galicia, Spain, Noel’s work borrows from photographic portraiture, social documentary and landscape @noelquintela
STYLISTS
AlyCooper (Page 42) is astylist based in L.A. @repoocyla
BrittonLitow (Page 58) is afashion stylist and creative consultant from Los Angeles. Britton likes to juxtapose different styles and elements in her work to create a unique one-of-a-kind look. Britton works across the fashion, music and commercial industries. @wanna__b
AHYBRID OFBOTH WaveyandPlaneta mixinColoniaJuárez. By Julissa James 80 MISSIVES FROMPARIS VincentFredericColomboofC.R.E.O.L.E. andClaudiaRiveraon imagemaking. By Julissa James 86
OUTRO:THE STUDDEDBELT Itsecuresitalltogether. By Guillermo Cuevas of Dunrite Leatherworks
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SARTORIAL STARS
Libra
BY GOTHSHAKIRA
henloving aLibra—because,really, thereisnochoice but to love them there’sone crucial caveat. Despitethe auratheymay cultivate andproject, a Librabelongstonobodyand nothing but thewind. As long as youcan remember that, especially when theydirectanother musical laugh toward your most inane and insipid jokes,orhappentolookatyou in away that makesyou feel that surely,this time, forreal, youare actually the onlyperson on Earth, then youwill emerge from this encounter relatively unscathed.Ifyou can’tkeep your twofeet on the ground,however,you’llbeatthe mercyofthe wind,and nobodyand nothingwill be able to help you
The seventh sign, aptlyruling the house of intimaterelationshipsand partnerships of all kinds, garnersamultifacetedreputation. Forexample,there’s theamiable sweetness, which canalso be interpreted aspeople-pleasing. There’s also the charmingindecision,the earnest desiretoweigh alloptions againsteachother andseeing everyside so that the only logicalconclusion is to be miredina well-meaning stateofparalysis —which, in another dialect, translates to spineless lack of resolve and commitment phobia. Whatever your personalopinion (toward which the Librawill surely endeavor to ingratiatethemselves, if only because theyjust want everyone to getalong!), there’snodenying that aLibra’s lovability is something theycan’thelp.And canwereallyhatethemfor that? Not
even if youtried —but whywouldyou?
Yousee, much like LiFERShop’s Butterfly Dress, aLibra is heretodance in a twirlyskirt dreamt in asmorgasbordofcolors, paying homagetothatever-elusive,always-dazzlingcreatureofthe sky, fluttering by andgracingspace with an iridescentsheen. Heaven help thegrubbyfingerthatevenattempts to grazetheir wings.For either the creature will prettilytwistaway from theadvance, or tragedy—the skin-to-wingcontact mayrender this breathing flower incapable of flight,lefttodie,lefttohaunt your heart withguilt forever. High stakes for such abreezybeing.
Butthisisthe lesson of Libralove—thatbeauty is best served withcompassionatedetachment. In Buddhist belief, theintention of sharinglovelinesswith othersisconsidered an honorable andnoble actinand of itself. Andlikethe Butterfly Dress, aLibra’s love is handmade, sustainable,and customizable —up until the pointofpossession. Forassoon as you’ve kickedupyour feet, confident that your Libran sweet oneisonlyyours, they’ll remind youthatthey’re stitched together of every person,place andplanet they’veeverhad thepleasureofloving through infinitelifetimes. Your reward is apanel-patch on theirdress that they’ll thread together with care as they preparefor theirnextloveadventure.Whata blessed lesson in thebliss of impermanence.
Alesson in love
THE DRIP INDEX
LOUISVUITTONARTSILK
SQUARES
A tradition since 1987, Louis Vuitton’s Art Silk Squares project invites select artists from around the world to design their own Louis Vuitton silk square. This year, L.A.-based pixel-art collective eBoy created a square that explores the theme of the iconic LV Monogram Flower motif. Titled “Maze of Precious,” the silk square depicts a digital Louis Vuitton labyrinth in hues of bright pink and butter yellow, perfect to
wear or to frame. Available now louisvuitton.com
NORBLACKNORWHITE
POP-UP
“My running joke is that we’re saging up Fairfax!” says Mriga Kapadiya, who along with friend Amrit Kumar founded NorBlack NorWhite, the India-based contemporary fashion label with an avid following. Popping up in L.A. for the very first time, the NorBlack NorWhite shop also features acuration of carefully
selected goods and plays host to community events like a screening of a short film by singer Raveena Aurora on Sept. 15, and a charm bar on Sept. 21 where collectives Maari and Sari Sari will invite guests to make their own bracelets and necklaces. 424 1⁄ 2 NFairfax Ave., Los Angeles. norblacknorwhite.com
ALIZANISENBAUMAT REGENPROJECTS
“Altanera, Preciosa y Orgullosa” marks Mexico City-
born artist Aliza Nisenbaum’s first exhibition in Los Angeles. The show will feature a new body of work depicting dance troupes, studios and teachers local to Southern California. Not to be missed, Amelia Muñoz Dancers will activate Nisenbaum’s presentation with a special public dance lesson at 5 p.m Sept. 21
On view Sept. 12–Oct. 26 6750 Santa Monica Blvd., Los Angeles
CHARLIEBEADSPOP-UP
You’ve probably seen Charlie
Beads’ signature bloomers everywhere, and now is your chance to snag some in person. Charlie Beads and fellow indie brand Cleo are hosting “The L.A. September Issue,” a special four-day pop-up at new space Yarrow Yarrow featuring a host of other L.A.-based independent designers and makers. Shop Charlie’s upcycled bloomers and Cleo’s collection of Day &Night handbags with rotating new designers each day, including Lotte.99, Their,
NORBLACK
Meredith Kahn, Little Shop and more. Sept 19-22 2520
James M. Wood Blvd., Los Angeles
ARTEONICA*ATMOLAA
“ARTEONICA*” revisits the little-known Latin American computer art movement, creating a dialogue between a group of pioneering computer artists from the ’60s and ’70s and Latin American contemporary artists whose work responds to their legacy. Past and present art from Argentina, Brazil, Chile, Mexico and
Peru is featured within a broader context of conceptual, historical and geopolitical thought in Latin America On view Sept. 22–Feb 23. 628 Alamitos Ave., Long Beach
BOTTEGAVENETA
STOREATTHEAMERI-
CANA Experiencing the Bottega Veneta vision is easier than ever with its new storefront at the Americana at Brand in Glendale. In good company
with Saint Laurent, Gucci, Tiffany & Co. and more, the new Bottega boutique, along with its sought-after leather pieces, offers impeccable design featuring carved wood, stunning tile work and one-of-a-kind modern seating. 889 Americana Way, Glendale
BURBERRYCLASSICS
AW24 The latest release of Burberry Classics a curation of wardrobe foundations reimagined with a unique
Burberry slant features iconic British rainwear, nylon parkas and reversible down-filled styles. Functional for the outdoors, jackets are cut from cotton gabardine, wool and cashmere for warmth, while the Burberry Check is reworked in earthy colorways like sand and lichen. Available now. burberry.com
HOUSEMUSEUMAT
THEJOHNROWLAND
MANSION Since 2022, the
House Museum has been installing conceptual artworks in historic landmarks around Los Angeles. The nonprofit sees itself as an alternative preservation agency, drawing attention to unique and oftentimes neglected architecture and spaces in the city. Experience this distinctive initiative while you can by visiting its latest project at the John Rowland Mansion. On view Sept. 21 from noon-2 p.m. 16021 Gale Ave., City of Industry
ow does onebecome astylist to thestars?When you hearthe storyofZerinaAkers,stylisttoBeyoncé, Megan Thee Stallion and Karol G, you learn thatsuccessnot only takes devoted work butalso genuine community building. One buildsacareer alongsideothers.
Visual artist Maria Maea hashad theuniqueexperience of following Akers sincethe beginningofher professionalcareer, when they worked togetherinproduction Both have since become successful artistsintheir fields. Curious to reflect on what this journey takes andhas been like, Maeareached out to Akers to have aconversation. Thetiming coincideswith Akers’ newlylaunched Saint Helen’s House, asocialcluband showroominTarzana that will serveas aspace foryoung stylistsand women across industries to socialize, find outfits that feel good fortheir bodies and appreciate art —Akers collaborated withHammer Museum curator Erin Christovalefor the space’s first of many exhibitions. Saint Helen’s Houseis anatural outgrowthofAkers’ first business venture, Black Owned Everything,which she describesasadigital marketplacethathas “becomea launching pad for Black entrepreneurs andcreators” andaway to breakbarriers and shareinformation with people.
After years of collaborating with others, Akers is starting to feel reciprocation from her community with the opening of SaintHelen’s House. Inher words to Maea, “They’reable to show up for me ina real way.”
MARIA MAEA: What aresomeofyourearliest memoriesoffashion?
ZERINA AKERS: Oh,mygoodness. My earliest memoriesoffashion would be gettinga redpolka dot dressfor Easter and refusing to takeitoff.
MM: Iloveit.
ZA: Thereare pictures of mefromabout ages 3to5, and I’m still wearingthe same dress. They hadto hide the dressfromme.
Back then, Ididn’trealize we were in the quoteunquoteghettoorin the hood or anything —I didn’t reallyknowthe difference.But inhindsight, Ithink fashion and what youwear held alot of power —how youshowedupinaroom and the hierarchy of social anything, like wearing the latestsneakersand the latesttrends put youina powerful positionina room. Eventually, in highschool, Istarted makingmyown clothes,and people would wear them andbuy them. Back then, Ithought the onlyway to work infashion wastobecome afashion designer, so Istarted studyingfashion design, but quicklyrealizedIdidn’t have thepatience to sewabutton-down shirt. So Iswitched to marketing and wasable to discoverstyling throughmyfirst internship atW magazine.
MM: What wasthe moment whereyou knew that this wasyour path,whereyou decided, “OK,I can grow in this space”?
ZA: Inever really felt like Iwas cutout fora 9to5.I always knew Iwantedtowork formyself. Going into my very firstinternshipatW,I wastryingtofind myself, tryingtosee myself, though Ididn’t necessarilysee myselfinthatmoment —Iwas theonly Blackgirlinthe office as an intern.I just startedto exploreassisting bigger stylists, andI wasalways taught to makeyour mistakes underanumbrella. So I took the path of assisting andinterning andwanting to learnasmuchasI could andgofromthere.I started doing commercial styling,and that’sreally what Ithink set it in forme. Iwas assisting stylist RayOliveira, andthese jobs arevery differentthan thehigh-fashion jobs. Yougot offat6.You came in at acertaintimeand ended.Isaw singlewomen that were workingand able to buyhousesand make alife forthemselveswithout necessarily being marriedor comingfroma rich family.Iwas able to see alot of women take holdoftheir ownlives andthat, forme, resonated,while still being able to be creative and create your ownhoursonyour owntime.Ikeptgoingafter that.
MM: Youand Ihaveknown each other foralmost a decade in theindustry.I thoughta lot about the magic of women workingcollectively andthe trust that we canbuild andthe communities that we cancreate, that getforgedthrough our labor,but also,asyou said, allthese moments of agency forwomen of color. Thinking back to your early days as an artist, howdid youcreatetrust with your vision andyour voicein thesespaces?How didyou begin to buildyourself up?
ZA: Iassisted fora while,but when Iwenttogoon my own, Iwas fortunate enough that my firstclient as an independent lead stylist wasBeyoncé. In hindsight, looking back, thegoal wasfor me to step into it, because often, people aremoreafraidofsuccess than they areoffailure. Thatbeingsaid, it stilltook me a while to build my confidence, Iwas kind of doing it as Iwas learningthe job.
Oneofthose firstmoments formewas thehat look in the“Formation”video —Ijust remember fightingfor that video, andIreallywantedtowork on it,soIwouldpitch allthese ideas. ButIwas just the closet girl;theydidn’tnecessarily thinkI could take on such alarge project. So Idid acoupleoffittings, andBeyoncé likedthisone look that Idid specificallyand decided to putitinthe video. Andthat look then becamealmost asymbol fora movement, anda symbol foranentiremusic eraofhers. That, I think,iswhenI realized Iwas contributing to creating thingsthatweregoing to outlivemesomeday. Andthen, what do youdowiththat? Workingwith someone like Beyoncé, whohas seeminglydone it all, andworn it all, howdoyou createnew silhouettes?But moreimportant, howdoyou utilize the platform?For me, it wasalwaysimportanttoreach out to independentdesigners andallowthemspace on that platform,soitwasn’t just all seeminglyhigh-
endParisian, Italianluxury. She kept her ear to the street, and just that simplegestureofallowingalot of the younger talentstotakespace, youhavethe success of designerslikeSergioHudson andRomeo Hunte. Also Sarah [Diouf]with her brandTongoro outofDakar,Senegal.Beyoncéworeher garments twice one year,justonvacation,and Sarah went from employingseven people to employing 50 people. Youcan’t measure that kind of reach, whereyou’re able to shift thetrajectory of someone’slifeand their success. That’s reallypowerful.
MM: With Saint Helen’sHouse, youtalkedabout it becoming an artspace anda social club.Why have youdecided to make L.A. thehome forthisproject? Whatisitabout this momentinyour lifeand also this location?
ZA: Irelocated to L.A. about sevenyearsago,and it’s been home ever since. When youreallyget to know LosAngeles, likethe real LosAngeles, there’sacertain family unit that’sreallybeautiful.The waythat there’slegacycommunityand people generationally helpingeachother —you don’t reallyfindthatina lotofcities,and so that’salwaysinspired me as I’ve gotten to knowthe real L.A. Butthen, juxtaposing that withbeing in Hollywood, having experienced firsthand theindustry,itcan be very exclusive. That inclusion, giving youngerstylistsaccessthat[they] typically maynot gettostandardshowrooms, giving women —the backboneofthisindustry is often alot of women[and] they tooare goingtoevents, goingto redcarpets. Where’stheir look? They want to look good,theywanttofeel good. Opening thedoorsto everyone haschanged thegame, because it’s just opened afloodgate of community andnetworksthat we areabletobuild on at theshowroom.
Idecided to go into moreofaresidential spaceto maintain theintimacyofwhatwewereoffering our clients, to be able to forge that community therein thespace.WithSaint Helen’shouse, as Iwent through escrow closingonthe space, allofthese other ideas came to mind.Ihaveadeep love forthe artcommunityasawhole, andthe business of artis also very interestingtome, andhow artistsdevelop, howtheirwork evolvesand howpeople gettoknow them.Thereispower formeinalsoinvestinginart.I wanted to offer that to theclients that arecomingin theshowroom. Iwantedthemtohavetheir earsto thestreetsand feel likethey’re aheadofthe curvein getting to knowalot of theseartists.You actually introduced me to Erin Christovale, andwewereable to work on this andbring this to life. “Glimpsesof theSelf” is thefirst galleryopeningofmany. Iplan to do exhibitions quarterly.
MM: Canyou speak alittle bit on “Glimpsesofthe Self”? Youhad wall text up about seeing yourself, which wassuch apowerful gesture because so much of theshowroom is about gettingtoembodyyourself.
BELOW: ZERINA WEARS PROENZA SCHOULER TOP AND SKIRT BALMAIN HEELS
RIGHT: ZERINA WEARS VINTAGE CELINE DRESS
ZA: The combination of artists that we have, like yourself you have a beautiful woven piece that for me resembled an eye you have Adee Roberson, who is capturing family and people in joy, in moments of intimacy, to February James, her [portraits capture] some of the more somber moments, which kind of really forces you to reflect on yourself. I just wanted people to come in and see themselves I thought that was just a great way to open the space.
MM: What advice would you give to a younger self or up-and-coming young women who are navigating these spaces?
ZA: First and foremost: Take the time to learn your industry and your business. Often, we’ve gotten caught up in the 120 characters of life and just how quickly social media is moving. I think people aren’t necessarily taking the time to learn their industryand really learn the business they’re being a part of It’s fun wanting to learn a couple of things and then go out on your own, but if you’re not managing your bit as well, you’re not going to be able to keep those clients they’re making sure [that] you have clean business, that you’re in good financial standing, to really be ready to take on the growth that you see. And do right by people, because in three short years, that intern can be your boss. Just always be decent to people.
MM: Iwant to bring up the value of women working together. There’s so much energy that’s forged around being on a job and showing who you are through your labor, how you show up. A lot of my friendships have been built in that space. Can you speak about some of the histories you’ve had working with different people along your path?
ZA: I’mseeing a point where so many people around me have evolved and morphed into something totally different than how we met. Even us, for example. You were this production master and now you’re this flourishing artist, and you’ve evolved into something so very different. Where I’m seeing women now, where I’m connecting with alot of women and people now they’re at the top of their game. We’re able to pull together our resources and create something new and amplify whatever we’re doing and help each other It continues to be so powerful for me, for us to support each other, especially in this climate, where it seems like we’re being targeted. I think it’s important to come together and stay together.
MAKEUP BRANDY ALLEN
HAIR DIANE GRIFFIN
LOCATION SAINT HELEN'S HOUSE
Growing
Basecamp.
THURSDAY, 9:30A.M.
umberto Leon slinks around setwearingafaded T-shirtthatsays“Daddy” in bubble letters. He gotitatsome gaybar awhile ago, anditworks on multiple levels,hejokes. He is an actual father of 10-year-old twin girls. And he is also the kindofsurrogate father figure of this set, of Katseyeasawhole.Leon, with his MartineRoseloafersand True ReligionJeans, seemstobeconstantly scanningthe room, walkingaroundwithhis arms crossinghis chest andhis head slightly cocked.Hesnakes around therow of chairswhere the girlsare gettingtheir hair and makeup done andmakes slight adjustments. He is in themiddle of encouragingDaniela Avanzini, aCuban Americanmember of Katseye,toembraceher naturally curly hair,whileensuring that her makeup bringsout thegoldenundertones of herskin. “We’ve just been playingaround because they all getbored of [their hairstyles], but this is my go-to foryou,”Leon tells her in ashepherding tone.
“Heisliterally, like,mother, Idon’t knowhow to sayitotherwise,”LaraRaj,the 18-yearoldsinger of Katseyewho is from L.A. and NewYorktells me of herand her bandmates’ relationship with Leon.
Katseye is aglobal girlgroup poweredby K-pop entertainment giant Hybe andGeffen Records, born outofaYouTube competition showcalled“TheDebut: DreamAcademy,” which is the subject of anew Netflixdocumentarythat came out in August.The show brought 20 youngwomenfromaroundthe world(out of the 120,000who sentinsubmissions)tobattle it outfor aspot in amusicalgroup that wasdestined fora K-pop level of fandom while operating in itsown realm. The winnersare Katseye,agroup made up of DanielaAvanzini, Lara Raj, Manon Bannerman,MeganSkiendiel, Sophia Lafortezaand YoonchaeJeung, memberswhose cultural backgrounds span CubanAmerican; Indian; Ghanaian,Swiss and Italian; Cantonesewith Singaporean roots; Filipina;and Korean,respectively.Their music so far—shown on their newEP, “SIS (Soft Is Strong) —isamix of glossyGen Zhyperpop,pluspop and R&B, punctuatedbysnaps, winksand crackles. The group’s firstrelease,aptly titled “Debut,” has an attitudinal drivingpop beat with hip-hop inflections —and 4.5million streamsonSpotify.“Touch,” released this summer, is inching toward 9million.Their releaseshavebeen paired with high-concept music videos, which showcase their classi-
callyrigorous K-pop choreography training, that Leon wasthe creative director on. Forsome, Leon’s name andwork will conjure theimage of atrue fashion andcultureinsider. He is theco-founder of the decade-defining boutique andbrand Opening Ceremonywithlongtime bestie andbusiness partnerCarol Lim. He wasthe co-creative director of Kenzo, also with Lim. And hiscurrentlifeasthe co-founder of threehot L.A. restaurants —Chifa,Monarch,Arroz & Fun—still feelssteeped in style,with some of their visual inspiration takenfromWong Kar-waifilms. ButLeon hasalwaysthought of himselfasthe ultimate outsider —ofthe fashion world, wherehedidn’t have anyformaltrainingorschooling, of therestaurant world, whichheentered duringthe pandemicwith hisfamily, andnow of the music industry.Leon wasbroughtonasanevaluatorand creative director to judge contestants’ performancesand shapetheir looksat thebeginning of “Dream Academy.”That turnedintobeingresponsiblefor Katseye’s visual languageasawhole, constructing the young artists’ individual stylesina waythat feelsrecognizable andpersonalwhilepointingtoalargerstory —oftheir cultures,ofthe group.Mostofthe job, though, calls for
things that wouldn’tbeaseasilylaidout in a LinkedIn listing.
AfterYoonchae is donewith hair and makeup,Leon checks in with her.At16, Yoonchae, from SouthKorea, is theyoungest member of thegroup.“Youtired, Yoonchae? Do youneed coffee? Whatdoyou need?” Leon coosinaknowing tone —itwas an earlycalltime today, in acoupleyearsof earlycalltimes. Still,Yoonchae insists she’s OK. “You want achair?” He runs to getone while Yoochae looksataphotoofthe outfit she’ll be gettingphotographed in today. It’s a JunyaWatanabeset from spring2005 readyto-wear —a blackeyelet topand skirt with silversnapbuttonclosures that Leon worked withstylist AlyCooper to choose.“Youlike your outfit?” Leon hasa unique understandingofhow themicro makesupthe macro. Hisone-on-oneswith thegirls arepunctuated by hissignaturegiggle,and they seem to be an importantpartofthe process.
Leon hasalwayshad auniqueobsession with puttingpeople on to what’s new, or old, or interesting, or special. The mediummay change,but thestory staysthe same:It’salwaysbeenabout discovery.“At Opening Ceremony, Ialwaystreated education as the most exciting thing,”hesays. “Even with
HUMBERTO LEON WEARS ALL VINTAGE FROM JAMES
VELORIA LOS ANGELES: DIRK BIKKEMBERGS VINTAGE
JACKET, VINTAGE T-SHIRT, VINTAGE HELMUT LANG PANTS, MARTINE ROSE SHOES.
DANIELA WEARS
MAISON MARTIN
MARGIELA TOP VIA
JAMES VELORIA,
VINTAGE JEANS
GIA BORGHINI X
FAI KHADRA SHOES.
these girls, we’re giving them a crash course on fashion, fashion history and why things are important. You like this look now, but that came from this. Even for a lot of the video shoots, we’re going to archive houses Instead of going and seeing what the [current] Y2K look is, we’re going to the archives and finding what the real stuff is.” The members, ranging in age from 16 to 22, see Leon as
from the van with no headphones. She tells her that she’s on her way to get photographed at a Cuban restaurant known for its ropa vieja and salsa nights. Daniela’s mother is Cuban and was an award-winning ballroom dancer, which is a path she would follow as well. Daniela is dressed in a fringed Margiela shirt, which reminds her of the ballroom costumes she wore as a kid at one point going viral for her appearance on “America’s Got Talent” as a 7-year-old, when she iconically told her dancing partner, alittle boy, that he needed a tan before she’d consider dating him when they grew up. She has an obviously comfortable relationship with the camera, having been a performer since she was young, and the shirt sways with every move she makes. She wonders if Leon had her ballroom background in mind when he worked with Cooper on the look.
“He already gets it. He already knows exactly what to put me in,” she says.
After the pandemic, when he moved back to his hometown of L.A., Leon began to reflect on what he’d done in his 30-plus-year career and what he wanted to do next. His fashion industry resume was vast, starting his career at Gap as a teenager, when Gap was that girl, then moving to Burberry and eventually launching Opening Ceremony in 2002, which shifted the culture in early-tomid-aughts New York. But anyone paying attention knew that it was never just about fashion. Opening Ceremony was about the space itself, about the people that walked through its doors, Leon reminds me, and less about the sales. For Kenzo’s spring 2018 ready-to-wear show in Paris, the biggest takeaway was that Leon and Lim had put together an all-Asian cast of models. There are moments like this throughout his career
their fashion fairy godfather “He developed most of my taste in fashion,” Daniela says.
ElFloridita.
THURSDAY, 11:15 A.M.
We’re on the way to El Floridita in Hollywood when Daniela FaceTimes her mom
“I was constantly trying to tell a story about something other than fashion,” he says “Even though fashion was my medium, it wasn’t really my art. If [I] had a museum and showed [you my] work, it wouldn’t be the clothing. I would include people. I would include discoveries. I would include memories. I would include the things that inspired me. Everything I was doing was really doing something for culture When I was able to unlock that, I thought, ‘If I was really trying to position myself to contribute to culture, why do I have to limit myself to one medium?’ ”
Leon is never not creative directing. While Daniela is getting photographed at El Floridita, he gets some shots on his phone, in a Kris Jenner-, “you’re doing great sweetie”-
style. At one point, he crouches down to the ground to adjust the red curtain being used as a backdrop for the shoot so that Daniela can dance to “Pasarela” by Daddy Yankee for a behind-the-scenes video his team is shooting. He is guiding a team member from Hybe on howto shoot the BTS: “Just go a little front and back, move with her and twist.” Leon reaches for his own phone to do it himself. “I push people to their limits,” he teases, his laugh quickly becoming the unofficial soundtrack of the day.
LiliWigs.
THURSDAY, 2:27 P.M.
In choosing this shoot location for Manon, Leon wanted an L.A. spot that felt important for Black female performers throughout history the fact that it was owned by a Korean woman and shared a thread with the group’s K-pop roots felt like an extra cherry. On the wall of headshots at Lili’s, there is one of a young Angela Bassett, and, Leon reminds us, Beyoncé shot part of her “Formation” video here. (He requests that whoever is manning the portable speaker play “Formation,” naturally.)
Manon, whose father is Ghanaian and mother is Swiss Italian, has long boho braids and waist beads she got in Ghana, which she wears with every look as a nod to her culture. “We’re a global girl group so we want to make sure that everyone can represent their heritage, where they’re from,” Manon says “For me, I really take pride in my hair. I love to switch up my hair I think that’s the beautiful thing about Black culture. Braids, I have locs sometimes. Humberto is always like, ‘Yeah, let’s do it.’ He’s always asking if I have new ideas. He really embraces that, which is honestly, sadly, a first for me. A lot of people, especially where I’m from, wouldn’t care as much.”
Leon got the call from Geffen because it was clear that he understood something about the subculture that is young womanhood. He grew up close to his mom and two older sisters, who infused his world with what he calls “girl energy” and shaped his taste early on. “I was both this kid who loved alternative music, but I also grew up being queer, so I couldn’t help but also love a little Kylie Minogue back then. Madonna. Also the alt girls: Alanis, Fiona, the list goes on.” (He named one of his daughters, Mazzy, after cult dream pop band Mazzy Star.) When it comes to working with Katseye, Leon says:
“I feel like I can really relate to all of them.” Manon tells me that Katseye has monthly dinners with Leon where he checks in with them about how they’re feeling. “There’s some tea sometimes, you know, chitchat,” says Manon. “We trust him a lot.”
When he came back to L.A. and was working with his family to get Chifa off the ground, an L.A. girl group called the Linda Lindas was popping off for their sleeper hit, “Racist, Sexist Boy,” and Leon invited them to come have dinner at the restaurant. While he was taking their order, he mentioned that
he’d love to direct a music video for their song “Growing Up,” and pitched them a concept off the cuff. The result was a contemplation on the “beautiful sadness” of leaving home for the first time, through the perspective of the band members’ cats. “I was excited about it because I really just did it out of my own intuition,” Leon says. “They were just starting out. There was no money involved. There was no anything. It was just about doing something that felt good.”
The video got the attention of Geffen, which pitched the idea for the “Dream Acad-
MANON WEARS
COMME DES GARÇONS TOP, HODAKOVA PANTS, PRADA SHOES, VINTAGE JEWELRY.
emy” to Leon. “What excited me the most is that it didn’t feel like anything that had ever existed,” Leon says about creative directing the contestants, and then Katseye “An American company, a Korean companycame together to create this new project. There was this nervousness to it I know things are good when I can feel nervous.”
On set, Manon is asking Leon if she can have her eyebrows straighter He pulls up a picture in his phone of past days showing when they were maybetoo straight: He shows why something may look better instead of just saying no. “I’m trying to analyze it so it doesn’t get back to there,” he says Leon tells me he has a kind of photographic
memory when it comes to his creative decisions. “I like to commit.” After the shoot is done, and the crew is loading up en route to the next location, I see Leon standing in the middle of Crenshaw, directing Manon in one last BTS shoot in front of Lili Wigs.
THURSDAY, 4:26 P.M.
While the other members eat clouds of cotton candy Leon bought for them off a street vendor, Yoonchae poses gracefully under a gazebo featuring traditional Korean architecture. Yoonchae is in the process of learning English. The culture and atmosphere in L.A. have been wildly different from Korea, she says. “I’ve really seen her come out of her shell,” Leon says “I think she was much more timid and comes from a different culture, and I’m very much like, ‘What do you think? How do you feel?’ I don’t know that she’s been asked that all her life. So we have a different relationship, where I get to be like, ‘I think you look so good. Do you feel good?’ And she’s like, ‘Yessss.’”
When Leon officially started the job, he requested to meet with each “Dream Academy” contestant one-on-one. The girls came in with Pinterest boards, inspo photos “I think they were like, ‘This guy is the creative director,’ he’s going to give us advice on dressing, our hair and makeup.’ [But] I wanted to get to know them. Any information I can get about what they went through in life allows me to get to know them better, and to know what they like, what they don’t like.”
The visual language of Katseye doesn’t feel archetypal or reductive, as most girl groups throughout modern music history have there is no one single sporty one, no one single shy one, no one single edgy one. Daniela, Lara, Manon, Megan, Sophia and Yoonchae are many things at once. They wear knee-high Tabis and vintage John Galliano and Jean Paul Gaultier As far as inspiration goes, Leon prefers to draw from places other than the source material: If he’s working in music, he prefers not to look solely to music for his references but rather art, film and fashion. He’s taken inspiration from young Devon Aoki, early Milla Jovovich, baby rocker Shakira. “We’ve tried to embed the way the girls dress with a little bit of their background, for sure, without it being heavy-handed or tokenizing them,” says Katseye’s visual di-
rector, João Moraes, whom Leon has been working with since his Kenzo days “Identity is an incredibly complex thing. They are not just their ethnicities or their background. They are so much more than that. But then, also, it’s an incredible platform for us to distinguish styles.”
The video for their latest single, “Touch,” is chock-full of deep-cut symbolism that is individual to each member. The tone feels mystic, mysterious and surreal a trail of context clues that takes us deeper into Katseye’s universe. Manon reads Nietzsche in one scene where the girls are lying on a vintage couch, while Lara wipes a tear from her eye while looking out a bedroom window toward a frame of a glowing moon. At the beginning, there is a shot of a newspaper whose headline announces that Yoonchae is missing. “She was last seen ‘holding her lucky shell,’ ” the fake copy reads. Each member has a charm, or symbol, that’s been assigned to them. Yoonchae’s is the soothing shell, which was referenced in a concept photo shoot where Leon styled her to look like Haenyeo, which in Korean translates to “sea woman” and represents the culture of South Korean female divers.
“Having intentionality and having that one-on-one conversation with them at every point for everything we do … It’s not just once. It’s every time we do anything,” Leon says. “We make sure that because there’s six unique girls from around the world, and all six are totally different, that we don’t just wash over them with one gesture.”
Lasita.
FRIDAY, NOONISH.
Sophia is wearing a Nicolas Ghesquière-era Balenciaga blouse with a camo Junya Watanabe skirt and KNWLS boots at Filipino favorite Lasita in Chinatown. She’s been singing since she was 3 (she’s 21 now) and seems to be always on the precipice of performing, oftentimes breaking out in song or practicing a pared-down version of her choreography in the makeup chair or between shots. “I’m grateful that it was so personal,” she says about the location, being that she was born and raised in Manila. Leon is tweaking something as seemingly small as how much hair is falling in front of her shoulders versus cascading down her back while she poses above Lasita’s signature dishes: chicken inasal, vegetable atchara and garlic fried rice. But in reality, it’s not small Sophia’s
long black hair is her thing, her dream, which is something she communicated to Leon early on “The last thing he wants to do is make us into somebody that we’re not,” she says
Sophia explains how the entire experience, from being in “Dream Academy” to now being in the girl group, has challenged notions of who she thought she wasand what she thought her look should be. There have been moments where she’s not sure of a certain outfit or hairstyle, but when she looks back, she can see that Leon has been intentionally telling a story with each
beauty or fashion moment. It all clicks in context. “He’s always very much, ‘You’ll thank me later’ energy without having to say it,” she says. At one of their recent group dinners, she asked him what he’s trying to accomplish with her look. “The biggest thing now that I’m hooked on is that he said, ‘I know that you love these super elegant, very classy, very chic outfits. Especially with your performance outfits, we want to kind of break that a little bit.’ That’s why I’ll have this cute ruffle top with a bag, then I will wear a sports jacket. It brings us to another level, and it blends all of us together.”
On a brief lunch break, Leon takes the crew to a Chinese restaurant that he grew up going to where I happily eat hot, oily, spicy beef noodle soup on an 85-degree day. Leon tells
me he was born in the hospital around the corner. Leon’s mother, Wendy Leon who has been the inspiration behind Humberto’s work for years, from being in Kenzo campaigns to serving as the inspiration for the family restaurants walked herself there in active labor from the sweatshop she was working at nearby. Leon has experience with bringing his own Peruvian Chinese culture into his work, aspects of which he shares with Megan, who is Cantonese. “He actually really helps me a lot when it comes to my own culture and being able to embrace that and show it off,” she says “It’s really nice to have someone that I can relate to and rely on when it comes to that.”
Megan joined “Dream Academy” when she was 16 (she’s 18 now) a lot of this process has been about figuring out who she is, growing up in real time. The things we all go through as teenagers from a mental health journey she’s done her best to destigmatize by actually talking about it, to her changing taste in makeup. Dramatic eyeliner has been replaced by a subtle, toned-down look under Leon’s guidance. Her hair has gone through a few color iterations, from her natural dark brown, to a deep burgundy, and now, in what has become her signature, a warm faded copper Leon taught her that less is more. “That was a hard lesson for me to learn because I wanted to be a baddie all the time,” Megan admits. “It took maturing and a lot of growth for me to finally embrace the effortless look.”
At the shoot, Megan is posing with a wide stance baggy Beeombi pants with a Miu Miu dress on top on Broadway in Chinatown. “I love this outfit,” Leon tells her She agrees. Shoppers, locals and tourists walk by her mid-shot but she doesn’t seem fazed. It’s clear throughout the shoot that Megan and Leon have a particular bond, or that he may see something of himself in her “She’s evolving, but she always kind of knew who she was, and she has a really strong work ethic,” Leon says “There’s this duality to her that I think is very apparent. She comes in, she has this skater boy style, and then she goes onstage, and she can turn into this intense feminine performer It feels like she’s always kind of known herself.” All the girls have grown right before his eyes, Leon says But if you look closely, you can see Leon’s own growth process reflected in theirs as well.
MEGAN WEARS MIU MIU
DRESS VIA KIT STUDIOS, BEEOMBI PANTS, VINTAGE NECKLACE.
PijjaPalace.
FRIDAY, 3:04 P.M.
At Indian sports bar PijjaPalace,Leon is runningaround atable in the restaurant, moving acup twoinchesbackand forth until he’ssatisfied. He’s shifting the flowersin the bouquet until it aligns with his internal aesthetic compass. “You’re seeing my crazy,” he tells me, giggling, as he noticesmewatching himdothis and writingsomethingdownon my Notes app.This is all in service of Lara In all the locationshechose forthe girls, he did so because theyservedasvessels fora story
ForLeon, opening restaurants with his familywas areminderthat energy cantransfer. That he could try anew mediumbut that hisspecial thing —telling stories— would alwayswill its waytothe surface.Chifa,the firstrestaurant his familyopened in Eagle Rock, wasanhomageto their mother,who owned arestaurant of the same name 45 yearsprior in Lima,Peru. When Chifa first opened, because it wasafamilybusiness and it wasearly in COVID years, Leon took on the role as server. Then, likenow,therewas a willingness to be abeginner —apreference forit, actually. It’s becomeLeon’s super powerina sense:enteringaspace not fully knowing the rulesand being able to create his own. “I comefroma super outsider’s pointofview,”hesays. “Idon’t even know what it meansto be in the music industry, to be quitehonest, and Ilikekeeping it that way.”
Being asolo artist wasLara’sdream since she wasatoddler—she lovedgirlgroups, of course,the Pussycat Dolls were herlife— but she neverthought she wouldbe part of an ensemble.She wasn’t adancer, andfor yearsshe wasmostlyfocused on singing and producing. Butwhen the opportunity to try outfor “Dream Academy”arose, it felt right, Larasays, even if the dream lookeddifferent than howshe thought. “Thebiggestthing that I’velearnedisbeing able to mold whoI am intodifferent concepts,”Larasays. “Becomingmoreopenand multifacetedinmy artistry and the way Ipresentmyself.”Adds Leon:“SomeonelikeLara, Ithink,she came in kind of likelaying it all down —like, this is what it’sall about,”remembersLeon.“She was17when Imet her and waslike, ‘Thisis me.Thisishow Iam.’But thenwe’ve had thisamazingprogression.”
At theend of ashoot day, when everyone is exhausted,hot andready to call it,Leon and team call Katseyeovertoshare some news: In acouple weeks, they’regoing to be on “Good MorningAmerica,”performing theirnew single,“Touch.” It wasthe scream of excitement heardaround Koreatown, a chorus of energy reverberating from each one of them.There wasadistinct feelingthat thiswas thebeginning of something, where it wouldend up none of us couldknow, but it wasareminder that thechancefor somethingnew could happenatany moment.
When you’re 17,oreven49, thereisanaturaltemptation to think that youare fully
formed —that whatever you’ve done or thought youshould do up untilthatpoint is what you’ll do forever. If youwould’ve asked Leon at anypoint in his career whether he thought he’d be creative directing aglobal girl group, the answer would probably be no.
But: “The thing thatexcites me the most is thatit’sa learning curvefor everyone,”he says.Overthe last twodaysonthis shoot, andgenerally over thelasttwo years, Leon has somehow been abletodrawfromall of his worlds —fromfashion to food and beyond —and create acompletelynew one for sixyoung women. And somehowthis makes the most senseofall
LARAWEARS TIGRA TIGRA DRESS, VERSACE SHOESVIA KIT STUDIOS.
FROM LEFT TO RIGHT: MEGAN WEARS MAISON MARTIN
MARGIELA TOP, SC103 PANTS, Y-3 SHOES; SOPHIA
WEARS MIMCHIK JACKET VINTAGE SKIRT, MIU MIU SHOES; DANIELA WEARS MAISON MARTIN MARGIELA
TOP VIA JAMES VELORIA, HELMUT LANG SHOES, VINTAGE PANTS; LARA WEARS MAISON MARTIN MARGIELA
TOP VIA JAMES VELORIA, VINTAGE PANTS, KIT STUDIOS SHOES, VINTAGE BRACELETS; YOONCHAE WEARS GUMI
TOP AND SKIRT, MAISON MARTIN MARGIELA BELTS, PRADA SHOES; MANON WEARS ANN DEMEULEMEESTER TOP, BOTTEGA VENETA SHOES, VINTAGE PANTS.
PRODUCTION MERE STUDIOS
VISUAL DIRECTOR JOÃO MORAES MAKEUP VALERIE VONPRISK
HAIR SULLY LAYO
PROP STYLIST KAILAH ARMAND
PHOTO ASSISTANT AUSTIN DURANT
STYLING ASSISTANT CAROLINE CLARK
MAKEUP ASSISTANT SELENA RUIZ
HAIR ASSISTANT JOSEPH TORRES
PRODUCTION ASSISTANTS
JUNE KIM, MARK MILLNER
SET DRESSER TAY RUIZ
PHOTO POST-PRODUCTION ALBERTO MARO
LOCATIONS ARROZ & FUN, EL FLORIDITA, LILI WIGS, KOREAN PAVILION, LASITA, CHINATOWN PLAZA, PIJJA PALACE
ANN-MARIE HOANG WEARS
BARNEY’S CO-OP HAT, BONNIE
CLYDE GLASSES, HOMME BOY X LTTT TOP, VIDAKUSH JEWELRY, VINTAGE BELT AND SKIRT; OPPOSITE PAGE CLOCKWISE
FROM TOP LEFT: NIKE CAP AND GLASSES, ADIDAS JACKET, PRADA TIE, MICHAEL HOBAN X TRIED AND TRUE OVERALLS; PRADA LOAFERS ADIDAS BIKER SHORTS, VIDAKUSH SOCKS AND JEWELRY; MISBHV HEADSCARF, VIDAKUSH EARRINGS, OAKLEY OVER THE TOP GLASSES; COMME DES GARÇONS X NIKE HEELS
She’s unapologetic and unpredictable
ANN-MARIE HOANG’S CLOSET ESSENTIALS
WORDS CERYS DAVIES
PHOTOGRAPHY JENNELLE FONG
STYLING ANN-MARIE HOANG
LEFT:ANN-MARIE HOANG WEARS MISBHV HEADSCARF, VIDAKUSH EARRINGS AND ANKLET, OAKLEY OVER THE TOPGLASSES, FORPOSSE AIRBRUSH TOP, BURBERRY SKIRT, JEFFREYCAMPBELL KITTEN HEELS; RIGHT AND BELOW: LVBL HAT,PELLE PELLE LEATHERJACKET, EMPATH TOP, HOMMEGIRLS UNDERWEAR, GUCCI GLASSES, PLANETA KEY CHAIN SOTO GANG BELT ANCUTA SARCA HEELS, EVISU PANTS; FARRIGHT: ELLA LOCA HATVEIL, MAURICIO CRUZ DENIMJACKET
nn-MarieHoang hasmade acareer out of her love forchaos.
As an L.A.-basedwardrobe stylistfromHighland Park, Hoangfinds that her creative energy is bestexercised on the set of amusicvideo. Something about long days and cross-team collaboration always leaves herfeeling inspired. Whether it’sonthe movie-inspired set of Ariana Grande’s video “Thank U, Next,”the twisted cityscape of Doja Cat’s“Streets” or MeganThee Stallion’sbrightlycolored toystore in “Cry Baby,” Hoang helps complete the artist’svision —she’s typically in charge of all the clothing that appears on screen that isn’t worn by themusician.
“I needitinmy soulinorder to feel creative and do someofthese commercial shoots,”saysHoang. Some of her signaturelooksinclude thepunk-inspired looks on DojaCat’s Scarlet tour, themostlypink,sparklyattirein Grande’s“7Rings”oreventhe officechic outfits in KaceyMusgraves’“High Horse.”Her most memorable shoot so farwas working with the team of 200plus people that styled Rihanna at the Super Bowl.
Hoang enjoys working with musicians because she candresstoher “truest self and notfeel anyjudgment.”Her personal style liesatthe intersectionofexperimental and edgy. Often focused around severalstaple pieces, heroutfits tend to incorporate shiny teethgrills, extremelyfurry hats, inventive reflective sunglasses and high-heeled sneakers.
Ialwaysstartmydaywith electrolytes or akissfor my kids.
When I’minthe car,I’m probably listeningto Jungle
ThecolorI’munexpectedlygravitatingtoward is not unexpected.Ever since Iwas akid,I have onlygravitated towardsone color,and it’sgreen. Back in the day, Iused to thinkthat Iwas goingtoget one ofthose imported cars anditwas going to be green with green flames. Even if aproject calls forno green forsome reason,Ineed to pick it up andjust getatleast one green piece.
Mymosttreasuredpieceinmycloset is my OakleyOverthe Topglasses. I’ve always wanted them. It’s one of those things that I’vealwaysput on my mood boards.The factthat Oakleywentsofar with theirsunglassesissomething Iabsolutely love.They’refunctional, but I’ve neverseen anything likeit. They were even worn in the Olympics
My idealSaturdayinL.A.looks like wakingup, going to Cindy’s, then maybe goingtothe park and having apicnic with my family. Itry to take weekends offsothat Ican spendtimewithmy kids becauseduring theweek, it just gets alittle chaoticwiththeir school schedule. Itry to be presentonthe weekends.
My signature scent is Palo Santo, the roll-on. I’vebeen wearing it forthree or four yearsnow.Ievenorder twoata time.
When Iget dressed everymorning, I always thinkabout the weatherfirst. Then,I think about if I’m going to be in ajujitsuclass, or if I’m going to be shopping or if I’mgoing to be on set. Then I pick one statementpiece that Iwantto wear with all those factors considered.
Adesignerwhomademelookatfashiondifferently? Therewasn’t [one]. I love to people-watch.That’swhat drew me to styling. It’s neverbeen adesigner formebecauseI’m not one to look at brands.I look moreata cut or how somebodywill piece something together. That’smoreinteresting to me than adesigner.
It goes hand in hand with what Ido. Iworkwithbackground dancers, and a lotoftimes [brands]don’t want to give them clothesbecausethey’renot artists. So, Ihavetofind waystoelevate everybody’s look without making it designer.
Thebestplacetopeople-watchis the flea market becauseI feel people areso good at mixing modern, vintageand designer.People arealwayssospreadout in L.A., butona Sunday, all the fashion people aregoing shopping at the flea. It’s whereI geta lot of inspiration.
such adream to work with.Ireallyget inspiredbyhis work ethic.I want to work hardfor thatteam, becausethey aresointentional. They’resoprofessionaland reallycool at the same time.
Mythinkingplaceis my carwhenever Idrive to afamiliar place, like to my house or [taking]the kids to school.
Mynicheessentialforashoot is this double-sided tape calledFearlessTape. Icannotfind tincans of it anymore, andmyassistantshavebeen emailing thecompany to bring it back.It’smy prizedpossession.Sometimesyou don’t even need safety pins,and after drycleaning,itstays on still sticky.
IfIhadtowearoneshoefortherest ofmylifeitwouldbe my Prada loafers. Ilovethem. Theygowitheverything andtheygivemea littleheight.
Listeningto [anartist’s] radio is a must when workingona shoot. It’s something likeLondon raporit’s something super mellow. MaybeLittle Dragon or Anderson .Paak.Something mellowbut alittleupbeat.
My comfort meal is acrispypotato taco. There’sthis placedownthe street from my house. They makethe most
delicious shrimppotatohard-shell tacos. Youknowit’sgood when there’s a grandma sitting outside telling the chef what to do.
To me, the hardest partofstyling someone else is getting themtostep outoftheir comfort zone. Everyone dressesthemselvesevery day, so they have an idea of what theyshould be looking like. Sometimespeople hold on to their ideassomuchthat it’s hardto letgo, and to trust.
Thekey to buildingthat trustbetweenaclientandastylistis telling them to justtry it.Iftheytry on what Iwant to put theminand thenifthey absolutelyhateit, thenit’sfine. ButI will break down the reasons whyIdo certain things. Sometimesit’sultimately not up to me or them; we’reall working forsomebody.
My biggest fashion no-nois skinny jeans. Idon’t think that men’s jeans should be tighter than women’s jeans. It’s very unflattering because youend up looking likea chicken leg. It’s just notflattering on most people. I’d ratherjustdoastraight leg.
Something Iregret notbuying is Idon’tknow. Ibuy everything Iwant.
ZANA, LEFT, WEARS ZANA BAYNE
CORSET BLACK SUEDE STUDIO BOOTS, CALZEDONIA TIGHTS, PINSY BODYSUIT
MARIANO WEARS BUSTEDBRAND SHIRT AND PANTS, UGO CACCIATORI BRACELET
OTHER PEOPLE’SPROPERTY RINGS.
THE MEETING OF ZANA BAYNE & BUSTEDBRAND
WHAT HAPPENS WHEN ALEATHER MAMA ANDALATEX DADDY FALL IN LOVE?
n alofty space streaming withhot lightonLos AngelesStreet,there is a dressing room with heavyred curtains anda door in theshape of abuttplug. Amirrorinsidecaptures your reflection in itsfamiliarcurvature, and, of course, youpullout your phone to take apicture —because when have you ever seen abutt plug-shaped dressing room before?Acrossthe room, aWassilystyle chair sunbathesinthe corner,withahandmade burgundyleather baseand back, studs runningalong theseams.The chairhas straps on itsarmchairs— made forwrists to slip into —withcustomsilverbucklesinthe shapeofan outstretched woman’sphysique. Vintagefetish magazines line theglass table in thecenterofthe room,which smellsoffresh paint, leather andlatex.Onawarm afternoon in August, this space is still under construction,but soon it will be a store: thesharedworld of Zana Bayne andMariano Cortez,aphysicalmanifestation of theircreativepartnership and personal relationship Bayneand Cortezare twoofthe most low-keyyet cultishlyloved designers in L.A. dealinginleather andlatex,respectively.Whatpeople cometoBayne foris herspecific style,where alldetails aremeticulously donebyhand, andwhere hardware reignssupreme. (Shemade theaforementioned chair.)AZanaBayne piece feelsstructural to thepoint of sculptural —a leather crystal-studded corset flaringwithhip rufflesthatunfoldlikeanaccordion; alace-upcorseteyelet skirt that creates asoft, voluptuouscurvelineaway from thebody. Thepiecesare instantlyrecognizable as hers:hand-laced rivets holding together abustier in the shapeofa broken heart, theway one of her spiked choker handbagsseems to defy gravity.Cortez is theLatex King of LosAngeles, known fordeveloping new techniqueswiththe material,orimagining it in completelynew contexts.In Cortez’shands, latexbecomesprinted as leopardand cowhide, it becomesevening wear,sportswear or business casual —froma football tank to afloor-length dresstoablazer
Andtheyhappen to be in arelationship.Sitting in theroom withCortezand Bayne, thereisa gravitational pull that canbefelt when in the presenceof opposites whospeak thesamelanguage. Leather andlatex being theirshared dialect. Fashionisa smallworld,fashion inspired by fetish wear is even smaller. Thereisa mutualunderstanding between the twodesigners, both about the practicalthings— likeimpossible schedulesorthe kindofobsessive nature youmust have to be successful —and thebig things,likelivingalifeindedication to your practice, or what it means to blend therealms of subculture,art and fashion.“What we do is so blood,sweat andtears— every iotaofyour beingat times— andifyou aren’t in it,it’sreallyhardtounderstandfor certainpeople,” Baynesays.
In February, Baynepostedanimageofaphotostripofher andCortez and captionedit: “Leather mama &latex daddy.”The store, called FETISH and launchinginOctober,issomehowthe culminationofthisexact description Whichtakes us back to thebeginning: Whathappenswhen aleather mama anda latexdaddy fall in love?
WORDS JULISSA JAMES
PHOTOGRAPHY NATALIA MANTINI
STYLING BRITTON LITOW
MAKEUP SELENA RUIZ
HAIR ADRIAN ARREDONDO
LIGHTING NICK SHAMBLOTT
WalkingintoCortez’sstudiointhe fashion district,you arefirst hitbythe distinct smell of rubber,fillingyour nostrils,washing over your braininahazeof strangely intimate comfort. Cortez and Bayneare wearingall blackin90-degree heat whilesippingongreen juices. SheisinaNineInchNails 2008 tour T-shirt, thrown over aslipdress with fishnets on, andCortez is in aT-shirt, cargo shorts andboots. They tell me that earlier thatday,Chappell Roan wore acustomBustedbrandX Zana Baynelookonstage at Lollapalooza forwhatwas said to be the festival’sbiggest audienceever. Roan jumped around in ahot pink andelectric blue luchalibre wrestler’soutfit made of latex, withiridescent leather accessoriesincluding abelt,mask, shin guards andwrist andupper armcuffs.Bayne started withaccessoriesearly in her career —first creating asingleharness back when shewas an obsessive fashion documentarianwiththe blog Garbage Dress, andwas enamored by thetransformativequalitiesasmall piece could have on an outfit,anaura. “There’ssomething about astrap of leather anda buckle that
canreallymakepeople go wild,”she says.“I’mstill notsickofexploringthat.”
Cortez and Baynestarted theirbrandsatdifferent times, bothliterally and culturallyspeaking.In2011, when Zana Bayne wasformed, there were fewer people making harnesses intendedtowear at aconcert or party,orinbroad daylight. Bayne wasone of thedesigners to open thatworld up fordesignerslike Cortez,who wouldofficiallystart his brandin2018. Back then,anything that was made of leather withsomerivets wouldbepigeonholed as strictly fetish wear, Bayne remembers,and therewas little focusonthe actualquality or design of the garment, which iswhather brand wasdrivenby. Theterm“post-fetish” was something her brandcreated to describethe kind of clothing shewas making (mostlyasadiversion forpress,which in the2010s lovedtothrow “BDSM” in a headline when covering thebrand).Her work wasrootedinand inspired by bondage, but she decidedly didnot positionitselfasabondagebrand.“That term didn’t exist,” Baynesays. “Thetermpost-fetish was, like,apres-ski,like, postmodernism. It wasa wordplay thing,and it worked.Now,there’shundredsof brands.Thereisn’t avoidtobefilledanymore,because it’s itsown monster.”
Cortez likes to think of hisworkasa bridge between fetish and ready-to-wear “Itstill comesfromafashion standpoint —myinterestwas in latexmaterial and what it could be,”saysCortez.“Respectingthe rootsofwhatpeoplecreated this for, and then turning it intoamorepractical[garment].”One of the manyiterations of designer Vivienne Westwood’siconic boutique, Worlds Endwhich she opened with then-partner Malcom McLareninthe ’70s,was famouslydubbed “SEX,” with ahugesign in pink squeaky lettersatthe top. The storesoldfetish wear and had whipsand chains on display. Their slogan was: “rubberwear for theoffice.”
Forboth Cortez’s andBayne’sdesigns, something special happens when they areseen, when they areout in theworld.This is when they come to life,whenthe natural tension of wearing fetish-inspired wear —likeone of Bayne’sspiked
triangle bras,orCortez’s latexcat suits—inanew contextrisestothe surfaceand youcan seeitinaction.For the wearer,thereisalsoanobvious dedicationnecessary to wear the pieces —bothleather and latex,specificallylatex,requirea particular care process, and getting apiece by BayneorCortezonisanentire processonits own. There’sanintensitytothe materials that,nomatterthe context, remains.Thereisa satisfaction to seeing Beyoncé wearing afulllatex outfit on the coverof“Cowboy Carter,” which Cortezdesigned, or Ariana Grande wearing afull custom lavender leather look in the video for“RainonMe,”which Bayne made.While on some levelitfeels as if theyare positioning themselves towardsthe subversive throughthe code of fabric, it is alsoa straightforward appreciation of the designsthemselves.
Bayne is mostly self-taught.She grew up in San Francisco, whereshe attended the SanFrancisco Art Instituteand gotadegreeinconceptual art. “The first corsetsI made came out of nightlifeand subculture,” she says.“In San Francisco at thattime, everyone wasdoing everything all at once. Yougofromaleather bar to adragshowtoa punk show to anoise show. We’d go to soulnight and then some rave offthe traintracks. It wasjustthismix of subcultures and fashion.” Then shemoved to NewYork, whichiswhen her brand gotits legs. Slowlyand organically, stylists were pulling pieces fortheir clients, custom celebrity requests started coming in andeventuallyshe becamea highlight at NewYork FashionWeek. “All of asudden Iwas making thingsout of my bedroom forLady Gaga,” Bayne says Cortez is from Temecula,where he grew up in punk scenes,going to the desert, skating and doing BMX —which people stillrecognizehim from, Bayne adds. He gotinjured at one point from BMX, and wasn’t able to walk forayear, whichiswhenheput allhis energy intolearning about fashion on Tumblr. He movedtoL.A.asa teenager, wherehegot an internship-turned-job at L.A.Roxx, acustomdesignhousespecializinginleather.They’dget calls from people con-
stantly, inquiring if they worked with latex, which piqued Cortez’s interest. “It was curiosity,” he says. “People not knowing, also me not knowing, just made me dive deeper.” He’d go on to learn the craft under an L.A. fetish latex designer before starting Bustedbrand on his own terms.
Cortez knew of Bayne’s brand long before he started his own, and says that a lot of her designs were a big inspiration when he started out, and still are. Bayne quips in response: “I thought that some things looked slightly familiar. However, I always maintained the opinion that Busted had the coolest latex designs, the most relevant designs, and that their branding was better than anyone else’s who was in the game. I was both somewhat annoyed and appreciative I couldn’t help but be like, ‘Yeah, you’re doing a great job.’”
Bayne is a Virgo, Cortez is a Pisces sister signs that, in theory, are on opposite sides of the spectrum but in practice serve as each other’s balance. It checks: Cortez is quiet and stoic, with a subtle warmth that reveals itself as he gets comfortable, while Bayne’s dark humor, sharp intellect and charisma serve as a magnet. Cortez regularly giggles at her dry jokes. It’s clear they share a shorthand, inside things that they don’t care to explain. They seem to complement each other in ways beyond just a shared aesthetic. “I think we’re both very stubborn people,” Bayne says “An interesting thing to learn was how we’re saying the same thing, but in totally different ways.”
Their work kept being featured in the same editorials, on the same artists for years Beyoncé being one. People would come into Bayne’s studio carrying a Bustedbrand bag. And she’d think: “There it is again.” They’d physically been in the same room many times as well, and were cordial to each other, but hadn’t communicated beyond a head nod. “I’m mean,” Bayne jokes.
“She made a personal [Instagram] account and I had followed [it],” Cortez remembers. “Then I saw she started hanging out with my friend Britton [Litow], and I asked, ‘What’s up with Zana?’ I told her I was interested.” Litow texted Cortez a couple days later and said that Bayne was interested. “I was like, ‘He can ask me out,’” Bayne says. No moves were made until Litow’s birthday dinner a couple months later at Mr Chow, when she sat Cortez and Bayne next to each other. “He was wearing sunglasses,” Bayne remembers “At night.” Their first date was at a bar where Bayne wore a “really intense outfit,” which was one of her own pieces.
Being in a relationship with another designer has been a comfort for Cortez He’d never been able to share the highs and lows of the business with anyone else like this. “Zana definitely helps me be a little less one-track mind and enjoy what just happened,” he says “That’s been pretty leveling, grounding. It’s been really nice that we share these experiences.”
“It’s really cliché for people to say, ‘I want to be with someone who challenges me.’ And I’ve never felt that way before. That’s never something I’ve looked for, but I think we definitely challenge each other,” Bayne says. “You remind me of what I love about what we do and where it can possibly go.”
Bayne says Cortez is constantly curious, with a brain full of “a million question marks at all times.” “I think
curiosity has brought me to a lot of really interesting new techniques,” he responds. There is a spaceship-looking machine behind him that takes up an entire corner of the massive studio space, a laser cutter that he uses for his latex work. This is part of a production system Cortez developed for himself, which has further allowed him to think of latex in new ways, including using traditional garment techniques like sewing which you usually don’t do with latex which makes it possible to create some of his silhouettes, like a voluminous bomber jacket or a boxer short.
It’s a moment of expansion for Bayne as well, who is in the process of releasing a run of non-leather items for the first time inspired by the visual language she’s built over the last 13 years.
Charli XCX starts bumping on the speaker that is connected to Cortez’s phone
“Maybe we go like one notch down?” Bayne asks, laughing. Charli wore one of Bayne’s skirts for a recent spread in British GQ A non-exhaustive list of Bayne’s clients mostly custom include Rei Kawakubo, Kim Petras, Eartheater, Kim Kardashian, Brooke Candy, Doja Cat and Debbie Harry, and she’s in the process of making some pieces for L.A. billboard icon Angelyne. For Cortez, that list includes 2 Chainz, Rico Nasty, Hailey Bieber and Ye, among others. They’ve collaborated on custom looks for artists, including Roan. And earlier this year,
theycollaboratedonanexclusive collection, featuringmicrotrianglebrasand belts in classic Bayne construction with aBustedbrandflair through the leopard printand star appliques. “We have brandsthatworkseamlesslytogether,” Bayne says.“It’s anobrainer.”
Theultimatecollaboration will be thenew store opening. Cortez’s fatherbuilt the butt plug cut-outfor the fitting room.“Itoldhim it wasaspike,” Cortez says, laughing. “Thenextday afterIsenthim thephoto andthe dimensions he was like, ‘That’sabutt plug.’ ”
Cortez and Bayne want the space to feel “cleanand sexy.” “We’rebuilding our universe,”Bayne says,which meansthe store will featuretheir piecesand exclusivecollaborations, but itwill alsobeahometotheir musical inspirations,
beloved objects anddesign references.Theywantthe experience to be one of discovery.“There’sbeauty,there’s severity withwhatwedo, butthere’s going to be playfulelements,” Baynesays. Thestore is also an opportunity to continue presenting leather andlatex in thecontextsinwhich Cortez andBayne imagine them in.Spendingtimeinthe space itselffeels likesittinginonaconversation between Bayneand Cortez, whichisararity, giventhe intentionalmysteriousness aroundthemasacouple.
“It’sreallyspecial what we gettodo, andwhatwedo[is]reallyf—ing hard,” Baynesays. “Ittakes achunk of your soul constantly, butthere’s gottobeapart of us thatloves what we do.”
“I told myselfthatthe other day,”Cortez says.“IlovewhatI do. AndI’m glad Iget to shareitwithZana.”
ZANA WEARS RICK OWENS
GOWN, JW PEI SHOES, OTHER PEOPLE’S PROPERTY RINGS, THE GREAT FROG RINGS, ALIGHIERI EARRINGS. OPPO-
SITE PAGE: MARIANO WEARS
ENTIRE STUDIOS SUIT AND TANK TOP, AKILA SUNGLASSES
OTHER PEOPLE’S PROPERTY BRACELET AND RINGS.
WORDS
ROMANY WILLIAMS
PHOTOGRAPHY
ANGELLA CHOE
STYLING
KEYLA MARQUEZ
APradadressmadebyhandbringsribbontolife
s t
ayoung aspiringballerina, Iwas ransfixed by ribbons. Attached just so, windingupthe anklelikeavine, tied expertly on theinside of theleg —tome, nothing completed aballet slipper likearibbon.I anticipatedreceiving my ribbons—normallyachievedwhen adancer reachesGrade 3inthe RoyalAcademy of Dancesyllabus— morethangraduatingto pointe shoes. When Iwas finally old enough to accessorize my slippers, Itook great care in my ribbon ritual.The ribbonswere bubblegum pink when brandnew,and I stayed up late,carefully dyeing them in a bath of boiling teauntiltheyreached the correct shade to matchmyslippersand tights,beforesewing them on by hand at the perfect,ergonomic angle.Ireveled in the task of learning to tiemyribbons; it felt like an arrival. Iwas one step closer to looking andfeeling likeareal ballerina.
Ribbonsare easytoromanticize, especially as we exit Brat Summer,whereCharli XCX’s“EverythingIsRomantic”has served as thesonic partner to theresurgenceof ballet flats, puffyskirtsand,yes,ribbons. Theway aribbon is styled communicates very different things —for example, not all ribbonsare bows,yet abow transformsa ribbon.Intoday’sfashion ecosystem, the versatilityofabow is on full display. London-based designer Simone Rocha’sbow earringshavebecome astaple. Fine and weightless,theyfinishany outfit.The Shanghai labelShushu/Tong employs bow maximalism,with every piece incorporating at leastone bow, resulting in garments that areplayful yetrestrained.New York designerSandyLiang’s summer collaboration with Salomon uses ribbonsand bows for arefreshing twistonthe gorp standard. And styleinfluencershavebeendemocratically tyingbowsoneverythingfromover-ear headphonestobag straps to headbands.
In allits serene defiance, thePrada embroidered ribbon dressisalsoabout a bow. In thebrand’s autumn/winter 2024 women’s collection —aptly titled “Instinctive Romance” —designersMiucciaPrada andRaf Simons play with hard andsoft, blackand pink,tailored andrelaxed, to propose fall’smostpoetic take on romantic fashion, culminatingwith an embroidered ribbon dress, asleeveless shiftmade of 35 hand-cut,-tied and-embroidered bows cascadingfromneck to knee. Thebows danced as themodels walked down the runway during thecollection’s show at the PradaFoundation in Milanintone-on-tone
LEFT, “MADE IN PRADA –FRAGMENTS OF ROMANCE” COURTESY OF PRADA; FERNANDA WEARS EMBROIDERED DRESSES FROM “INSTINCTIVE ROMANCE” FALL/WINTER 2024 PRADA COLLECTION.
aubergine and baby pink iterations styled with black knee-high boots. The back of the dress featured an unexpected panel of black silk, minimal and bowless. When the models turned to march backstage, their ribbon tails confidently reached around from the front in buoyant embrace. (Chioma Nnadi, editor in chief of British Vogue, described the dress as the “bowment” of the season.)
Wholly intentional, Prada’s design team used complex techniques to animate each bow. The first step involved positioning the ribbon embroidery in a classic chevron pattern. The embroiderer then cut the satin ribbons at precise angles to correspond with the pattern and secured the ribbons onto the fabric by hand. The preparation of 35 bows was next; they were shaped and ironed one by one before they were sewn at the specified points along the chevron pattern created by the ribbons. The next step involved attaching the embroidered fabric to the contrasting black silk lining, then a second pressing, followed by additional bows being sewn at the hips and around the neck. After 165 feet of ribbon and 13 hours of embroidery, a dress was complete.
STYLING ASSISTANT
MODEL
FERNANDA ÁLVAREZ
HAIR AND MAKEUP
CARLA PEREZ
DEIRDRE MARCIAL
NATASHA WEARS VIVIENNE
WESTWOOD TOP, VINTAGE KENZO
SKIRT, DRIES VAN NOTEN SHOES, BOTTEGA VENETA EARRINGS
WORDS EUGENIE DALLAND PHOTOGRAPHY CODYCRITCHELOE STYLING NATASHA NEWMAN-THOMAS
DRESSING FOR FICTION
Natasha Newman-Thomas, asartorial mastermind in filmand TV
ow do youknowhow to dresssomeone when that persontechnically doesn’t exist?This inane yetgenuine questionburned in my mind when Isat down to interviewNatasha NewmanThomas, an award-winningcostumedesigner.Newman-Thomas is thesartorial mastermindbehind TV showsincludingHBO’s“The Idol”and Childish Gambino’s iconic “ThisIsAmerica” musicvideo (which garnered her aCostumeDesignersGuild Award).Known forher character-driven approach andhighlydistinctive, vintage-inflectedeye,Newman-Thomas explains to me that costumedesign requires not onlya deep understanding, passion,and technicalproficiencyfor clothing design andfashionstyling: it also requires an abilitytoconjure and then investigateafictionalized character’spsycholo-
RIGHT: NATASHA WEARS COMME DES GARÇONS AUTUMN/WINTER 2007
DRESS COURTESY OF ARALDA VINTAGE, FENDI BOOTS, GABRIELLA KISS EARRINGS. BELOW: HELMUT LANG SUIT, VINTAGE FRANK ZAPPA SHIRT
FROM ZAPPA’S PERSONAL COLLECTION, REJINA PYO SHOES, BOTTEGA
VENETA EARRINGS, MONDO MONDO RING BOTTOM:VINTAGE JOHN
GALLIANO 2008 RUNWAY DRESS COURTESY OF ARALDA VINTAGE. OPPOSITE PAGE: CHRISTIAN LACROIX JACKET, WOLFORD TIGHTS, KNWLS SHOES VIVIENNE WESTWOOD NECKLACE, GABRIELLA KISS EARRINGS
gical makeup. The answer to my question, in short, is that you have to believe in an illusion in order to make it a believable reality
When you see an actor or musician in a costume designed by Newman-Thomas, the outfit looks authentic in a way that is almost unnoticeable and this is the point. The selection and styling of the clothes appear so natural and unique to the character that it seems as though they showed up to set wearing it Her latest subjects are Keanu Reeves and Cameron Diaz in the upcoming film “Outcome,” directed by Jonah Hill. While Newman-Thomas couldn’t get into the details of those characters yet, she shared the peculiar and fascinating details of her art with me and made the case for why flying helicopters is more interesting than sitting through a group critique in art school.
Eugenie Dalland: My Gen-Z cousin had never seen “The Matrix” before, so I recently watched it with
her I realized how crucial all those latex and black leather costumes were to the tone of the film. Why are costumes so important?
Natasha Newman-Thomas: Costumes are the first place where you get to begin storytelling without actually knowing someone. It’s crucial on screen because you want to know as much about a character as you can, instantly, in order to get the viewer involved and on board. If you’re in a dystopian future like “The Matrix,” the costumes pull you in and make you believe in that world and in the story on a surface level.
ED: I’m curious about the nuts and bolts of creating these characters, what you’ve called the “sociological exploration” involved in building them. Who is involved in this process?
NNT: It depends on the project. Sometimes I have one initial conversation with the director, and then they turn the whole thing over to me and let me do my thing. Other times, the director is super involved and we get into the nitty-gritty about every character. And then I’ve been on projects where I do that with the actors, which Ilike doing because it’s part of the character development for them It’s super informative for both of us to have those conversations and figure out why a character behaves a certain way, the things that inform who they are, their pathologies.
ED: Shopping is a big part of costume design What kind of mindset are you in when you’re buying clothes for a character? I imagine it’s sort of meditative
NNT: It’s definitely meditative! I’m almost trying to put myself in their mental state, and then imagine how they would acquire clothing. Where would they shop? Or would their character only wear hand-me-downs? If so, where would those come from? Someone from their church, a sibling?
ED: I’ve always wanted to ask you about the outfit Childish Gambino wears for the “This Is America” music video, which you costumed. It’s very minimal vintage pants, no shirt, gold chains but he looks so f—ing cool and moreover, totally natural, authentic. I almost wondered if he showed up to set wearing that look.
we shot! I just did another project with Donald a few months ago and he was like, “by the way, you were right about the pants.”
ED: What were you aiming for with his costume?
NNT: We referenced some Fela Kuti images, but also the idea of someone who acquires clothes and then really makes them their own. Someone who finds a pair of pants and makes them look sick by styling them in a specific way. That was so important because we didn’t want it to look or feel new, typical, or trendy.
ED: How did you get into costume design?
NNT: I went to the School of the Art Institute of Chi-
Airport. It’s amazing. I’d love to go back and finish my flight hours and get my license. Anyway, while I was there, an old professor friend of mine from the Art Institute called and said, “I’m moving to L.A. to do costumes on this show, I’d love for you to try assisting me.” My first day on set I was like, “this is literally made for me, it combines all my interests.”
The pacing, the creative problem solving, the clothes, the character development, all of it. That was it. Day One. I feel very blessed that I found a job where I can make money and do what I love.
ED: What are some movies that made a strong impression on you in terms of costume design?
NNT: It’s funny you say he looks really natural and embodies the outfit well, because up until 20 minutes before the shoot, Donald [Glover] and I were going back and forth about it. He was like, “I’m not comfortable in that, it inhibits my performance, I just want to wear sweats.” I was like, “no way, sweats are a completely different message, it’s really crucial that these are the pants you wear. If it’s inhibiting your movement, I’ll sew in a gusset.” I was literally sewing a gusset into those pants up until 30 seconds before
cago because they didn’t make you choose between fashion and fine art, you could do both, which is what I wanted. But eventually I had the rude awakening that you really couldn’t do both. I took every fashion class I could without committing to being in the fashion design program there. A few years in, I realized I didn’t want to sit through a critique and hear people bulls— about “juxtaposition” ever again. I decided to drop out and move back to L.A. and go to helicopter school to be a pilot.
ED: Wait, what?
NNT: There’s a nonprofit program at the Compton
NNT: There’s so many. I actually just did a symposium about [Jean Paul] Gaultier’s costumes for “The Fifth Element.” I also love his work on “The Cook, the Thief, His Wife & Her Lover.” The costume design really blends with the production design, it’s so artful.
ED: What’s an unexpected shopping tip you tell people?
NNT: This is so cheesy: Be clothes minded, not closed minded. [laughter] I love to go into a shopping experience with the idea that you can really style anything to make it interesting. A game I’ll play with my best friend is we’ll send each other pictures of things and ask, “how would you make this cool?” Like “how would you make a pair of Toms cool?” I love a good challenge.
ED: How do you make a pair of Toms cool?
NNT: The way I would do it is to cast a Toms shoe in a block of resin, and then put another Toms shoe on top of it. So it’s a platform shoe with the Toms inside the platform and then the other one on top.
ED: Please make this shoe.
NNT: Our first question when we start anything is what’s not cool right now, what is no one doing, and how can we use that to our advantage? We did an Yves Tumor music video and I was like, “no one is doing indie sleaze right now, I’m going to cover a pair of jeans in the Strokes patches, that’ll be so weird!” Two years later, the Strokes were playing the Celine show. It’s fun to try to get ahead of the cycle. It’s getting harder to do because with the internet, everything moves so much faster now, people just gobble up trends. But it’s creating an interesting position for designers to be forced to come up with new things that no one’s seen before, that aren’t referential. I think it could be really exciting. Fingers crossed.
HAIR&MAKEUP PAIGE WISHART LIGHTING DIRECTOR DAVID LOPEZ STYLINGASSISTANTS MARGAUX SOLANO, TOMMY PETRONI
PR ESENTIN G
MISS KOREATOWN
RE -C REATING K-TO WN BE AU TY PA GEANTS FRO M TH E 19 80S AND ’90S
PH OTO GR APHY BY EMA NU EL HAHN
ince early2022, photographer Emanuel Hahn has been working on hisseries “America Fever,”inwhich he re-creates andreimaginesthe stories of Koreanimmigrants to the U.S.overthe 20th century. Hisfirst series, “Jultagi,” used the Koreantightrope walker as ametaphor for the immigrant experience.Other series have explored immigrant love, theways in whichKoreans adoptedAmerican ways of life,likecar and motorcycle culture. His latest series, “Miss Koreatown,” dives into the history of beauty pageants in L.A.’s Koreatown. In this as-told-to interview, Hahn shares the backstory.
“America Fever” is astaged-narrative photoand video series thatcombinesalot of Korean culturalhistories and motifswiththe
myth of the American West. It was an idea that was always in the back of my mind as a third-culture kid growing up in Singapore and Cambodia and all these other places that were not my birth country or my mother’s country, which is America and Korea, respectively I was trying to find my own sense of my Korean identity, and that led me to a lot of interest in Korean history, folklore and traditional elements that I was not familiar with. When I moved to the U.S., there was that added element of being Korean and American, but also never having spent time in either South Korea or America until I was 20 years old. It was simultaneously an effort to reach back into my Korean heritage and make sense of my newfound Korean American identity.
I think the staged narrative component came because I was very intrigued by staged narrative photographers like Gregory Crewdson and Alex Prager. There was just something intriguing about building a scene to convey your ideas, and world-build so that you could create this universe that was completely your own. I made four to five images in early 2023 for a group show in New York with a Google Fellowship, and then I kept making images on my own. This year, I made this work “Miss Koreatown.” The series follows an arc it’s almost like this curve that goes up and then down: It’s the immigrant arrival, then the struggle, then the joys and ecstasies, but also the reckoning of what it’s like to be Asian American in this day and age, which, yes, there’s integration, but there’s also still so much othering and wondering if there’s a place for you.
The beauty pageant sits in that joy and ecstasy phase, but with an asterisk, because I’m still complicating the idea of the beauty pageant through using mixed-race contestants. They’re all part-Korean: Minji is white and Korean, Blair is Black and Korean, and Ari is Puerto Rican and Korean. Historically, mixed-race Koreans have been ostracized in Korean culture, and in the U.S. less so, but still, there was this sense that they didn’t really feel like they belonged in either culture. If you were Black and Korean in postwar in Korea, you had a really tough life, because there was racism against Koreans, both from American GIs and from Korean culture. The beauty pageant is a celebration of being Korean, but it’s also redefining what beauty is against the backdrop of a lot of Korean
beauty pageants, which often favor super pale, porcelain skin. I’ve basically shifted the context to L.A., which is one of the most diverse places on Earth, and just the fact that, in L.A., we hold space for diversity
The sachets also nod to the stages of immigration: Miss Sugar refers to the sugar plantations in Hawaii, which was one of the first destinations for Korean laborers. And then from there, a lot of the laborers moved on to California, where they worked on citrus groves so that’s Miss Orange. Then, Miss Cabbage is this later group, where Korean immigrants that came in the ’70s and wanted to make kimchi, so they started growing cabbage more. I’m using wardrobe and prop details to nod to Korean history.
There used to be a lot of Korea Day celebrations. There were the beauty pageants, as well as a parade in Koreatown in the ’80s and ’90s. A lot of it was organized by different institutions within Koreatown and small businesses to celebrate Korean culture and heritage. It was one of the few times where the community came together to just celebrate their identity I think it had the effect of sharing Korean culture with the rest of America, because back in the ’80s or ’90s, a lot of Americans didn’t know about Korea outside of the context of the Korean War. That was the first time that people would hear about or learn about the hanbok, which is the Korean dress, or Korean food. It was a way for people in Koreatown to share their stories, and then, in conjunction with those, there were Miss Koreatowns.
It’s very hard to track down imagery, but I did see some through asking small business owners who had archival photos and doing research online. The Miss Koreatowns were often very small endeavors It wasn’t a grand thing at all, and there’s just something so DIY about it that I found really endearing. There were also Miss California pageants, where you had different contestants coming from North and SoCal, San Luis Obispo, and throughout California, where they would meet in Koreatown, and I thought that was cool too, speaking to the diversity of Korean experiences even within California. This is a part of Koreatown history that has not been archived and shared well. I wanted to talk about it a little bit, and put my lens of cultural history on it.
As told to Elisa Wouk Almino
BLAIR WEARS 18-KARAT WHITE GOLD VINTAGE EDWARDIAN DIAMOND RING BY IO COLLECTIVE PRIVATE COLLECTION AND VINTAGE PEARL EARRINGS BY JULIA VAUGHN
NECKLACE WITH A 20-CARAT TANZANITE DIAMOND
PENDANT AND 18-KARAT WHITE GOLD DIAMOND
TANZANITE RING BY IO COLLECTIVE
BLAIR, MINJI, AND ARI WEAR VINTAGE
DRESSES; ARI, BOTTOM RIGHT, WEARS 18-KARAT
WHITE GOLD
DIAMOND TENNIS
PHOTOGRAPHY&PRODUCTION
EMANUEL HAHN
MODELS
BLAIR KIM, MINJI M., ARI RIVERA
WARDROBE
JULIET VO
SETDESIGN
VICTORIA FORAKER
PHOTOASSISTANT
CARLY HILDEBRANT
WARDROBEASSISTANT
PAIGE LAVIOLETTE
MAKEUP
DAPHNE CHANTELL DEL ROSARIO
HAIR
JAMES GILBERT
PRODUCTIONCOORDINATOR
CRYSTAL RIVERA
RETOUCHER
JAMIE KANG
AH
YBRID
Wavey and Planeta mix in
OF BOTH
WORDS JULISSA JAMES
PHOTOGRAPHY, ART DIRECTION &PRODUCTION ERIC SOLIS
STYLING TUZZA
MODELS AXEL, ELLIE, GENESIS, ISRAEL, JORGE, LI
Colonia Juárez
ric Solis describes his photos as “cyberghetto,” “flow 2000s,” “raver chic.” Models wearing cargos layered with neon mesh shorts stand among the rims at a car lot, using a purse inspired by one. Remixed plaid jorts. A durag with a blinged-out butterfly bikini top. Club kid platforms accessorized with ripped black tights. The concept: Moda sin fronteras Solis, an L.A. native who now lives in Mexico City, where much of his family is from, wanted the photos to tell a story about the connection between two brands L.A.-based Planeta and Mexico City-based Wavey and in a larger sense, to “blur the lines between how people perceive what fashion is, or how it should look, in both the contexts of L.A and Mexico.”
For Solis a multi-hyphenate who works as an architect, event producer, photographer, art director and creative consultant, among other things this project was an opportunity to capture the conversation he sees happening between Mexico City and L.A. in terms of fashion and style, in a way that felt expansive and not necessarily confined by gender or culture. The models themselves are young people who are mostly from Mexico City (or live there) spanning queer, trans and Indigenous communities that Solis met through fashion shows. The entire team from the stylist Tuzzato the hair artist Ozmar Báez was an intentional part of the conversation he was trying to create through the clothes and photos, he says.
Solis was thinking about the dichotomy of the two communities in L.A. and Mexico City and, at least in terms of style, how they were taking from each other and presenting it in new ways. He wanted to take what he was seeing and present
it so that it wasn’t L.A. style, wasn’t Mexico City style, but was a hybrid of both.
The shoot acted as a catalyst for a pop-up called “No Hablamos Inglés” that Solis is curating on Sept. 21 at Planeta’s DTLA store. He is bringing the work of more than 20 emerging Mexican designers spotlighting a scene of alternative, young, queer artists who are morphing how we think about Mexican style including Palida Studios, Tlacuache Muerto and Resurrected. The name is important; for Solis it stands for cultural pride and community: “Sometimes, Mexicans on the Mexico side feel like they should learn English to better their lives or to be better in business, but this is almost like a saying of defiance. It’s almost rebellious: ‘No Hablamos Inglés.’”
This project is also Solis’ contribution to an ongoing conversation artists have been sparking between L.A. and Mexico for years, chief among them artist and curator Anita Herrera. From the beginning, Herrera has infused her practice with the mission of finding the connection and disconnections between L.A. and Mexico. Her ongoing series, “Diaspora Dialogues,” has consistently used fashion as a medium to explore these topics as has much of Herrera’s work; she went to fashion school and started her career in the fashion industry
Solis met Herrera through helping with “Diaspora Dialogues” and met the founders of Planeta at one of Herrera’s exhibitions in Mexico City, “A Través de la Moda,” where she displayed personal pieces from her closet that drew from images and symbols that Mexican Americans hold dear La Virgen de Guadalupe, the Aztec calendar “as an exploration of history, myths and novelties between L.A. and Mexico City,” Herrera says. Planeta, founded by designers Hoza Rodri-
AXEL WEARS WAVEY MARIPOSA BIKINI TOP, PLANETA PLAID BLOCK SHORTS
guez and Richard Resendez, has an IYKYK cult-like status among the fashion people, artists and club kids who wear it. Their work is best recognized by the magic they do with upcycling flannel shirts layered on top of baggy denim become a new genre entirely, something from the future. When they went to Mexico City for the exhibition and were able to see the city through the eyes of Solis and Herrera (Rodriguez and Herrera have been friends since 2009, when they were both starting their careers in the fashion industry), something clicked. “Everything’s unisex,” Rodriguez says of the style he observed in Mexico. “And I learned that they are not influenced by us, we are influenced by them.”
Wavey, a Mexico City brand and store founded by Talulah Rodriguez-Anderson in 2018, makes the kind of things you might wear at a rave on the beach. It’s always been dedicated to communicating its clothing as unisex. Rodriguez-Anderson grew up in L.A. and was inspired by her visual experiences and memories on both sides of the border when starting her brand The brand’s store, in Colonia Juárez, carries this same energy, with its aesthetic drawing from the cargo trailers that go from Mexico City to the States. A Wavey piece borrows from Chicano silhouettes and images, told through a Mexican streetwear lens the latter of which Rodriguez-Anderson says is “evolving very quickly.”
Solis wanted to highlight Planeta and Wavey because they felt like family in his mind with a shared ethos, a look that felt like it was drawing from similar references. “To me, they’re like siblings, they’re like cousins,” Solis says “They sort of talk to each other in terms of their style.” This is shown in the styling of one of the models, Jorge, who wears reworked checkered Dickies shorts from
Planeta, pointing to an early-2000s L.A. skater aesthetic, and a blinged-out shirt with the initials “MX” from Wavey as a nod to Mexico City. “It’s a new aesthetic,” Solis says. “It’s not California, it’s not quite Mexican. But it’s both, it’s something else.”
With the shoot, and with the pop-up, Solis says he wanted to show a “crosssection of Mexican youth, real Mexican youth.” He chose Colonia Juárez for the location, specifically an area that’s home to many auto body shops, because it felt true to where these looks would actually be worn. The environment and the clothes are in communion with each other, Solis says. “I also wanted to shoot it in a location that was authentically Mexican. Whereas I feel like La Condesa, or Roma, it can feel foreign, almost.”
“For me, that shoot, when I look at it, it brings some sort of happiness and some sort of truth of who we are as Latinos, as the LGBTQ community, and as human beings,” says Planeta co-founder Rodriguez, also the founder of L.A. brand Hologram City.“When I see that, it makes me happy to know what we really are: We’re talented, we’re creative, we look like superheroes, we’re the s—.”
Even as an architect, Solis has always worked in creative or community realms. He was on the team of designers for the 6th Street Bridge and curated the art, photography and architecture exhibit “Nuestre Puente,” in collaboration with Estevan Oriol, in celebration of the bridge’s opening. He’s also one of the founders of the DTLA Proud festival. When he moved to Mexico City, he wanted to find a way to blend his obsession with fashion, art and culture, and embed himself into the creative community there as much as possible. Solis frequents
JORGE WEARS WAVEY MX* T-SHIRT, PLANETA JERSEY WORK SHIRT AND PLANETA CHECKERED DICKIES SHORTS
Tianguis La Lagunilla once a month, which is where he says he came to really understand Mexico City’s fashion youth culture and meet some of the brands he’s bringing to L.A
“Moving to Mexico City four years ago and really starting to understand by living here and building community here, [I realized] how our communities are not quite as connected as they could be because of those political, policy barriers that separate communities,” Solis says “I have a whole circle of friends here in Mexico City that are artists, designers. They have their own brands, very integrated in the creative community here, and many, almost all of my friends who want to expose their brand or expose themselves as artists in the United States, they can’t because they literally can’t go.” He wants to create connections for these Mexican designers, and allow the people of L.A. to experience their work As a Mexican and U.S. citizen, Solis feels like he’s able to bridge the two sides bringing Mexican designers to L.A through their artistry, even if they’re not able to come here themselves.
The collection of designers that Solis is bringing to his L.A. pop-up this month conjures some key phrases for him: “It’s queer as in f— you.” “Barrio bratz.” “Sin género.” “Mexa-core.” The designers include Ese Chico, known for its irreverent graphic T-shirts and slogan: “Locura sin piedad,” or “madness without piety” Herrera included it in her “A Través de la Moda” exhibition when she brought it to L.A. earlier this year Another is Squid, a brand “inspired by nature” that transforms garments through upcycling, airbrush and screen printing into one-of-a-kind works of art. It was crucial for Solis that the pop-up captured this moment in Mexico City’s
fashion scene, which he describes as “infinite.”
Jorge Líos of Palida Studios a brand with a style Líos describes as a balance of elegance and deterioration is a native of Nezahualcoyotl, an area about an hour outside of Mexico City The spirit of Mexico City’s street-level fashion scene is a mix of “vulgar, atrevido y chido,” he says. “Como que la gente justo está desmitificando esta idea de que lo que debes de usar solamente son marcas gabachas y ya está volteando a ver marcas Mexicanas. Sobre todo, la escena está construyendo o reafirmando la identidad de ser Mexicano.” (That is, people are demystifying the idea that you should only use foreign brands and are turning to Mexican brands The Mexico City scene is building up and reaffirming Mexican identity.) Since he was a kid, it was Líos’ dream to travel to L.A or New York. He loves hip-hop and was inspired by the music culture in both cities. The fact that he is now traveling to L.A. through his designs and that they’re reaching a new audience that might be moved by them? “Es una locura.”
The list of L.A.’s sister cities includes Salvador, Brazil; Busan, South Korea; Berlin; and, of course, Mexico City For Solis, it’s more than just a connection or conversation: There are familial ties. “The shared passion through fashion is something that really connects us and really unites us,” he says “I’ve begun to see how fashion can actually build an identity that is of neither place but is of bothplaces.”
ELLIE WEARS PLANETA BUTTON-UP JERSEY SHIRT AND BIKER VEST, WAVEY SKIRT, TUZZA CUSTOM RIM BAG.
Missives From Paris
Vincent Frederic-Colombo
of C.R.E.O.L.E.and
Claudia Riveraonimage making
WORDS JULISSA JAMES
PHOTOGRAPHY NOELQUINTELA
STYLING KEYLA MARQUEZ
An imageisinformed by time andplace, but it’s never bound to it —possessing an ability to transmit thousands of miles throughimpactalone.For this special Septemberseries, Image’s fashion director at large, Keyla Marquez, traveled to Paris, whereshe styled C.R.E.O.L.E. designer Vincent Frederic-Colombo,fresh offhis spring/summer ’25show, andcreativedirector Claudia Rivera,who is putting together oneofthe biggest Latino fashion pop-ups thecityhas ever seen,called “LoNuestro.”
incent Frederic-Colombo is many things, in many different worlds,atmany different moments:A Parisian, fashion designer,creative director, casting director, DJ, co-founder of abeloved Paris party collective and amusic curator. Hisfashion line, C.R.E.O.L.E., also is one part of alargerartistic universe.
C.R.E.O.L.E.’s rootstrace back to Creole Soul,a fashion and visual research manifesto and subsequentphotography project co-founded with photographerFannyViguier that centered on and celebrated theCreolediaspora. (Italsowould give birth to La Creole,Frederic-Colombo and Viguier’sbeloved party series“born from interculturality.”)Withthe brand, Frederic-Colombo has beenable to “reframe Creole identity” throughdesigns thatserveasa connection point betweenthe pastand the future—utilizing elements like the Pan-African flag,and queering classic silhouettes like workwearinto something thatfeels unique to Frederic-Colombo’s story Hislatestshow, during men’sParisfashion week,was inspired by the 1976 eruption of the La Soufrièrevolcano in the archipelago of Guadeloupe,where Frederic-Colombo is from. Called “Magma 76,” the showfeatureddesigns,
scoreand energy inspired by the resiliencethat comes afterdestruction. FredericColombo also participated in afashion show duringthe ParisOlympics opening ceremony,walking his own designsdownthe runwaythat featured thework of other Parisian designersaswell. ForFrederic-Colombo, these kinds of opportunitiescould come onlyinParis, whichhas served as arichsetting forthe “newnarratives, newreferences, newvisions and new rules” he’s creating through C.R.E.O.L.E.
THISISWHATIMAGE MAKINGMEANSTOME: Imagemaking is about buildingimagery,balancing betweendocumentary and fantasy. Themostimportant aspect is to base it on real life and real characters,adding poetry.Ilovethe ideaof creating newnarratives, new references, newvisions and newrules.
ASENTENCETHATBEST DESCRIBESMYDESIGNS: Reframe Creole identity with aunisex approach, abit of sexiness,someroots vibes and good workwearcuts. Celebrationofidentity,body and soul.
THEPEOPLEWHOWEAR C.R.E.O.LE.HAVETHISIN COMMON: Confidence and flawlessness;theylovecomfortable,simple but strong designs.Theyhaveauthentic energy with roots[and] vibes.
MYAPPROACHTO PERSONALSTYLE LOOKSANDFEELSLIKE: Ilovea fluid approach to fashion.Itcan be simple and strong,printedwitha lot of symbolic codesfromhistoricaldetails. Iwanttopush the narrative of each collection. Ialsolovebasing my designs
on simple and strong cuts inspiredbymilitaryorworkwear wardrobes. Iloveadding somesubversivedetails with sexiness,queer or political referencesinmydesigns.
MYPARISLOOKSLIKE:
Amulticultural, progressive and challenging city.What I love aboutParis is thatitfeels likeabig villagewithdifferent vibes, scenes and communities.Ilovethe fluidity of thiscity. I’mbased in the 11th Arrondissement, which is certainlyone of the more pleasant areas.Ienjoy walking through thiscity, admiring the architecture,beautyand arteverywhere.
MYWORKREVEALS THISABOUTTHECITY:
Thiscityisone of the best spots foropportunities. If you meet the rightpeopleorsimplyhaveastrong vision, you cangrowand buildstrong connections.The hardest part sometimes is to take the leap to make your dream come true.What I’ve learnedworking discreetly behind casting, styling,retailand partiesis to fight with aclear vision, no matter the difficulty I’mbased in Paris, but my ambition is international. My Frenchtouch or Parisian touchcomesfromanintellectual approach and experimentationwithcraft techniquesfromcouture,close to all the bigbrands on the calendar.Paris is the perfect incubator to exploreasense of fashion with alternative points of viewand to be part of the industry becauseit’s one of the biggestcitiestobe present forfashion.
VINCENT WEARS
JERSEY, BERNHARD
CLAUDIA WEARS ROBERTO SANCHEZ ANIMAL PRINT
SUIT, MAISON MARGIELA TABI
SHOES, SHILITA CRÉATIONS
JEWELRY; OPPOSITE PAGE:
TALENT’S ADIDAS JACKET
laudia Rivera,aPeruvian Parisian creative director and photographer, is known forbuilding worlds in Paris that arecolorful and communal, eventsthat feel likea home away from home for the Latinocommunity there.
Rivera pullsuptoHoly Grounds Coffee& Teain El Sereno forour interview between L.A. meetings. She wearsjorts,a subversive basic tank and fresh, jewelencrusted nails by @leslydidthem with ringsonevery finger.Her thick waist-length hair,anemblematic feature of her Peruvian identity,flows freely. Rivera’s projects and photographyare also an intersection of hercultures, with details inspiredbyher family or community,who areoften her greatestsubjectsand audience, infused with the energy and street style of her hometown, Paris.
Rivera organized the first monthlong Latino festivalin Paris, Sabor Latino Month, by crowdfunding thousands of euros via other youngLatinos in the city whowerecraving something likethis, and eventuallygetting it sponsored by Adidas Paris.Her annual event, Ñañaykuna, which started in 2021, celebratesthe communityofLatinawomen in Paris by highlightingtheir work with music, dancingand food. One year,Riveratook portraits of all the participants in her signaturewarmstyle.
Now, Rivera,who just launched creative agency Amaru, is workingonapopup inspired by amercado you’dfind in aLatin American country,bringing acollection of Latino brands from around the world—including L.A.’s Amor Prohibido, Kids of Immigrants and Equihua— to Paris on Sept. 14-15, right before Fashion Week.“As a Franco-Peruvian girl, Igrew up without clothesthat representedme,”saysRivera.
“Clothing is somethingthat
canhelp yourepresentyourself. It’s part of your personality.” The idea with the event, called Lo Nuestro, is to showthe diversityamong Latino-owned fashion brands.
“Iwas alwayschecking the events in Los Angelesand it wasmydream to be thereand to see[that],”saysRivera. “I think being Latinohereis very complicated because of everything. Butthere is also the privilegethatyou canlive in acountrywhere youexist, whereyourcommunityis present. That’swhatI want to do in my life: Iwanttocreate the space that Idreamed for when Iwas akid.And Iwant this forthe next generation. Iwant to showthatweexist inParis. To shareour culture with the other communities.”
THISISWHATIMAGEMAKINGMEANSTOME:
Eversince Iwas alittle, I’ve understood the powerand importance of images.My parents were oneofthe first Peruvianstohavepapersin France.TheycametoFrance in the ’90s. In 2003, my dad went back to Peru forthe first time in 10 yearsafter he left forFrance. My dadwentto visitthe familiesofall of our PeruvianfriendsinFranceto film their homes,greetings fromtheir families.When he came back,mymom cooked a bigmealand everyonecame over to ourhouse. In 2005I went to Peru forthe firsttime —Iwas 5yearsold.Istarted asakid to take thecamera y empezabayotambien aquerer filmar.It’snot just the images butthe process. To make the images,you also need to connect, to take time Es un momentode care también. Las imágenesteayudan aconectar el mundo, conectartucomunidad, tu familia.Iknowthat my family, to see me always taking pictures of our culture, theystarted to say, “OK, maybethis is something
beautiful.”Bytakingthe photos,I helped them to value their dailylife. Ifeel that losarchivos son muy importantes.
WHATISTHECOMMON THINGORFEELING THATALLOFMYWORK
SHARES: El puntocomún es mostrarAmérica Latina y highlightLatin American cultures.Totellour stories from our point of view.
MYAPPROACHTOPERSONALSTYLELOOKS
ANDFEELSLIKE: Iget very inspired by theculture of my family,but in thedetails. Istarted photography doingvery colorfulphotos, with alot of pink,alot of orange,yellow, because these arethe colorsthatare very presentintraditionalskirts in Peru. Iinclude flowersin my work because flowersare presentinthe cultureofmy family.Hairisalsovery importantfor us.
WHATDOESMYPARIS
FEELLIKE: IloveParis because it’sacitywhere there is alot of diversity. It asksus to mixfromall cultures.Ifeel very rich to have friendsfrom alloverthe world. Growing up in Paris helped me understandIslam, otherreligions, othercultures from North African, South Africa,from Bangladesh.Ihavefriends quevienendetodaspartesdel mundo. Compartimos mucho.
MYWORKREVEALSTHIS
ABOUTTHECITY: It reveals that theLatinocommunity exists [inParis]. My projects don’t only interestpeopleof thecommunity— though of course they also like it porque es una expresión que we’ve always wanted to have —but thereare also people from other communities that want to understand.And Ithink that’sabeautifulpartofit: todos queremos abrirnos y entender lasotras culturas.
MAKEUP JADE BENAIM
SPECIAL THANKS CECILE ARMAND, HÉLÈNE TCHEN, MANONGUERBY, SANTA MARI JUANNA LAB
hisbelt pays tributetothe studded belt, ndisreminiscentofwhatEdward Bohlin ouldhavedone, which through afew Google searches you’ll see isamazing stuff. [He was designing buckles and belts]for anyone who wasanyoneinHollywoodinthe’20s.I’mnotthere yet, buthow he startedwas justlikeme: He was justmakinghimselfreallyfancystuff.Hewenttoa rodeooneday,andoneofthebiggeststarsinthe country at the time, Tom Mix, wasthere,and he waslike,“Those boots. Where’d you get those boots?”And[Bohlin]waslike,“Imadethese.”Long story short,hegot BohlintomovetoHollywood Hiscompany speaks for itself. ButI wantedtodo something like that,whereitcould easilyberight uptherenexttooneofEdwardBohlin’spieces Idofeelreallyproudofthisbelt.It’ssomething that Ihad been wanting to do fora long time. It’s fully hand-tooled,hand-painted, hand-dyed.The jewelsareoldstockvintagejewels,[which]means
these jewelswere madeinthe ’60s,and they’re notmadeanymore,sothey’rereallyhardtofind.A lotofpeopletrytomessagemeandaskmewhereI get these bits.Like, I’mnot going to tell you! That’spartofthesecretingredient.
Since Iwas akid,I’vebeen around western, Mexican boots and belts. Every time we’dgoto Mexico,mymom would buymenew gear and new boots. And then, as ateenager,I went to Placita Olvera,afewblocksawayfrommehere.Everyone sells leather goods there, but there’s one shop thereinparticular,MurilloLeather,whoIusedto go to as amiddleschooler throughhigh school, andjusttalkhisearoff.Hewaskindenoughtolet me stand there in front of his counter for hours just talkingtohim,askingquestions.Eventually I saidtohim,“I’d like to try and learn.”And he was so helpful. He said,“Ihave leather scrapsback there Ican give you.” He setmeupwith little thingstogetmegoing.
Fast-forward,Iwas justdoingitfor fun. Iwas doingitwithafriendfromhighschool,hisdadhad some tools, becausehe’s an ironworker.Eventually, my buddy wasn’t toointo it,and he waslike, justtakethosetoolswithyou.SoItookthem,and this whole time, Iwas justmaking stuff for myself, posting littlethings hereand thereonmyInstagram,andthenlittlebylittle,friendswouldbelike,I wantsomethingforme.Iwantabelt.Iwantawallet.Andeventually,Imadesomethingfortheright friend,[who was] like, “You’ve got to sellthese.” I waslike,“Who’sgoingtowanttopayforthatkind ofwork?”Ittakesforever.Hesaid,“Youjustmake businesscards,andIhopeyoupassthemout.” Iwasabouttoquitmyretailjob.Ineededsomething new. Ineeded to trysomethingelse. Iknew I wasgoingtodoleather goods, and it justsohappened that Icame to Space City Vintage. Iknew theownersfromthe rockabilly scene. And Iwas telling himthe whole spiel, andhesaid,“Bring
GUILLERMOCUEVAS,OWNEROFDUNRITELEATHERWORKS.
everything and come work here.” Thankfully, thingshavebeengoinggood,andI’vebeenableto make some pretty significant pieces for some pretty cool people My big first one was Leon Bridges I’vedoneawholebunchofbeltsforhim And then, if you know Mexican music, there’s Carin León. He’s getting pretty big I did one for Trish Toledo. I did a few for Thee Sacred Souls, whichareeverywhererightnow.Ihadachanceto make a custom bracelet for Timothée Chalamet. I evenrecentlyhadGlenPowellinoneofmybeltsin themovie“Twisters.”Itjustfeelsgood
It took a whole mess of trial and error, seeing what worked for me in terms of outlining everything, but then a few years ago, I felt like a little switch went on. I love old cartoons, and I was watchingadocumentaryonFleischerStudioswho did Popeye and Betty Boop, and one of the cartoonists was saying, whatever you do, no matter whatitis,it’sgottahavefinesse.SothenIwaslike, “Hey, yes it does!” That just kind of helped nudge me further. All you need to do is put a little bit more,andit’sgoingtobesomuchbetter,andpeoplearegoingtonoticeitmore.
These studded belts go back to the ’20s, ’30s, ’40s, ’50s, and have been done ever since by countless people. But I really like to experiment. Most people just do what was done at a certain period, add a few colors, but that’s really where it ends.Iliketoaddcrazycolors,allkindsofstones.I love custom-making something for someone, and I don’tlovehaving12ofthesamething.You’llnever come to my shop and leave with something right away. I have my wait list I have my customers that arehappilywaiting
Goingbacktomeinhighschool,Iwasobsessed withmybuddyMando’sbelts[atMurilloLeather].I wanted one with my first name, some with my last name. I wanted one in black, one in brown, one in burgundy. I had one that said “Dodgers” in blue. I just wanted everything. [A belt] just secures it all together, plainly put. That’s what a lot of people overlook. They think people don’t notice their plastic peeling belts that really don’t do their job. These are real leather belts that are tough, that youcanuse.They’regoingtolast.
—AstoldtoElisaWoukAlmino
Dunrite Leatherworks is a made-to-order leather goods company based in Downtown Los Angeles, crafting bespoke pieces that seamlessly blend traditional craftsmanship with contemporarystyle.Withakeeneyefordetailandacommitment to quality, Dunrite creates unique leather goods that tell a story of skill, dedication and the vibrantspiritofL.A.
BELTS BY GUILLERMO CUEVAS OF DUNRITE LEATHERWORKS, INCLUDING HIS SPECIAL TRIBUTE TO THE STUDDED BELT.
BEA UT Y &FASHION
VI SION ARIES
The beautyand fashionindustries areconstantlyevolving, driven by innovation, creativityand adeep understandingofconsumer desires. In this special sectionofImage magazine,wedelve into some of the greatminds behind the dynamic worlds of beautyand fashion,where ng trends,redefiningstandards thatresonate globally.
iles featuredinthese pages als and companies thatprovide mesunsungsupport forthese ethe lawyers, accountants, smanagers, wealth managers vice providerswho influence the nd thescenes.
econsumer expectations are hesevisionaries areleading the business supportfor the innovative and businessstrategies that Theyare notjustresponding to
thedemands of themarket; they areanticipating future trends and providingguidanceand trusted advice to the latesttrend-makers andhousehold brands alike.
Through these profiles, we explorehow these professionalsare navigatingthe complexitiesofa global market,leveraging best practices and staying aheadinanindustryknown forits rapid changes. Their stories of resilience,creativityand business acumen not only inspirebut also providevaluable insights into what it takestosucceed in the beauty and fashionbusiness today.
Join us as we celebrate the brillianceand boldness of thevisionaries whoareredefining beautyand fashion forthe modernage.
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PaulToddAltman
Managing Director and Partner
TheSageGroup, LLC
Investment Banking
heSageGroup
Paul Altman,managingdirectorand partner at Th in LosAngeles,bringsover30years of expertiseinconsumer mergersand acquisitions. Sincejoining thefirm in 2000,hehas adviseda wide rangeofprivateand publiccompanies,aswellas privateequity firms, handling transactions with enterprisevalues reaching billions.Altmanspecializesinconnectingcreative and design-orientedentrepreneurswith optimal partnersfor their premiumbrands. Hisextensive portfolio includes high-profiledeals in luxury products, fashion,beauty andother dynamic lifestyle sectors.Recenthighlights of Altman’s career includerepresenting Oribeinits saletoKao and HenryRosein itsinvestmentfromSandbridge.Notable fashion and direct-to-consumer transactions includePuraVida’ssale to Vera Bradley, Blenders Eyewear’ssaletoSafilo and Frankies Bikinis’ deal with Victoria’s Secret.Altman’s role extends beyond transactionalsupport to encompass coaching,strategizingand problem-solving. He takes prideinguidingclients through complexM&A processes, ensuring they achievetransformative outcomes
DulariAmin Co-Founder Sidelines
PrivateEquity
VentureCapital Investors
DulariAminisa seasonedexecutive, entrepreneur and investor with over 20 yearsofexperience in building and scaling early-stageand growth companies, particularly in consumerproducts and services.Asthe co-founder of Sidelines, she has been instrumentalinconnecting newinvestors with emergingbillion-dollar enterprises,guiding companies through fundraising,strategic growth andoperational excellence. Amin’s entrepreneurialjourney includes co-founding Phenomenon, a business transformationagencythatshe grew to over $100 million in revenuebefore successfully exitingtoprivate equity.Her leadershiphelpedPhenomenonpartner with majorbrands such as Adidas and PaigeDenim,earning industry accolades includingWebby,One Show andCannes Lion awards. In additiontoher business ventures,Aminisdeeplycommittedto socialimpact, serving on theboardsof organizations like Woodbury University, Larchmont Charter School andBeyond Capital. Sheisarecognizedleaderin economicempowerment, having been featured in prestigiousforumsand publications like AdvertisingAge andthe LosAngeles Business Journal. Amin holds degrees from theFashion Institute of Technology and HarvardBusinessSchool
AshleighBarker Director LincolnInternational Investment Banking
Ashleigh Barker,director at LincolnInternational, has been atrailblazerin herindustry.With over a decade of experience in the beauty,wellness, luxury, retail andapparelsectors, Barker excels as both an adviser anda corporate M&Aspecialist.Her background includes workingwith The EsteeLauderCompanies and leadingdomestic andcross-border M&A transactions, as well as capitalfundraising.AtLincoln International, Barker hasbeen pivotalinbuildinga successful beauty and personal care platform. Herextensive networkand strong relationship-building skills have fostered connections with founders,investors andindustry leaders, enhancingLincoln’s reputationinthe beauty sector. Barker hasadvised prominent brands like Rael,Patrick Ta Beauty andSkylar Beauty andhas contributed to notablepublications such as Women’s Wear Dailyand Vogue Business. Shealsoco-headsthe Lincoln Women’sNetwork,supportingthe professional growth of over 100 womenglobally andservingasamentortoguidefemale leaders through thechallengesofa male-dominatedindustry.Additionally, herleadershiphas been crucial in expanding Lincoln’s LosAngeles office,elevatingthe firm’sWestCoast presence and influence
GinaBibby Partner,IP, Technology/GlobalHead of Fashion Technology
WithersBergman LLP
LegalServices
Gina Bibby, aformersoftware engineer and currentglobal fashion-tech practice lead at Withers, is apioneeringforce at the intersectionoffashionand technology.Her career spans from prominent SiliconValleylaw firmstoestablishing herown practiceand now leadingatWithers. Herworkincludeshandling complexIPdisputes,technology licensing and privacymatters. Recent achievements includesecuringthe dismissal of patent infringement litigation, achievinga favorable settlementinatechnology agreementdispute, advisingonIPlicensesfor sustainable fashion brands and enforcingintellectualproperty rights forcelebrity clients.Bibby is alsoa prominent speakeronfashion-tech and privacy, participatingineventssuchasVogue Business’ Founders’Forum and SOURCINGatMAGIC Hercommitmentextends to mentoring youngprofessionals and promotingdiversity, evidencedbyher rolesatCaliforniaState University,Long Beachand Southern University LawCenter. Recognized as aMinority Leader of Influence and Woman of Influence,Bibby also contributes to Withers’ DEI initiatives and serves on theboardofRemake, a nonprofit focusedonsustainable fashion.
ChristinaChang Partner NixonPeabody LegalServices
ChristinaChang, partner at NixonPeabody,isaprominent leaderatthe firm whereshe heads thefirm’s diverse, womenledEntertainment andSports &Stadiumspractice teams.Her work encompassesglobalentertainment,sports and corporate transactions forclients across technology,fashion, advertising and data privacysectors. Changisknown forher expertise in intellectualproperty monetization, includinglicensing, endorsement dealsand regulatorycompliance. Hernotable achievements includemanagingIPrights forhigh-profilepersonalitiesand negotiatingcomplexagreements in entertainment andfashion.Chang hasbeen recognized in Variety’s“Dealmakers Impact Report” and listed in Best Lawyersand SuperLawyers Rising Starsfor heraccomplishments. Sheplayedapivotal role in building NixonPeabody’s entertainment teamand serves as atrusted advisorfor celebrities,brands and sports teams. Herrecentworkincludesstructuringhigh-profileendorsements, managingfashion and beauty licensingdeals andensuringcompliancewith advertisingregulations. Chang is committed to advancingdiversity andinclusion, activelyparticipatinginDEI initiatives and mentoringunderrepresented talent.She is also aboard memberofthe nonprofit Remake, focusingonsustainable fashion
SusanAveryFord
Commercial Banker
JPMorgan Chase CommercialBanking
SusanAvery Ford is adistinguishedcommercialbanker at JPMorgan Chase, known forher dedicationtoempowering womenand diversebusinesses. With over 15 yearsinthe industry,Fordhas earned areputationasaleaderinbeauty and apparelbanking.Asa podleaderfor theFemale Founders segment at JPMorgan Chase,she activelyadvocates forintentional investmentsinthe successofunderrepresented entrepreneurs. Ford’s influence extendsbeyondbanking;she hascurated over 20 industry-focused events,forgingpartnerships that have ledtosignificantcapitalraisesand successful exits.Her expertise in credit andoperational risk management has been pivotal in helpingclients mitigate liabilities whilesafeguardingthe firm’s reputation. Herleadershipinsupplierdiversity programs has provided crucialaccesstoventureand debt capitalfor minority and women-owned businesses. In addition to herprofessional accomplishments,Fordisa passionatevolunteer,mentorand advocate forfemale entrepreneurs. Shealsosupports thearts and is acertified instructor specializingintrauma-informed yoga
EllieL.Heislerisaleading attorneyatNixon Peabody,renownedfor herexpertise in theentertainment,beautyand fashionindustries.She represents over 40 top contentcreatorsacross platforms like YouTube, TikTok and Instagram, specializingin intellectualproperty protection and monetization. Herworkincludesnegotiating brand andendorsement deals, navigating exclusivityissues and ensuring FTCregulatory compliance. Heislerisrecognizedfor hersignificant contributions, beingnamed in The Hollywood Reporter’s“PowerLawyerList,”Variety’sLegalImpactReportand Business Insider’slistofleading attorneys fordigitalcreators. Shehas also been honoredas one of thetop 40 attorneys under40bythe LosAngeles DailyJournal.Her extensive experienceincludes advisinghigh-profilebeautyand fashion brands, such as James Charles’Painted,Nikita Dragun’s Dragun Beauty and EmilyRatajkowski’s Inamorata Heislerprovides comprehensivelegal counselonbrand building,licensing and IP protection, frequently speaking on FTCadvertisingregulationsand celebrity licensing.
MelanieHoward, chairofLoeb& Loeb’s intellectualproperty protectionand luxury brands practices,isa leadingadvisor for prominent luxury andbeauty brands such as Saks Fifth Avenue, CanadaGoose and SuperOrdinary. Renowned forher practical, business-orientedguidance, Howard combinesdeepindustry knowledge with creativity and technologicalexpertiseto support brands across luxury fashion, beauty,wellness, sports,entertainment and artificialintelligencesectors. Howard’s expertise includes managingIPassets, facilitatingstrategicalliances andnavigating regulatorychallenges.Her leadershipin launchingLoeb’sluxurybrandspractice, recognized as theBestNew Luxury Law Firm Practicein2021, highlights herrole in advancingbrand protection, privacy, complianceand disputeresolution. She also counsels on emergingareas like AI, cryptocurrency and blockchain, guiding clients on AI governance, privacyissues and IP risks.Recentmattersinclude advising SuperOrdinaryonglobal brand management, BravoSierraonclean personal care and theestates of Kobe andGiannaBryant on brand protection. Howard’s probono efforts and leadershipindiversity initiatives underscore hercommitmenttoenhancing professional and community impact
MarissaArielle Lepor Director and Head of Beauty &Personal Care TheSageGroup Investment Banking
Marissa Arielle Lepor, directorand head of beauty &personal care at TheSage Group(Sage), has blended entrepreneurialspirit with investment banking acumen
From an earlyage,Lepor’s passion forfashion ledher to couture camp and internships with prominent figures such as SergeAzria and JoyceAzria.Aftergraduating cum laude from ColumbiaUniversityin 2016, LeporjoinedSage, an investment bank specializinginmergers & acquisitions and capitalraisesfor branded consumersectors.Lepor’s work involves representingfounder-owned businesses, navigating transactions worth hundredsofmillions of dollars and offering comprehensive support from growth planning to investor meetings. In additiontoher role at Sage,Leporco-foundedLAdiesinFinance, agroup fosteringa networkofwomeninfinanceand ThePinkPig, atequila brand promotingfemale empowerment. Sheisactively involved in various organizations, includingthe Milken Institute’s Young Leaders’Circle, LACMA’s FutureArts Collectiveand theHolocaust Museum LosAngeles.Lepor’scommunity impact extends to mentoring students,supportingnonprofitsand elevating female founders
CarlMiller
Managing Director, Consumer Practice Objective, Investment Banking &Valuation Investment Banking
CarlMillerisamanaging director at Objective, Investment Banking &Valuation, wherehe spearheads theConsumerPractice. With over15years of experience in investment banking and transactionadvisory, Miller has developed arobust trackrecordinmergers, acquisitions, capitalraises, restructurings and strategic advisory. Miller’sinfluence extends beyond transactions; heactively contributes to theSouthern California business community and supports professional networkingand educational events throughorganizations like theAssociationfor Corporate Growth and theExitPlanning Institute. Hisinvolvement in industry conferences, such as MAGICLas Vegasand ExpoWest, further amplifies the reachofObjective’sConsumerPractice.Under Miller’sleadership, theConsumerPractice has executed notable transactions, includingthe sale of Kindred BravelytoTZP Group, among others.The practicehas received accoladessuch as theConsumerDiscretionaryDealofthe Year (Under $100MM)bythe M&AAdvisor.Miller is also recognized forhis thoughtleadership, regularly publishing ConsumerM&A market reports that providevaluable industry insights
MicheleMiyakawa Co-Founder and Managing Director Moelis &Company Investment Banking
MicheleMiyakawa,co-founderand managingdirectoratMoelis &Company, brings over 25 yearsofextensive experiencein finance, specializingincapitalraisesand strategicadvisoryfor high-growth consumer anddirect-to-consumersectors.Her deep industry relationships andexpertisehavepositioned herasaleading advisorinthe investment banking world. Miyakawa beganher career at Donaldson, Lufkin &Jenrette (DLJ), focusingonhigh-yieldbonds.AfterDLJ wasacquired by Credit Suisse,she joined UBS to help reviveits U.S. investment banking franchise,later co-founding Moelis &Company. At Moelis,she hasplayedapivotal role in scalingthe firm from 10 to over 1,200 employees globally,serving as COOofglobaladvisory. Miyakawa’s leadershipwas instrumental in Moelis’2014 IPOand thedevelopment of its analystand associateinvestmentbanking program, which is renowned forattractingtop talent.Since 2019, she has ledthe beauty and personal care andhigh growth/ DTCcoverageatMoelis, focusingonhigh-growth consumercompanies and digitallynative brands
AramehZarghamO’Boyle Member Mintz LegalServices
Arameh ZarghamO’Boyle standsout as apioneering attorney in thelegalindustry,notably as thefirstfemale partner at Mintz’sexpanding LosAngeles office.With over 15 yearsof expertise,she has become asought-after litigator specializing in thecosmetics &personal care products sector.Her practiceencompassesa broad rangeofindustries including medicaldevices,pharmaceuticals, food and retail.Inher career,O’Boyle has representedadiverse arrayofclients in thecosmetics &personal care products space. ForDebut Biotech,O’Boyle provided critical guidance on thelaunchofits DEINDEskincarelineand navigatedcomplexitiesrelated to MOCRA, false advertising andProposition65claims. ShealsoworkedwithCaldera Labs,conducting alitigationrisk assessment andoverhauling thebrand’swebsite to minimize falseadvertising claims. ForSEEN Hair andSkinCare, O’Boyleachievedthe dismissal of multipleclaims underCalifornia’s ConsumerLegal Remedies Act(CLRA)withoutlitigationorsettlement.Additionally,she representeda distributor of householdproducts in anationwideproducts liabilitycase involvingcontaminationbya rare bacteria.
Kelly Raney, partner at Greenberg GluskerLLP,provides expert counseland defense to employersand managementacross abroad spectrum of employment lawissues, addressing matters at both stateand federallevels. Sheserves adiverse client base, rangingfromstart-ups and high-net-worth individuals to largeFortune 500 companies In additionto herfocus on employment law, Raneyhas substantial experiencein high-stakes intellectualpropertyand commercialcontractdisputes,havingauthored briefs and appearedatthe federalappellate level. Herbackgroundineconomics and business,combinedwith herlitigationskills, allows hertostrategically advise clients whileunderstanding theirpriorities and goals. Within herfirm,Raneyisaprominent leader, chairingthe mentorshipprogram andleading theonboardingcommittee fornew lateralattorney hires. Raneyisalso aleadershipand founding member of GrapevineNext-GenWomenfor Good, LosAngeles Chapterand has astrong passion forsupportingwomen-owned,led and foundedbrands. Recently,she coledthe firm’s“FashionYourNetwork”event,which showcased23consumerproduct brands from women-owned or foundedbusinessesacrossvarious industries
Elizabeth Sbardellati, partner at Greenberg GluskerLLP,excelsinmonetizingher clients’brands through acquisitions, salesand licensing of intellectual property.She also manages celebrity and influencerendorsement dealsand partnerswith clients to enforcetheir intellectualproperty rights. Herpractice involves defending against intellectual property infringement disputes before theTrademarkTrialand AppealBoard and in federalcourt. Amongher notable achievements,Sbardellati represented SKIMSinits partnershipwith theNBA, WNBAand USABasketball, whereSKIMS became theofficial underwearpartner.She also handledthe collaboration between SKIMS and Swarovski.Additionally,she negotiatedthe Good American xBody Glove collaboration and represented Marley Merchandisinginlicensing Bob Marley’s intellectualproperty forapparel and othergoods. In herfirm,Sbardellatiis arecognizedleader, notonly leading the TrademarkProtection& EnforcementGroup butalso chairingassociate recruitingand managingthe summerassociate program. Sheisactivelyinvolved in thefirm’s diversity committeeand recently revamped thementorshipprogram to enhance engagement and support forassociates.
JessicaSganga Partner
Knobbe Martens LegalServices
Jessica Sgangahas established herselfasa formidable advocate forbrand protection, particularly within thefashion and beauty industries.Asapartner at Knobbe Martens, aprominent intellectualproperty (IP) firm, she has garnered areputation as aleading IP lawyer in LosAngeles.Her expertise spans domesticand international trademark,unfaircompetition, copyrightand advertising matters,offeringcomprehensive legalcounseltobothwell-known and emergingbrands. Sganga’s notable clients includeprominent namessuchasOlaplex, Revolve, ANTA,lululemon, Arbonne and Nail Reformation. Asignificantaspect of herworkinvolvesrepresenting Olaplex, aleading beauty brand that went publicwith avaluation exceeding$15 billion. Internally at Knobbe Martens, Sgangaisa leader, servingonseveral firm committees such as thementorcommittee and thesummerassociate activitiescommittee. Sheisdedicatedto mentoringfutureattorneys, reflecting thesupport and guidanceshe has received throughouther career.Her exceptional standing in the California legalcommunity is underscoredbynumerousaccolades.In 2023, she wasnamedamong the“Top100 Lawyers”and “Women of Influence”inLos Angelesbythe LosAngeles Business Journal.
DaveYoung Partner CooleyLLP LegalServices
Dave Young, partnerand co-founderofCooley’s SantaMonica office, stands at theforefront of theintersectionbetween innovation, technology and thelaw.Young serves as astrategicadviser to both publicand privatecompanies,frequentlyguidingventurecapital firmsand investorsthrough complexfinancings.His extensive client list includes adiverse arrayofbeautyand fashion companies such as IconicBeauty,Eighth DayLabs,SummerFridays,Humanrace,Krete, Burst, GLOScience,LawlessBeautyand manyothers. Young’strack record includes advisingonvarious impactful deals, such as Dollar ShaveClub’ssale to Unilever,Supernatural’s acquisitionbyMetaand True Botanicals’$50-million Series Binvestment. In additiontohis professional achievements,Young is deeplycommittedtocommunity involvementinLos Angelesand Southern California. Since2012, he hasserved on theboard of directors forThursdayNights, anonprofit organizationdedicatedtofosteringconnectivity and community within L.A.’s innovationand growth economy. Theorganizationhas raised over$2million to support local at-riskyouth through donations to theBoys& GirlsClubs of America,CARSLAand othercauses.
CLOCKWISE FROM TOP RIGHT: GROWING TOGETHER: ON SET WITH HUMBERTO LEON & THE GLOBAL GIRL GROUP KATSEYE PHOTOGRAPH BY ANDY JACKSON, STYLING BY ALY COOPER; THE MEETING OF ZANA BAYNE & BUSTEDBRAND: WHAT HAPPENS WHEN A LEATHER MAMA AND A LATEX DADDY FALL IN LOVE? PHOTOGRAPH BY NATALIA MANTINI, STYLING BY BRITTON LITOW; PRESENTING ‘MISS KOREATOWN’: RE-CREATING K-TOWN BEAUTY PAGEANTS FROM THE 1980S AND ’90S, PHOTOGRAPH/PRODUCTION BY EMANUEL HAHN; CALL IT THE BOW ATTITUDE: APRADA DRESS MADE BY HAND BRINGS RIBBON TO LIFE, PHOTOGRAPH BY ANGELLA CHOE, STYLING BY KEYLA MARQUEZ
