The Daily Front Row

SATURDAY-SUNDAY SEPTEMBER 10-11, 2011

It’s

here! collect & Discuss

a i d e m e h t

kevin & e i b rob hite W e t a K n Gan e h p e t S

ratt jane p ichelle M & nce Consta ll Russe t e r a Marg Spiers h t e b a Eliz organ M n a y Br Alexis d guy n a t s s ew the n

e u iss PLUS!

HAVE YOU SEEN PATRICK MCCARTHY

?

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Style!

The repeat CFDA winner and new Mercedes-Benz Presents designer, Derek Lam, has been a driving force in fashion for over a decade, building a reputation for combining sophisticated, modern, and feminine (not fussy!) looks for the chic elite. We chatted with Lam to get the scoop on not only his Spring 2012 collection but what everyone really wants to know...is he a good driver?

Congrats on being selected as this season’s Mercedes-Benz Presents designer!

It feels wonderful, thanks. I really respect what Mercedes-Benz stands for as a brand and I am impressed with their support of New York’s fashion industry.

Are you doing any other events this week?

I can’t really focus on much else and if I do take my mind off the collection, I’d rather relax with yoga or dinner with friends.

What’s your Spring 2012 inspiration?

I was inspired by some of the iconic West Coast homes created by the architect Richard Neutra. I love the strong and optimistic color palette and the modern mixes of geometric patterns.

Are you a Mercedes-Benz owner?

I have a Mercedes-Benz GL 450 SUV and I love it. I don’t personally drive it though, my partner, Jan, does because my license expired and I haven’t had time to renew it.

Tell us about one of your favorite rides.

I always fall asleep in the comfortable passenger seat approximately three minutes after the motor starts.

Are you a good driver—sounds like you’re a better passenger?

I’m a great driver, of course, but an even better passenger. Jan prefers it that way too. I don’t make any comments on his driving.

What’s your ultimate driving play list?

Right now, it’s Adele all the time!

Have you ever gone on a road trip?

Not really unless the weekend commute to Fire Island counts. We did venture to the Berkshires once, very nice!

What are you doing after the show to celebrate?

I’ll have dinner with my team and some friends, spend a few days of rest at Parrot Cay in Turks and Caicos with Jan and then off to Milan to prepare for the Tod’s presentation!

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“It’s just…better!”—Lara Stone on how her life has changed since landing the Calvin Klein campaign Gettin’ it Daily: Coco Rocha Karine Vanasse

Christina Ricci Anna Wintour Italo Zucchelli

your daily dose

N OLLECTIO

HEARD AT FNO!

Lisa Perry

Y LISA PERR

Emilie Crigler and Jordyn Kessel

Am I ready for my show? Of course not. But I will be tomorrow!

—Carolina Herrera

EIN C CALVIN KL Francisco Costa

“This constitutes my wildest night out.”—Tilda Swinton at Saks. ☛ “I’m not drinking until the show. Seriously!”—Prabal Gurung at Saks. ☛ “My career!”

—Christian Cota, when asked who he’s in love with, at Saks. ☛ “If rosé isn’t appropriate to drink now, then I love it even more!”—François Nars signing books at his store. ☛ “Five policemen came and we thought, Oh my goodness, are they going to be escorting us out of here? But they ended up asking us to do it again because they didn’t get to see it all.”—Coco Rocha outside of Z Spoke’s FNO party, on the flash mob dance party she hosted earlier in Herald Square. ☛ “All I want to do right now is eat some tacos. Ugh!”—a stilettoed reveler waiting to get inside the Chanel boutique on Wooster, circa 10 p.m.

Nora Zehetner

“Yes, I am in love!

With Taylor Swift.

She doesn’t know that, though. But one day, she will!”

Thomas Jane Rose McGowan Bridget Moynahan

VATOS JOHN VAR

Hunter Parrish

!

GAL ON THE STREET

Meet FNO superfan ASHLEY TEATER! Where are you from?

I’m from Syracuse, but I don’t want to talk about it. I live in Midtown now.

Where was your first stop of the evening?

Well, we tried to go to the Limelight for free slices of Grimaldi’s.

But they were bigtime liars! There was no free pizza! I’m upset with them. I could’ve gone on a shopping spree at T.J. Maxx instead.

And then?

We came back to the West Village and went to Marc Jacobs. They screwed us over left and right! They had FA S H I O N W E E K D A I L Y. C O M

a great deal on these pink and purple rainboots, but they were too small. I have canoes down here!

And then?

Lulu Guinness was dead, but we got these masks and free totes at Mulberry. The cocktails are pretty good, too.

How many drinks have you had?

Maybe, like, not that many. We’re still feeling pretty sober. I think two or three.

Yes, three drinks.

Is the free alcohol important?

It’s 50% of why I’m here. The free stuff is the other half. I haven’t spent anything tonight, and it’s been great!

Audrianna Cole

Robert Verdi

Oscar de la Renta et famille

Linda Fargo

Michael Kors

DMAN O O G F R O D BERG Gilles Mendel on the cover : natasha poly in dolce & gabbana , pho tograph by greg kessler / firstview lisa perry : sha u n mader / patrickmcm u llan . com ; bergdorf goodman : neil rasm u s / bfanyc . com ; bfanyc . com ( 6 ) ; patrickmcm u llan . com ; S tefania C u rto

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Natalie Cole

Charlene de Ganay, V. Bruce Hoeksema, Valentino, Georgina Brandolini, Giancarlo Giammetti

your daily dose Carlos Souza

Chloe Malle, Candace Bergen, and Eleanora Kennedy

Valentino

FNO WHAT THE HACK! Revisited…

TRANSCRIPT: 9/6, 8:11 a.m. phone conversation between French editrix and her equally French publicist Editrix: So what do you have for me today?

Publicist: A 2:00 p.m. rendez-vous with Rue La La and a 2:30 p.m. lunch with Bryanboy.

Editrix: Mon dieu! Any press requests?

Publicist: Fashionista wants you to document your Fashion Week outfits. You can just send in iPhone pics.

Editrix: Mais oui!

Publicist: What’s on today’s agenda?

Editrix: Une coiffure chez Frédéric et un peu de shopping chez Barneys. C’est fatiguant!

Publicist: I won’t interrupt you.

Editrix: Unless David Carey calls!

HEARD

“I rode the rapids, I saw a bald eagle. I met a million people. It was outrageous. I did half of it with Joey Arias, so you can imagine how fun that was, and the other half with Laura (Wills) from Screaming Mimi’s. I saw a million friends along the way, but we also did a lot of wildlife stuff in the middle of nowhere.”—Kim Hastreiter at Cushnie et Ochs. ☛ “It’s a juxtaposition between innocence and decay. Basically sweet and creepy. I found myself inspired by Minnie Mouse and Wednesday Addams.”—Rachel Antonoff’s collection inspiration

Man On the

Street

Rapping at Kate Spade Soho?

Only at FNO. Meet Jon, an executive assistant at an undisclosed company, who brought the house down with his inspired rendition of Lil’ Jon’s “Get Low.” You were a hit! What line made all the girls go crazy?

I think it was the “sweat dripping down my balls” line.

That’s my show stopper.

What dance move scored the most applause?

The stop and wiggle wit’ it.

What does FNO stand for?

Fashion’s Night Out—or fun, naughty and outrageous!

Who is Kate Spade?

I honestly don’t know. I walked into the store because they had karaoke, and I’ve had a long day.

What do women shop for at Kate Spade?

Couture.

Lanvin FNO

WHO KN E W W T Anna ERE FRIEN HEY DS D ello Karolina Russo? lookin and Kurkova g were at M mighty acy’s chummy FNO party …

Sarah Sophie Fliker, Karen Elson, and Tabitha Simmons

Siri Tollerod Iman

DOG DAYS! With Kimberly Ovitz at her show How are your pups?

Matzah Ball and Locks are doing great!

Do you take them with you to the office?

Every day.

Do they get into any doggy mischief?

Sometimes they eat my patterns, but I don’t get mad.

We hear you’re a self-professed gum addict.

Oh shit. Yeah. It’s probably not the most attractive thing.

What’s your flavor of choice?

Cinnamon Orbit.

How many pieces do you chew a day?

I can’t even count, man!

Probably 10.

REMINISCING! With Diane Gordon (mom of Wes!) What was Wes like as a little kid?

He started drawing at about two years old. A perfectionist! Never a moment’s trouble with Wes. Ever! I know that sounds rehearsed.

Do you like his new ‘do?

His hair looks great. It’s not so long!

Did he do homework?

He said he did, but I found out years later that he was upstairs doodling and drawing.

Did he have a favorite toy?

A darling little white bear.

And then a little white dog!

Do you have any other kids?

Our 21 year-old daughter, who goes to UVM in Burlington, Vermont. She is the ying to Wes’s yang. She couldn’t care less what she wears.

How proud are you?

We sent him off to Central Saint Martins, and didn’t know if we’d have a starving artist in our basement for the next 20 years. But we’re not that amazed, because we Diane and Wes Gordon knew he was capable.

Joe Zee FA S H I O N W E E K D A I L Y. C O M

V alentino : N icholas h u nt/ patrickmcm u llan . com ; lanvin : A S cott/ b fanyc . com ; randi ale g re ( 3 ) ; patrickmcm u llan . com ( 3 ) ; collectiveedit. com ( 2 ) ; g etty ; sh u tterstock

the

z n e B s e d e c r e M s e k a t ! m r o t s y b k e e Fashion W September 8-15 The New York Public Library for the Performing Arts Donald and Mary Oenslager Gallery 40 Lincoln Center Plaza

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THE DAILY WONDERS…

The Missoni clan!

What’s the most you’ve ever spent at Target?

Emma Roberts

Joy Bryant Nina Garcia: Probably $500, and I got a lot. It was Christmas!

Doutzen Kroes: $250 Joy Bryant: Let’s just say I beat Nina Garcia.

Kelly Bensimon: I rented a house this summer Kelly Killoren Bensimon and spent about $2,000 at Target furnishing it.

Malin Akerman: Maybe $2,000...

Georgina Chapman: $700. I have three stepchildren!

Rachel Roy: That’s a little personal.

Angela Missoni

REVEALING SECRETS!

your daily dose

With Margherita Missoni What’s your most hushhush Target purchase?

Old-lady spandex. You have to be with a man you’re comfortable with!

Where is your favorite Target?

The headquarters in Minneapolis. My mother and I literally bought everything: stationery, kids’ stuff, Christmas decorations….

What’s your favorite Missoni x Target item?

The patio set is amazing.

I just ordered it for my apartment in Milan.

SCENE Veni, vidi, Missoni. To kick off the fash dash, Margherita and Angela graced NYC to toast the Missoni for Target collection, which they (especially Margherita!) toiled over for months.

What did they tell us about their time in Minnesota? We always keep your secrets, darlings!

BIRTHDAY WISHES! With Rachel Zoe What’s your go-to birthday cake of choice?

A triple-berry shortcake, or a carrot cake.

What’s the most expensive Target receipt you’ve racked up?

I legitimately have no idea.

What’s your key survival tactic for weathering fashion week?

Kissing my son a hundred times a day!

Camilla Alves and Camilla Belle

Alessandra Ambrosio

Malin Akerman

DINING & DISHING!

MAJOR SPENDING!

With Elizabeth Olsen FW itinerary, please.

I don’t have any plans! This is literally my only event.

What?

Fashion intimidates me because it’s not the world I know.

So what gets you jazzed?

Food!

Favorite restaurant?

Il Buco.

Do you wear The Row? All the time! Whatever they’ll give me, I’ll take.

Do you raid their closets?

Not really, because I’m so much bigger than them. My friend gets their leftovers!

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

With Amar’e Stoudemire

Keren Craig, Poppy Delevigne, Georgina Chapman

“A toilet brush?”—Doutzen Kroes’ guess about Margherita Missoni’s most hushhush purchase

Martha Stewart

Are you a spa guy?

I like a good massage, but I do that when fashion week is over. It doesn’t make sense to get one when it’s all happening!

What’s the biggest Target receipt you’ve ever racked up?

I think I spent seven grand at Target one time. I bought clothing for my kids, everything for my house, and lots of snacks.

B FA N YC . C O M ( 1 3 ) ; PAT R I C K M C M U L L A N . C O M ( 2 ) ; S H U T T E R S TO C K

S:10.25”

S:13”

Empowered.

Inspired.

I am in charge.

PHOTO BY DAVID GUBERT

I choreograph my personal story.

en@condenast.com r, at 212-286-7694 or Laura_McEw lishe Pub & t iden Pres Vice , wen tact Laura McE Empower your brand with SELF, con print // digital // mobile // live events // iPad

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9/2/11 11:56 AM

ERT! TRUE BLOOD HOTTIES AL d and Kristin Alexander Skarsgar k’s 15th Bauer graced Blackboo ys, you shoulda Anniversary Party. Gu sent us a tip sheet!

Alan Cumming

Glenda is the best gunfor-hire at any event.

Her speeches are so well-crafted, she could write for Saturday Night Live.

—Linda Fargo

your daily dose SCENE Happy 10th, Glenda! The

Caroline Brown

The key is to enjoy the journey—and I can’t wait for the next 10 years!

—Glenda Bailey

I’m trying to have fun and remember why I do this and why I love it.

—Reed Krakoff

BAZAAR BOOK PART Y!

Bazaar-itrix toasted her decade at the glossy with a new book, Harper’s Bazaar: Greatest Hits, and a party at ICP to celebrate. In attendance: Rachel Zoe, the Marchesa girls, and every fashion CEO worth mentioning. ☛ Lisa Salzer drew friends, family, and fashionettes galore to her Gramercy Park studio to toast her Spring collection, entitled “Endless Summer.”

Oh, honey, don’t we wish! ☛ AND! Nobody seems all that worried about the Post Office debacle. But darlings—how do you think your readers get your magazines? You don’t want to be even more dependent on newsstand, do you?

Terry Richardson Mark Seliger

Monique Péan

GOING POSTAL! Is anyone else as upset about the impending bankruptcy of a great American institution?

WHEN WAS THE LAST TIME YOU WERE AT THE POST OFFICE? Glenda Bailey: Very recently—I was there to send a bunch of parcels to all of my friends. Everyone is turning to social media and abandoning traditional mail today, but I just love a hand-written note. Particularly because I’m British, I appreciate having the Queen on our stamps over there. If a stamp can inspire Warhol, it can inspire all of us.

Linda Fargo: Well, I guess I’m one of the reasons they’re closing the post office, because I haven’t been to it.

But I live and die by the mobile postal trucks. I buy my stamps there—yes, I still use stamps!

Elizabeth Olsen: Besides shooting a scene in the movie, the last time I went

to a post office was to pick up a package that I wasn’t home to sign for.

Reed Krakoff: I don’t remember! That says a lot about the post office these days.

Steven Kolb: I was there on Saturday.

I am a huge fan of the post office, I go there at least twice a month because I’m obsessed with stamps and am always buying them.

Stephanie Winston Wolkoff: Without it I wouldn’t be able to mail my daughter’s applications for school!

Pat Cleveland: Thank god this didn’t happen when my mom was working at a post office, because she put me through school. Technology is wonderful, but at the same time, it’s hurting people.around the world.

Nate Berkus: An American post office?

With my stepmother, when I was probably eight. We sent Christmas gifts to someone.

lULU FROST

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editrix WATCH A vet of Vanity Fair and Elle with a spate of fashionable familial connections, Alexis Bryan Morgan, is nearing her first anny in an upper masthead title at Condé, tailored just for her.

The Daily grilled Lucky's executive fashion director on tutto from Brandon Holley to, ahem, her heavyhitting taste in music.

Metallica, anyone?

BY ALEXANDRA ILYASHOV What was your first fashion job, exactly?

I got a part-time internship at Tommy Hilfiger while I was still going to NYU, and I spent a year there.

I worked with Ginny Hilfiger—it was unbelievably fun and creative, and I was actually getting paid. I stopped going to graduate school a semester short of getting the degree. I always planned to go back and finish, but it’s too late now.

What were you doing at NYU? I was working in San Francisco, not doing anything artistic, when I applied to NYU to study music composition for movies on a whim without telling anybody. I moved here when I got accepted; I was 23years-old. I was living with my father [Anna Wintour's paramour, Shelby Bryan] and realized it was going to be really hard to have a career as a musician—and really hard to get by in NYC without a job. I still do have a baby grand piano taking up half my living room.

How did you end up in the mag world scramble?

An associate fashion editor position opened up at Vanity Fair in 2003 or 2004, so I interviewed for it a few times with Elizabeth Saltzman and Anne McNally, who were the fashion directors at the time. The job was basically a lookbook filer. I did a lot of market work, which involved a good amount of travel. I did the couture and ready-to-wear shows in Europe. I also went to the watch fairs in Geneva, Art Basel in Miami and the trade shows in Vegas. Occasionally I would do a marketing event in L.A. It was an amazing time for me. I was single; I worked all hours; I loved FA S H I O N W E E K D A I L Y. C O M

lucky be a

lady!

Photography by Giorgio Niro

working in fashion and I loved my job. Then I took on the jewelry and fine accessories markets when the accessories editor left, so I became the fashion and fine jewelry editor, and then executive fashion editor. Elizabeth Saltzman was fashion director, but she was in London, so I did pretty much anything that needed to get done in New York. I spent five and a half years at Vanity Fair, and then I spent 10 months at Elle as fashion director before getting a call from Lucky to come on board.

How was Robbie Myers as a boss?

My office was right next to hers, at Elle’s old offices. It had an incredible view; I do remember that! My most memorable times at Elle involve Anne Slowey and Joe Zee, because they are both such characters.

And Brandon Holley?

Brandon really knows how to get the best out of people, and we play well off of each other. She’s all about what’s next. She has that hunger for what’s new and what hasn’t been done before.

Does today’s Lucky reader sling a Rebecca Minkoff or Bottega Veneta on her arm?

The magazine is really about the way a modern woman dresses, which is the mix of high and low.

editrix WATCH

She is very proud to say, 'I found this bargain, isn’t this great?' But she also probably saved up her money and bought those Celine shoes. The “under $100” and “under $50” stories are something that certain publications might have cringed at in the past; now even they think that’s cool. But we are definitely doing more luxury than we have in the past. It’s been a joint effort between Brandon and I—she definitely wants it, too. Our readers’ average household income is $90,000. That’s almost $20,000 more than any other fashion magazines.

If you don’t have some money to spend, you’re not going to pick up Lucky.

Do your friends read Lucky?

My friends now are not fashion industry people.

My very best friend works at the U.N., and one friend is a lawyer; there’s a social worker, and another is in med school—but my friends love Lucky and always have.

Are there mean girls in the mag scene?

Definitely. There's an attitude of, 'We know something, and you don't.' A lot of people want to see themselves as artists. Some are legitimate, but...

Any great advice from Anna [Wintour]?

One New Year’s Eve, when we were talking about resolutions, Anna told me that she would like it if I would sing more—an ability of mine that has proven to be rather useless. To my husband’s dis-

may, I have dutifully taken her advice.

Does Anna like to belt out a tune or two?

Ha! No. She is definitely not a singer. She’s a really good friend, so wise and knowledgeable. She’s one of the funniest people I know. It comes out of nowhere, but it’s so right-on.

Do you bump into her in the elevators?

Well, we frequently stay with her on the weekends. She's family.

Does your husband [writer Spencer Morgan] work from home?

He works in the “dungeon,” which is basically a boiler room. He painted the walls and collected weird things from the giveaway area of our apartment building. There’s a beautiful Moroccan glass lamp hanging from the ceiling. I don't really go there; though—he's the only one with a key!

Alexis with the fam

confessions of a teenage "freak" What were you like circa high school?

I was into metal—I was really into Metallica. I think I went to every single one of their concerts in Houston.

What else did you listen to on repeat?

I liked Pantera, a bit of the Cure, and the Pixies, of course. And I was crazy about Kurt Cobain.

Did your style pick up on any of the fashion cues?

I definitely did a little grunge, but I didn’t really go for the fullon kinderwhore.

Did you shop at Hot Topic?

I was seriously into resale shopping. I would go to this place called Value Village at least once a week. Everything was like a quarter or less. I think I had two piercings in one ear and three in the other. Who knows why? I was very experimental with my clothes.

Are your heavy metal high school days an exception in the haute crowd?

I think the front row at a fashion show is filled with high school freaks and oddballs!

Were your friends metalheads, too?

I had a lot of very unusual and creative friends. I was bored by a lot of people.

I guess I was put in the category of the freaks.

Who were the freaks?

They were fascinating characters. My best friend was a raver. We actually met at a White Zombie concert—I was wearing one of my mom’s old hippie, floral, chiffon ruffled things—and we were both wearing combat boots. She came up to me because we had the same boots, and that was the start of our friendship. She got me into all sorts of trouble.

What other lunchroom tables were there, besides the spectrum of freaks?

There were the “kickers,” who wore cowboy boots and came to school from the farms. The preps had Dooney & Burke bags and wore polo shirts. There were also aspirational preps who would hover around the actual preps, like bees.

There were the Goths, too—I was put with the freaks, though, because I wasn’t theme-y.

Have you caught any head-banging ragers since your high school days?

Listened I’m dying to go to one! I told my husband that if he ever to any Pantera wants to do something to prove he loves me, he could buy lately? me some Metallica concert tickets. I don’t have time to do anything besides work and be a mom right now. But I have FA S H I O N W E E K D A I L Y. C O M

tried playing some Metallica songs on the piano. It’s kind of embarrassing; it’s so not my life now. But hey, they were great musicians!

Do you recall any pivotal music moments?

I most definitely remember the first time I saw the music video for Nirvana's “Smells Like Teen Spirit”—I walked into my kitchen, MTV was always on, and they featured a 10-second clip. Once I got that CD, I went to my room, locked my door and didn’t come out for a long time. I have this huge trunk where I saved every single magazine feature about Kurt.

Do any recent runways remind you of your high school freakiness?

Totally Marc by Marc! Like, I sometimes wonder if he came across WIth husband a picture of me from when I was in high school. Though I can’t Spencer imagine it would be very inspiring.

Morgan What was one of your most rebellious moments?

I went to a very conservative school, St. John’s in Houston, until eighth grade. I was so, so bored—I went crazy there. It was just not for me, and I kept on begging my parents to go to public school.

They said of course not, because I went to this fantastic school where everyone got into Princeton and Harvard. So I stopped doing my homework, and my school asked me not to come back. I was 13.

Were your parents livid?

They were a bit in shock! But then I did very well—I was a straight-A student at a good public school. So I turned out fine.

How did your personal style evolve post-Metallica days?

I spent a year in Belgium during high school, so I had this French thing going on. After I graduated from high school I lived in Paris for two years—it was all about the fashion, the cigarette pants, the smoking! When I moved back to Texas, I stuck out like a sore thumb, since everyone was in khaki shorts. Then, I got to a point when I wanted to be more neutral with my wardrobe; I wanted to be more of the observer. I just feel comfortable being quite classic. I’ve gone to such extremes with my clothes in the past. Now, I just want to wear simple things.

Pat r i c k m c m u l l a n . c o m ( 2)

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, s r a e y 0 2 f o r e n t r y business pa k, o o b is h f o n io t a c li b on the pu n o i h s a F , a ll e r a h c u Isabella C nd a , e r i a n i d r O a r t x E Designer o t s d e e c o r p e h t f o his dedication , r o t a b u c n I n io h s CFDA Fa r o f s e o d e h t a h t ll and for a our industry.

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STILL KICKIN' Can the original wunderkind editrix jump start her career online? That’s the plan with xoJane.com, Pratt’s destination for the kind of first-person provocation that’s always been her trademark. And, of course, tongues are wagging. The Daily dropped by Pratt’s Tribeca abode for the scoop on all things Tavi and Jane's take on what’s wrong with your mags.

Hint: it's a lot!

BY ALEXANDRA ILYASHOV

s ' att r p jane

How’s xoJane going?

I’m producing so quickly, without laboring as much over what I’m writing.

I’m just putting stuff up—you have to!

It was gratifying to learn that people are spending an average of six minutes on xoJane.

Who’s reading the site for those 360plus seconds at a time?

This site was created for women 18 to 49 years old, which was the goal, and we’re hitting our target. I think the strongest numbers are in the 20- to 34-year-old age range. We’re getting about 15 percent men, which I suspected.

Is xoJane making money?

Sure! From a business standpoint, it’s been great to partner with Say Media; an advertising and sales force of more than 100 people around the world who are selling xoJane, as well as other properties.

What else are you proud of?

I’m really proud of our harder-hitting stories, like “my rapist friended me on Facebook,” and my own story called “why my boobs are huge,” which is actually about my miscarriage with the twins. People tell me—and I see in the comments on the site—that they’re both laughing and crying while reading, and that’s what I hoped for.

Are there any dangers of too much navel gazing?

Yes, especially because so much of what we’re doing on xoJane is in the first-person. I hope we don’t take ourselves too seriously. xoJane is about this cast of characters that are like a soap opera—or The Spice Girls, as we’ve been called.

What’s really going on with Tavi Gevinson?

I’m super close with Tavi and talk to

third act

FA S H I O N W E E K D A I L Y. c o m

her and her parents all the time. I feel very invested in her upcoming site, Rookie.com.

What compelled you to cross paths with Tavi in the first place?

There is no better feeling to me than reaching out to someone like Tavi, or Chloé Sevigny, or Spike Jonze. They’re one-of-a-kind, and I see something in them. Helping them take that to another level is thrilling.

Have your intentions for collaborating with Tavi been misconstrued by the media?

I don’t know why, but Anne Marie Iverson from Seventeen, who I worked with at Jane, was quoted saying, “I think Jane needs Tavi a lot more than Tavi needs Jane.” That’s such an old and sad way of pitting women against each other. I was never out to exploit Tavi, or vice versa. When I reached out, I knew that people would find it exciting. Me, the girl that was at one time the youngest editor-inchief of a national magazine, was collaborating with this phenomenon teenager who was writing about being inspired by Sassy. We both really care about helping young women, and we wanted to take things to another level, together.

How mature is Tavi?

People have different emotional ages.

What’s Tavi’s?

Tavi is in her early 50s—it’s as if she’s been around for that many years.

What’s your emotional age?

I’m 17.

What’s wrong with fashion magazines?

A ton! All the covers have stories about 27 ways to drive him wild or 30 ways to make him want to marry you. I want the recipe for the chicken that will make the guy never, ever propose to me.

Actually, I’m going to come up with it and put it on the site—the anti-engagement chicken! What happened to being wonderful as you are, without going through the trouble of dealing with poultry? Or the idea that he’s lucky to have you? Women’s magazines are still very narrow in their thinking.

What do you think of Harper’s Bazaar?

I really like Glenda [Bailey], but I always feel like Bazaar doesn’t have as strong of a point of view.

I’m not as clear about who their reader is; are they another Vogue, or a little more celebrity-oriented? I don’t see a huge point of differentiation. I see a “me too” factor that’s doing very well, clearly. But who's going to say, “I’m only going to buy Harper’s Bazaar—Vogue isn’t for me?" When I edit anything, I want it to be the place for whomever it’s for.

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8/22/11 8:56 AM

bread &

butter

What were you up to before WSJ.?

I came to WSJ. with 25 years of publishing experience, 12 of which were at Condé Nast's International titles. I worked on the foreign Vogues, GQs and Men’s Vogue, so I have a strong fashion background. I moved into a management position at Details, and then became VP advertising director at Travel + Leisure. I first came to the Journal as a multimedia director selling fashion and luxury space across our franchise, and then I was promoted to publisher of WSJ. Vogue-iest story, please.

Well, I lived in the outer boroughs when I first became a sales assistant, so I had to commute, and I would refer to Manhattan as “the city.” The person I worked for was an old guard Condé Nast type—a very cultivated woman. One day, she said, “Don’t disturb me right now. And don’t use the term ‘the city’. Say you were ‘in town,’ because otherwise you’ll immediately denote that you’re from the suburbs.”

How does WSJ. stand out from the glut of fashion bibles?

We position ourselves in a category of one and we tout ourselves as the only read out there. We reach the most millionaires and CEOs. The magazine comes with the newspaper that is delivered to your door at 5:30 a.m.—by eight in the morning, the influencers reading the paper have already changed the world. WSJ. is part of that relevancy; it gets to them on the weekend, when their relative downtime is there. WSJ. helps them decompress!

Do editors get all the credit for running successful mags?

The

Italian JOB

WSJ.’s new publisher entered the biz with Vogue Italia because he wanted a gig where he could speak Italian.

Decades later, Anthony Cenname is raking in top-notch ad dollars for the Journal’s mag vehicle. Is it Cenname’s charm or his themed dinner parties? Pass the lamb ragú!

BY ALEXANDRA ILYASHOV

Any publisher that thinks they should be getting more credit shouldn’t be a publisher!

How do you and Deborah Needleman get along?

It was total love at first sight. We both have that Condé Nast gene: perfection and driving people to do the best they can. We don’t behave that way at the Journal—we apply that approach, but we’ve learned to put it in check and use it to our advantage. We have the same hair color, too.

How do you get professionally chummy with your clients?

Everyone has a guard up, at first—it's all about taking that guard down and getting into each other's circles.

The fun part is taking the Europeans from “No, this is not possible!” to actually making it happen.

How many languages do you speak?

I understand French very, very well, and I speak Spanish and Italian fluently. In fact, I wound up in this industry because I always wanted a job where I could speak Italian. That’s how I ended up at Vogue Italia. I majored in international marketing and minored in Italian, and then someone told me about the sales assistant job opening. I ended up falling in love with publishing, ad sales and fashion; I never thought that would happen!

What’s your secret to the sell?

It’s just about the people, the place, and the product. We’ve hired some of the best people, and we manage through positive reinforcement. We empower our staff to take ownership—and they have. A big part of the Journal’s success is its global appeal. The Journal has become cool!

What’s your daily grind?

I’m up at 5:30 a.m. every day to hear that thump of the newspaper at the door. I make some coffee, and I check out what we’re covering. Then I work out, and by the time I’m back at my computer, the emails have already started pouring in. Sometimes I’ll go on our site in the middle of the night to see what’s going on; on Friday nights I stay up until 2 a.m. to see what Off Duty is going to come up with. No, I don’t see it in advance!

YOU’RE CORDIALLY INVITED…CHEZ CENNAME! Do you really entertain almost every day?

Basically. My entertainment starts with breakfast and often ends with group dinners, many of which are thematic. I love to cook. I’ll use a caterer to serve and have the flow going and work with me, but I always design all the meals. I recently made a zucchini carpaccio with zucchini flowers, from a recipe in Off Duty a few weeks ago—I added roasted pine nuts. It was a good one!

What kinds of themes do you dine over?

The last one I did for the magazine had a Bastille theme at Bar Boulud. There were around 30 presidents of fashion companies at the dinner, plus key salespeople who work on those accounts. It was a wonderful ode to France; most of the luxury FA S H I O N W E E K D A I L Y. c o m

advertisers are French or Italian, so we were able to give them a bit of European flavor in New York.

Did you entertain during Irene?

I live in Chelsea, and a bunch of our advertisers live in my building, so I invited a few over for dinner. I made stuffed zucchini balls with a lamb ragù and rice, along with two big chickens Provençal with Dijon mustard. We had some rosé, ate taleggio cheese, and played Scrabble.

Photography by Giorgio Niro

Second

ACT

DIVINE DESIGN

Margaret Russell spent over two decades helping launch, and then helmed, one of the style-mag set’s most successful forays in the shelter territory at Elle Décor. Less than a year ago, she was named head editrix at the venerable Architectural Digest—the slightly austere glossy’s first passing of reins in 35 years. With a stylethemed issue on newsstands right now and a closet brimming with Prada, Russell is seizing The Daily.

BY ALEXANDRA ILYASHOV Did your predecessor, Paige Rense Noland, congratulate you when you got the job?

There was not a great deal of dialogue between us; congratulations were not in order. But I did inherit an extraordinary magazine and brand. The magazine launched in 1920, but it became AD as we know it today under the reign of Paige.

Everything I’ve done since I arrived has been with a sense of respect for what went on before me, but also a really clear focus on this brand’s present and future. There’s such tremendous value in our archives— right now we’re just figuring out exactly how to make use of them, through, say, e-books or iPad apps.

Do you feel any pressure from following in the footsteps of Paige’s lengthy editorship?

What do you think? There was never any sense of “you must do this” or “preserve that.” But I also didn’t intend to come in and change everything, just for the sake of changing it. In a similar way, Elle Décor wasn’t my Elle Décor, even though I was the guiding spirit behind it for some time.

AD had been sleepy for a few years; the economy was difficult, and the magazine hadn’t been what it could be. Now we get the chance to change that.

Did AD uproot its entire L.A. operation and recreate it at 4 Times Square?

No. They essentially closed the West Coast office and gave people the option of interviewing for a position here. I went back and forth to L.A. last fall. Every single person has been hired to work in both print and digital—I don’t know of any other magazine in that position. I do have a young staff, but there are plenty of well-seasoned people who are just as digitally capable. It’s not like learning Russian!

Fa s h i o n w e e k d a i l y. c o m

Photography by Giorgio Niro

Second

Where are your fingerprints?

Our magazine didn’t have market editors before I came. It’s important that we’re out there, seeing what’s new and presenting products for our readers. There are more people on the magazine’s pages since I got here; we photograph homeowners as much as possible, and we don’t necessarily shoot the designer or architect. Over the past year, the front-of-book has become more clearly defined. I’ve also been working to cover a wider group of architects, designers and homeowners.

How have you tweaked the aesthetics?

We’ve changed the way that we photograph— there’s more sunlight and openness. We’ve kept many things, but we’ve freshened the look, like on the “Estates For Sale” pages, for example.

They’ve always been incredibly popular, but I thought they looked a bit like real estate ads.

People were calling me to find out how could they buy an ad in that section!

What does it feel like to compete with your old title on the newsstand?

I don’t actually think of it that way! The comparison between Elle Décor and AD is definitely not apples and apples; it’s apples and oranges.

I’m so focused on AD, in terms of what it has been and what it should be. Elle Décor was my life for so long—I was there for 21 years, and I helped launch the magazine. It’s been a really interesting transition because when you’re at any place for that long, it’s a huge change.

However, I am getting projects at AD that I never would have gotten at Elle Décor.

What kinds of projects?

The Elizabeth Taylor cover story in July came out of a relationship I brought with me; it probably would have still come to me at Elle Décor, but it’s much better suited for Architectural Digest. There are stories in the upcoming months that are just a different scale than what I’ve done before. Also, around half of our readers are men, which is very different. I can’t ever be girly at AD. Elle Décor was 85 percent female and 15 percent male, and AD’s is a 45–55 malefemale ratio, respectively.

What sets Architectural Digest apart, besides being monthly, unlike many competitors?

AD has always been considered the design bible. We have the resources at Condé Nast to invest in our photo shoots, talent, and time.

The strength of this magazine is in our absolute focus on where we stand. It’s the leader in the category. That takes off some of the pressure of wondering where the next story is coming from.

I frequently get stopped on the street by people telling me that they have decades of issues saved, and often they’ve inherited them. It’s a beautiful product! So I don’t worry about the print magazine going away anytime soon.

Anything new happening on the tech front?

We’re revamping the website; it’s being built on a new platform with Adobe. When we start doing digital editions next year, they will be done very mindfully—and in a sustainable manner.

Did you do anything at Elle Décor that you won’t be taking along to AD? Everything you do, every single day, offers experience. I don’t regret anything. Each photo shoot where you deal with a celebrity, an irate home-

ACT

Fa s h i o n w e e k d a i l y. c o m

owner, or a temperamental architect gets you to a better place for the next one.

October is dedicated to “style insiders.”

The cover story is Ed Filipowski and Mark Lee’s penthouse in Chelsea. It’s a fabulous apartment in a beautiful, storied building. They’ve done a marvelous job with the place. We have jewelry designer Elizabeth Locke’s farm in Virginia, Anne McNally’s Paris apartment, and Donny Deutsch’s Upper East Side townhouse with its terrific art collection.

There’s also the Pratesi family’s 16th-century Tuscan villa and Inez and Vinoodh’s downtown loft.

And James Galanos’ place in Los Angeles, which AD photographed years ago. Richard Lambertson and John Truex’s uptown apartment is filled with quirky, fun art.

How did this tome of chic materialize?

Often the best stories come from a friend who says “I just saw so-and-so’s house at a party.” Mark’s

place came to me through Simon Doonan, who is a longtime friend of mine and a contributing editor at the magazine. I absolutely knew that some of these stories had to be in the issue—and then, as is always the case, some fell through and others came together last minute. Putting the issue together really is like a puzzle.

What’s the most surprising thing that you’ve seen in a fashionable home?

People who are not very chic sometimes live in an incredibly stylish manner. Then there are those who are the most drop-dead chic people you could imagine—you go to their houses and they clearly have no interest in their homes. That dichotomy

is always surprising to me!

When do dress and address align aesthetically?

I love seeing people who have a thread of creativity running through everything that they do. Iris Apfel, one of my favorite people, lives in this crazy place with lots of layers; different patterns everywhere; and a mix of antique and new furniture. I’m also always interested in people who live with very little, so purely, like Jil Sander. I couldn’t live like that, but I’m fascinated by the idea of editing your life so carefully down to every little detail.

You wear a lot of Prada.

I could be the poster child for Prada! Miuccia cuts for people my size. I love Ralph Rucci and Calvin Klein, and I also wear Dolce, Oscar and Carolina Herrera. I’m very specific, and I’m not very fashion-y. I don’t like wearing dresses that announce themselves. I’m not trying to reinvent a look when I get dressed, because I know what works for me and what I’m comfortable in.

How much Prada is hanging in your closet, exactly?

I really can’t tell you that. It would be frightening.

Who are your fashion friends?

I am enormously fond of Ralph Rucci. I think he’s a genius. Ralph Lauren has been incredibly kind to me, and I have great respect for him. I’m about the Ralphs, I guess!

How about fellow editor folks?

I’m friendly with Linda Wells, Brandon Holley and Lucy Danziger. Adam Glassman at O is probably my best editor friend; he’s practically family to me. We met through a photographer, and Adam used to call me to ask for sources because I had—and have—a good Rolodex. Sometimes when I’m having a staffing issue, I go to Adam because he’s a very balanced person—he works in a different part of the business, and he gives good advice.

What is good taste?

It doesn’t have to be perfect, elegant, or refined. Good taste can be something shocking, as long as it rings true.

Have you done anything tastefully shocking in AD since arriving?

I don’t think we’ve done anything shocking yet, though I’m sure some people have been shocked so far by what we’re doing. My role is not to shock the reader, but I do think there’s value in going a bit too far and then coming back to find where you really need to be.

After your stint as a judge on Bravo’s Top Design show, any plans to go on camera again?

Never say never, but I do think I fortunately got in and out of reality TV before it got too crazy. It was a terrific experience, and I love Jonathan Adler, Kelly Wearstler, and India Hicks, who were my fellow judges.

I learned how to be accustomed to having cameras nearby, so I don’t get as nervous when they crop up now and again.

How rapid is trend turnover when your stage is a room instead of a runway?

You don’t buy a sofa and throw it out six months later. You can't put it in the back of your closet, either. Although you can use a slipcover!

S y l e t a r Despe SHERIDAN SQUARE PARK

PIER 45

Ariel Rosado, 19, unemployed; with Tony Rocco, artist

Emily Shaw, 22, art gallery manager Have you seen Patrick?

No, I haven’t, but I want to.

Any thoughts on where he could be?

Somewhere in Manhattan. He looks like an uptown guy.

Do you know anyone named Patrick?

A friend’s boyfriend’s name is Patrick, also a guy I worked at Milk with.

Would they know where Patrick is?

The guy who works at Milk would probably know.

Can we call him?

You could.

Have you seen Patrick?

No. Have you ever heard of W? Is that a guy’s name?

Do you know who Patrick is?

I’ve never seen or heard of him.

Where do you think he is?

There’s only three possibilities; if it’s Manhattan, he’s in the Village or Times Square. If it’s Brooklyn, he’s at the beach—Brighton, maybe Coney Island.

Do you see Patrick on a roller coaster?

He doesn’t look like he would go on roller coasters.

PIER 45

BOOTS & SADDLE BAR

Aviel Kanter, 21, NYU Student Have you seen Patrick?

I haven’t.

Do you know who he is?

I do. He reminds me a little bit of Andy Warhol.

Where do you think he went?

I feel like he’s in some underground tunnel, maybe with the mole people.

How do you know who he is?

I’m a fashion person. I want to be a fashion writer.

Did you like W during the Patrick reign?

Well...

Cody Derr, 21, bartender/actor

BLEECKER STREET Atsuko, age withheld, hair stylist Have you seen Patrick?

No, I haven’t.

You’re from Japan. Any chance you’ve seen him there?

No. Does he look like a cupcake guy to you?

No. Do you read W magazine?

Yes, we have it at the salon.

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

Have you seen Patrick?

Nope.

Could you imagine him here?

Yes, I could see him here.

What drink would Patrick order?

He looks like a gin and tonic guy.

Have you ever heard of W? The magazine?

Patrick was its editor.

Oh, I see. He looks professional.

Where do you think Patrick works now?

Maybe he took the money from W and is enjoying life!

You play a lot of Lady Gaga in here. Is Patrick a Little Monster?

He’s a fashion editor?

Then yes.

CASA MAGAZINES SHOP Mohammed Ahmed, age withheld, manager Does Patrick ever come in here to buy magazines?

Nope.

Do you think W was better two years ago or now?

Now, it’s better. I’m selling more copies than before.

What kind of magazines would Patrick buy?

Vogue, Vanity Fair, Allure and Cosmo.

You think he’d skip W? Yes. B r i an Pau l s o n

For over 30 years, this journalistic legend graced the front row and backstage at every fashion moment that mattered. But after exiting his post as chairman and editorial director of Fairchild Publications last March, Patrick McCarthy has gone missing.

The Daily hit the streets in an attempt to find him!

BY EDDIE ROCHE & BRIAN PAULSON

k c i r t a P g n i k e y Se CHRISTOPHER STREET Chandler, 24, photo assistant Have you seen Patrick?

Do I say yes?

Not if you haven’t!

Then no. But he might be around this area…

Do you read W? No. Do you know what it is?

Oh, I’ve worked for W magazine.

My uncle is a photographer— Patrick Demarchelier.

Oh really? Uncle Patrick must know this Patrick. Are they friends?

If he works for W, then yes, if he’s a big guy over there.

Could you get Uncle Patrick to call him for us?

He takes the month of August off and goes to St. Barth’s. He’s French.

CHRISTOPHER STREET Richard, 50, hairdresser Have you seen Patrick?

No, I haven’t. I just moved here from Florida.

I used to live down here in ’86 and ’87, but he doesn’t look familiar to me.

Where in Florida?

Clearwater.

Have you seen him in Clearwater? A lot of people retire there.

Nope, I haven’t. I live in Connecticut now.

Have you seen Patrick near New Haven?

No. Would he fit in in New Haven?

Anyone can fit in anywhere.

Have you seen anyone who looks like Patrick?

I don’t have a clue. He’s very cute though.

How would you describe Patrick’s hairstyle?

1973.

Oh, you went there!

I sure did. Honesty is the best policy.

Patrick McCarthy

PIER 45 Caprice Carthans, 53, health care worker Have you seen Patrick?

He looks familiar, but no.

Do you think he comes to the Pier?

Possibly.

Where do you think he is?

Bermuda or Ecuador.

For what reason?

He looks quirky.

How do you like the new W? It’s just okay. It went down.

Who in the neighborhood would know how to find Patrick?

That would be Butter.

Do you think we should offer a reward?

When you offer money, it changes things.

Butter and Dimitrus (“Pier King”), ages withheld We understand you can help us find Patrick.

Butter: Is there really a reward?

He’s not really missing; we just haven’t seen him in two years!

Have you?

Dimitritus: I could put an APB out on him. He might be in Jersey. I think I saw him last night. Friday is a hot night. A lot of people come out to the Pier. I’ve seen him a couple of times before.

I’m having trouble believing this. How do you know all the Pier gossip?

Butter: I’ve been out here for generations.

If you see Patrick, will you tell him to call The Daily?

I sure will! Not a problem.

HUDSON GOURMET DELI Jungkyu Yeung, age withheld, cashier Does Patrick look familiar to you?

I have no idea.

Have you seen anyone who looks like him?

No. He looks like a politician.

Democrat or Republican?

Democrat.

Do you read W? No. Do you know anybody named Patrick?

We have a customer named Patrick.

What do you think he would buy if he came in?

Teas, some sauce, juice and some milk. Not much beer.

Pat r i ck M C m U l l an . c o m

Smart

People

w e n a media

oldowdown

First things first: How did What’s the biggest blunder that writers make? you meet?

BS: Thinking outside the box. Stay inside the box, PR: A few years ago, Ben’s publisher because it gives you a baseline and a net. All great art held a luncheon to announce his comes from constraints. newest book project. I was working What are your thoughts on Tumblr? ond f n e at Daily Candy at the time, and I’d BS: It’s the MSG of the web: you’re never satiated. e b s y as alwa h i t a covered his first two books. I expected There’s no barrier to entry and there’s no challenge s a o i R d Pavia ew me n g n i to meet an 85-year-old Cambridge in consuming. v l o v -e of the ever the executive editor professor, and Ben was, well, not that.

Do you feel any pressure to read a million feeds?

— e Who still reads long-form journalism?

PR: There’s this sense nowadays of having fallen landscape dy for a decade, sh n a BS: The question is just who is going to behind and needing to catch up. No, you don’t! , C e t y l i i s of Da travel d e t a r pay for it. It’s not even about length; it’s The news will keep going and it will be a variation u c r e debuted h uly. Her husband, really about quality. on the same theme. nJ What does quality mean anymore?

What’s happening to our attention spans?

Fathom, i culls his own flavor , y t l t d PR: One of the greatest things a budding PR: We still have them when we want to, but o e h d c i c Ben S ce in de n a i l l journalist can do is get a job at a daily pasomething is happening to our ability to reflect s i r k b n of random hioned formats, tha per, where you need to crank out copy evand think critically. as t ery single day and you don’t have a chance BS: I think it’s too soon to tell. We’ve had five more old-f eponymous elegan f , o c s a to agonize about it. When you’ve gotten years of Twitter, and 170 or so years of the e n i a r e s to a ott’s Alm h c S , really good at it, it’s like a lot of other printed book; it’s very, very early to make any s e t e m b print volu e years ago. What physical disciplines. Chef Scott Conant [of sweeping judgments. nin gloe h t r e What about the quality of the news itself?

Scarpetta] gets up and makes really good v o launched ( f el it out o u s d t o a BS: The vast majority of what we’re calling spaghetti every single day. When I’d go back t e v o a u c ter d nd the a , s e s news simply isn’t news. There’s a lot of bluster, to magazines for guest editing stints, all I s e c x pe)? ries, the e a c s and the use of a spin cycle, similar to what is could think was, “Oh my God! You’re all so d n a l edia A V O H used in politics. slow! Move faster!”

S A today’s m Y NDRA IL A X PR: There are people paid by television netBS: Somehow, writing has become this noble E L A BY struggle against the muse—that concept works to fill space with fake indignation. After watching, really bothers me. If you’ve taken five years it’s hard not to think, “" I could’ve gone for a three-mile run.” trying to write the first draft of your novel, maybe Have we lost our appreciation for, and usage of, language? you’re not meant to be a writer.

BS: It isn’t this endangered species that has to be kept alive and protected.

Pavia, why did you launch Fathom?

So stellar long-form wordsmiths still exist?

PR: I saw so much clutter, and I wanted to make a site that’s BS: Yes! The internet is new, but I don’t think it changes human beings’ desires a pleasure to interact with—with an intuitive, easy and warm to tell stories. Sometimes you want a shower and, other times, you want a bath. layout. It couldn’t be too girly, either, because boys travel too.

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FA S H I O N W E E K D A I L Y. c o m

Photography by Giorgio Niro

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Fitness FOCUS

How did you end up at Self?

Lucy and I actually had the opportunity I was destined to be in this chair since to ski together at Sundance this past I was 13. I’ve always been an avid winter, which was really incredible. magazine reader and collector. Most Lucy is a triathlete and “iron recently at Condé Nast, I was the woman”—she must be quite the publisher of Teen Vogue and before slopes savant! that, I was the associate publisher She’s on a level that I think is of Vogue. I was also the publishing unparalleled. But I kept up! We’re director of Reader’s Digest. both amazing skiers. I ski mostly at And you worked on the launch of Telluride, but I also go to Vail, Aspen Everyday With Rachael Ray! and Beaver Creek. In the East, I’ve There’s nothing more exciting than a skied at Stratton. I ski all over the launch. Rachael is incredibly intense; world—wherever there’s good she’s a perfectionist and she works snow country.

24/7, so we had to make sure she was Lucy jets around town on a scooter— pleased with the magazine. But it isn’t how do you get around town? any different than working at Vogue If my destination is close, I walk. with Anna Wintour, or Teen Vogue with Often, I’m very busy, and there are Amy Astley, or certainly with my editor lots of materials with us and we’ll Lucy Danziger at Self, who’s an icon take a car. But I do believe in public with impeccable stature within the transportation! I live in Connecticut so fitness arena. it’d be hard for me to commute on a How was your Vogue-ette period? scooter. I’m an early bird. I get in here It was 2007, when Vogue published its around 7:30 a.m., because it allows largest issue ever and The September me quiet time to gear up for the day.

Issue was being filmed. To be part of By 8:30 a.m., things are really moving. that team when there was this singular My team tries to bring out the editorial vision and mission was incomparable. to life by working out with our clients: Did you have a cameo? yoga, Pilates, cycling, Core Fusion...

I’m in the movie a couple of times, but Are you into the fitness trends? you might have to look a bit closely to Lucy always says to me it isn’t about find me. I was a little blonder then than just one workout: it’s about doing I am today. different activities and constantly How did you segue to Teen Vogue? crosstraining.

The powers that be at Condé Nast How do you feel about Condé’s move know our strengths. Gina Sanders downtown? moved from Teen Vogue to be the I thrive off change, so I’m excited. launch publisher of Lucky, and I think Maybe there will be more open space; they wanted me to be her successor the publisher office in our current because of my teen magazine setup is a little isolating. I do like my background at YM. Amy [Astley] was a office, though. great editor and partner.

As publisher, how do you go about What do you think of the industry branding the Self woman and the nowadays? experience?

We’re at a pivotal moment in media One idea, “fit is the new fashion,” Photography by Giorgio Niro and publishing, when true digitization became a whole new campaign of content—the ability to take content to new places—is happening. Lucy Danziger that broke during Fashion Week three or four months after I started at Self. More has an extraordinary mind and a great grasp on where media is today. Together recently, we came up with this tagline, “iCurate my life.” Being on the business side, we’ve been able to achieve some really record results: The magazine is now at its this phrase really solidified this vision that there’s a link between living a healthy largest circulation in history, with 1,520,515. In January 2011, we had the largest lifestyle and having a happy life. Recently, we’ve tripled our site traffic with almost single issue in the history of the magazine at 1.6 million copies.

25 million page views, launched on the iPad, and created mobile applications that What’s an essential ingredient to success for a mag publisher? are generating profits for us—but we’re just in the beginning stages!

A nimble mind. That’s the number one thing I see at every level of hiring—it’s the What are some other big Self projects? ability to see the future and the present at the same time.

We’re going to declare November 1 “Self Day” and build a program where every How do you stay fit? woman takes one day over the course of a year to focus on herself. I also have this I love to work out and I always have. I’ll run at my home gym, I like Pilates, and I vision for a social networking game on Facebook, which is a modern interpretation meet with my trainer every Sunday to work with weights. One of my dreams is to of Self Workout In The Park, an event we’ve been doing for 18 years now. It’s an have a treadmill in my office, so I can work out while having meetings or calls. I’ve isometric park where readers create an avatar and earn “energy money” as they also been running...more frequently to the airport and all over the country, making improve their performance in the game. I have a teenager at home, and I'm an things happen for the magazine! avid internet game player—I love Angry Birds. Everything we do now is treading Are there any outdoorsy pursuits in your routine? new areas.

I have a 15-year-old son who’s really into sports, and he plays baseball, golf, and What is Self’s secret to successfully luring in and retaining readers? basketball all the time. Sometimes I’ll come home from work and play a bit with I’m not into gimmicks and tricks. The key is to crack the code and execute it on him. Also, I’ve been a skier since I was seven years old. I ski every single winter. each platform—whatever we can give to really help readers with their lives.

Self Made

An alum of multiple Vogues with a formidable slew of stints beyond the confines of 4 Times Square under her chic belt, Laura McEwen is settling in as publisher of Self, where biz meetings involve Pilates instead of Pilati. BY ALEXANDRA ILYASHOV

FA S H I O N W E E K D A I L Y. c o m

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Remember when the salmon weekly inspired shock, awe, and envy from both its subjects and its peers? Elizabeth Spiers sure does. Has the roving editrix finally met her match with the Observer? She seems to think so. BY ALEXANDRA ILYASHOV

The

SPIERS

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

FACTOR

H

ow did you end up at the Observer?

I met Jared Kushner about two weeks after he bought the paper in 2006. At the time, I ran an internet company called Breaking Media, and a real estate site called Dealbreaker. I thought it was odd that the Observer, based here in New York, wasn't covering much finance. We initially got in touch because we talked about doing something between the Observer and Dealbreaker. Then I didn't see him for years, until Jared was trying to do a site redesign with a company called Hard Candy Shell. I was giving Jared some feedback about the Observer site, and I started rambling about how great I thought the publication was, and how much more they could be doing with the site. Jared asked if I wanted to come in to talk about consulting, but I wasn’t really interested in that.

You had bigger plans! Your first job as EIC was to rebuild the team.

I didn’t want to come in and fire whomever I wanted.

We made some key changes with some senior people and a few new editors, but it hasn’t been nearly as much upheaval as anyone expected. It’s kind of a relief.

Which redesign is trickier: print or digital?

The issue is creating cultural changes, so people don’t think of the two as separate entities. Ideally, we should be a weekly only in the sense that we’re putting out a paper product once per week. The long-term goal is to have every reporter active on a beat and breaking news constantly online—and then to synthesize those bits of breaking news into longer, denser, repackaged narrative stories in print. Right now our schedule still revolves a bit too much around the print version.

What’s the status of that sporadic glossy mag tucked in the pages of the Observer?

NYO is still in an experimental phase. We’re not going to do service journalism in the newspaper; we don’t push product. We wanted something that would complement the paper and that would give it a service and lifestyle angle. We’ve been putting these things together at a very low cost to see if it works with the audience. Rehabbing it has been on my todo list. I’m looking for somebody on staff who can take the magazine to where it needs to be.

Talk us through your dream masthead.

I’m probably trying to poach them already. The trick is hiring the right editors, not just the writers. When I’m hiring a writer, I usually ask for a piece of unedited copy, so I know how they really write. It’s easier to find young people with raw talent and develop them; it’s way harder to do that with an editor. Our editors are crucial at the Observer, because we do a lot of top-down rewriting, and the house voice is quite aggressive. There’s a lot of wit involved.

What’s the distinction between wit and snark?

Back when I was at Gawker, snark was a type of assertive wit. Now it seems to be just a stand-in for sarcasm, and sarcasm is usually not funny. Snark has been imitated over and over again, like a game of telephone. Gawker has just become more aggressive—not necessarily funnier.

What’s the real deal with your Gawker days?

Nick Denton and I were doing the site on my couch, in our pajamas, with a laptop. We thought it was going to be a hobby instead of a real business. It’s definitely a real company now, though it’s not super-corporatized.

At the time, I always thought that Gawker’s biggest competition was the Observer, so I read it very closely.

Any interest in going back to Gawker?

I couldn’t do it. But I have a lot of friends there, and I’m still in touch with Nick. Two weeks ago, we had a party at his house.

You also did a stint at New York.

I was there from late 2003 through early 2005. I came on as a contributing writer, but since I’d done Gawker, which was “racy,” writers would ask me to punch up their copy. So I did a lot of top editing.

I enjoyed working there—it’s always fun to be in a new environment with a lot of smart people. The only reason I left New York was because I felt like I wasn’t getting enough writing assignments. I can’t imagine that it’s enormously different, except they actually have a web operation now.

And then you did time at Mediabistro. Is it still relevant?

Mediabistro is an odd business, because it’s not a straight media reporting company. When they first approached me, I said no, and they asked what it would take to get me involved. I told them they’d have to let me redesign the site and launch a bunch of blogs. I like turn-around situations. Mediabistro was always very innovative about different ways to come up with revenue—it was never going to be an addriven company.

You also launched Fashionista.

We angled it at the New York woman, probably living in Williamsburg, who followed fashion religiously and wore contemporary brand-name clothing and junior luxury lines, but couldn’t afford Balenciaga. The audience was young enough that they might be into DIY and Project Runway-type stuff. I basically found someone in the target demographic, an innovative editor named Faran Krentcil, who came up with a distinctive style of doing the site. Initially, Fashionista was conceived as an industry trade site, but we saw very quickly that no one was terribly interested in that. It needed to be a consumer-facing fashion site.

We talked about industry news from time to time, but in a way that’d be interesting to the consumer.

What do you think of Fashionista today?

I’ll be honest; I haven’t read it recently. Unfortunately, because Faran isn’t there anymore, it doesn’t have that strong editorial voice. It looks a lot more like everything else in the category. If you asked me right now to differentiate it from the 30 other sites out there like it, I wouldn’t know how to answer your question. The fashion space is a great ad category; the big challenge is that there’s so much in that space.

What is, and isn’t, the Observer plugged into now?

We haven’t had a consistent fashion beat, but we’ve been toying with the idea off and on of bringing somebody in and formalizing it again. We have limited budgets.

Seems like real estate gets plenty of play, especially with a Trump by marriage helming the Observer…

We actually don’t do a lot of real estate coverage in the Observer proper. There was that Times article about the Observer this summer—Graydon Carter made some snarky comment about how he didn’t read the Observer as much because he didn’t want to read about commercial real estate. I wondered if he’d confused the Observer with our real estate pages. We have a residential transfers column that’s half a page, but beyond that, I just don’t know what he’s talking

Photography by Giorgio Niro

about. We don’t cover it any more than the Observer has historically, but it is a giant industry in New York.

If we are under-covering anything right now, it’s probably Wall Street.

Speaking of the Trumps, how often do you see Jared?

At least once a week. We usually do a Friday meeting, except this past summer because he just had a baby.

What was your baby gift for Arabella Rose?

Christopher Barnes, president of the Observer, and I got a bunch of baby books together. I also sent Jared a bottle of scotch.

Which of the sites you launched do you still read?

I read Dealbreaker, and I still read Gawker, though I’m not a fan of the re-design—it’s harder to read and less scanable. Occasionally I’ll dip into some of the other stuff like Mediabistro and New York.

That’s a pretty lean list, considering how many sites you’ve launched. Do you feel any ownership over those today?

It’s different when you’re executing an idea by, and for, somebody else. Breaking Media is the only set of sites that fits that bill.

The Observer’s motto is “Nothing is sacred but the truth.” What else is sacred to you?

Doing work that’s really important and creative, and covering a wide range of things. I made a lot more money consulting, but the Observer was the right opportunity so I’d happily take a pay cut to be able to do something that matters to me.

Who was your industry role model a decade ago?

Kurt Andersen. He still is, in many ways. He pursued things he was interested in, back when writers were disparate and never needed to pick one topic. He still is like that. I’ve always thought that was a great way to build a career, because you’re constantly stimulated.

You also get to be a little more entrepreneurial. It’s not a traditional path. Some people have a notion of their dream jobs, they focus on that, and then it’s just ladder climbing until they get there.

Enough heavy stuff. What’s your favorite way to eat salmon?

Poached. I usually make it myself at home, but Centro Vinoteca does a nice one.

What’s your guiltiest pleasure?

I have the food and wine taste of a 78-year-old male investment banker. I like a big steak, a dark red wine, and scotch. My eating habits are pretty terrible, but I haven’t dropped dead yet.

Mulling any future moves?

Ha! No. Being at the Observer is very different than other jobs I’ve held, which were very project-oriented.

Although the Observer has been around for a while, it’s not doing what it could be doing. We’ll launch a few more sites and generate traffic around them. I don’t foresee any time in the near future where I could be and think everything was done.

How will future generations characterize your editorship at the Observer?

I’d like for them to think it became an influential paper once again. The tuckering-out of the Observer’s influence was a slow process. When a publication’s culture gets to a point where the staff isn’t aggressively pursuing what’s happening in the city or the world, the publication itself just isn’t really happening. I’m competitive enough and professionally secure—in a good way, I think. When I start to get comfortable, I get paranoid.

It Takes

Two

FA S H I O N W E E K D A I L Y. c o m

heaven &elle

Thanks to Hearst’s divine intervention, Elle editrix Robbie Myers has a swanky new office, a suave new publisher, Kevin O’Malley, and a budget befitting the “world’s biggest fashion media brand.” Are the glossy wars about to get Nast-y? BY CHRISTOPHER TENNANT After eight-and-a-half years at Esquire, you’re in ladyland, Kevin. How are you holding up?

KEVIN O’MALLEY: Honestly? It’s kind of as I expected.

I never thought it was going to be as big of a transition as other people did. Women’s is a bigger market, no doubt, but it’s a lot of the same players, and I’ve been doing business with them for years. It’s the similarities that I’m excited about. I moved from a great brand with a best-of-class editor to another great brand with a best-of-class editor.

ROBBIE MYERS: Aw, thanks, Kevin. It’s nice to be exciting!

Hearst now has three core fashion books with varying degrees of overlap. How do you describe their respective differences on sales calls? What’s the play?

KO: I’m going to answer that question by reframing it.

That’s not usually the first thing I’m asked. The first thing I’m asked is, “How is Elle going to change now that it’s owned by Hearst?” Of course, in reality, the question should be, “How is Hearst going to change now that it owns Elle?” Because, when you look at it in terms of the other brands in this portfolio and who our core advertisers are, you see that it’s a landscape-changer. I haven’t really gotten many questions about the differences between Marie Claire and Bazaar and Elle. But I’m also smart enough to know I should allow my esteemed colleague to answer that question.

RM: I respect Harper's Bazaar and Marie Claire and what they do very much, and obviously we’re in the same space, but I think that if we were really that competitive with them, Hearst would not have wanted to do that to us, or to them. I think they saw us as a good fit.

A better fit than Hachette, I presume.

RM: Let’s just say it’s great to be at a company where

there are other magazines that are in the same space.

The only other luxury book at Hachette was Elle Décor, and that wasn’t even a fashion magazine.

I’m sensing you felt a bit isolated?

RM: We were! You know, women’s fashion magazines are complicated businesses to run, and relative to other things, we looked expensive. So, yes, it’s nice to be in a company where… Oh boy, that’s gonna come off really bad, but you know what I’m saying!

We do. What’s so great about Kevin?

RM: Oh, there are many things! I’ll tell you this, though: When the rumor

Photography by Giorgio Niro

It Takes

Two

started that Hearst might be buying Elle I went around and asked everybody who knew [Hearst President] David Carey to describe him in two words. Somebody said, “Expects results.” Then, when I heard that Kevin was coming, I did the same thing, and somebody said, “He’s intense.” [laughs] But now I know what that means! He’s super-focused, and he totally understands the magazine and is completely respectful of editorial. And he’s really good at sports!

KO: Almost as good as you are. Can I deviate a bit here? I want to go back to your question about the differences between Elle and the other titles.

What gets lost in that equation is the fundamental fact that 1.1 million readers every month already understand that there’s a very clear difference between Elle and Marie Claire and Harper's Bazaar. Not good or bad. A difference. So part of the answer, in a very empirical way, is that there’s a consumer franchise that exists for Elle—a very powerful one— and we’ve developed it now on a multichannel basis, in print, on TV, and online. And each one of those channels has its own consumer following, just as a Marie Claire does, and just as Harper's Bazaar does. So let’s not underestimate the franchise that goes with it. As our demographics demonstrate, Elle attracts a younger, affluent reader, and that’s a great thing to have in the marketplace, whether we’re talking to Louis Vuitton or Belvedere. We have very clear separations. I’ll tell you this, as a new set of eyes coming in; the voice of Elle is truly distinct. Robbie has always stood for empowerment, and fashion is just one of the vehicles used for that.

What do the focus groups tell you?

RM: Readers like the fashion, obviously. They love the fashion, which is the aspirational part. They also love the shopping and the trends.

And though every single editor in New York is going to say, Oh, we’re the smart magazine, it’s a nice thing to hear from our readers that they actually like to read us.

There’s no way for me to talk about my magazine without in some ways sounding like I’m being critical of others. But, as I said, there are a lot of women who say they appreciate the breadth and the depth of our coverage. … as opposed to what they find in other women's magazines.

RM: I mean, we’re not Women’s Day. There are lots of women in America, but we know our girl, and we know her pretty well.

Tell us about her.

RM: She’s chic. She’s an early adopter. She loves fashion and thinks it’s an important part of how she expresses herself, which she very much wants to do. From our research, we know she’s the one who her friends ask, Where’d you get that? She’s very much in the world. The mission of the magazine when it was launched in 1945 was to open women's appetites—to help them find their passions and to not be judgmental about them. I think that’s a pretty great mission.

Who are your role models?

RM: I always say I want to come back as Jason Bourne. I’m not sure if he’s a role model, but I would love to have his level of physical competency.

And his inability to remember the past. Just kidding. [laughs]

FA S H I O N W E E K D A I L Y. c o m

KO: When I think of the autobiographies that have stuck with me, they fall into the category of world-class explorers—Shackleton, Sir Edmund Hillary—the people that did things against all odds through perseverance, skill, courage and confidence. But really Herculean things.

Do either of you ever ask E. Jean for advice?

RM: No, not directly. I’ve worked with her for so long I feel like I can predict whatever it is she’d say.

Is she always right?

RM: We don’t always agree.

Do you ever tweak her answers?

RM: E. Jean is E. Jean—those are her opinions and her voice and her column. But it’s also the advice of the magazine, so when we really differ she’ll end up agreeing with Elle. Wait! That sounds so mean! What I meant was, we don’t bigfoot. We come to a consensus.

Got it. What does Elle have that Vogue doesn’t?

RM: Hearst.

Other than that? Please don’t say there’s room enough for both of you.

RM: There’s a refrain in fashion: Vogue is Vogue. They do what they do, and they do it very well. They know their reader.

I mean, there’s no way for me as the editor of a fashion magazine to not be totally complimentary and acknowledge what they do, but we do something else.

We have a different woman, and we cover the landscape in a different way. I mean that genuinely; I really have nothing but respect and admiration for what it is that they do. What I will say is that we’re the biggest fashion magazine in the world, and the biggest fashion media brand in the world.

But in terms of brand awareness, surely Vogue is still big…

RM: … In the world? Un-uh. We’re the biggest fashion media brand.

Congratulations!

RM: Why, thank you! I wish I could take credit for it.

KO: As we move deeper into the 21st century, the significance of legitimate multi-channel brand assets is of vital importance to any brand. I don’t know if we’re going to beat Vogue, but I’ll tell you this: we’ll compete head to head with them on that basis, and that basis is really the new basis on which success is judged. I think the larger question is how Hearst and Condé Nast shake out in the years to come, not just Vogue and Elle. In my first eight weeks on the job traveling around the globe and talking to a lot of advertisers in a lot of categories, it’s clear they recognize this is a landscape-changer for Hearst and, potentially, a landscape changer for them.

So what are your plans for Fashion’s Night Out? RM: I’m staying in. No, that’s not true. [laughs] I’ll be out supporting my designer friends.

Is it fair to say there’s a buzz in the air at Hearst?

KO: As we all know, no matter what business book you read, strategy is important, but people are more important. And if you have the best people, you’ll win.

And to think you used to do this on a shoestring, Robbie!

RM: But you know what? It was good training. It forced us to work harder and be creative.

You were The Karate Kid of women's glossies.

RM: Yeah, with one broken leg!

SELF EXPRESSION. BY EQUINOX.

Creative SOUL

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BY ALEX

FA S H I O N W E E K D A I L Y. c o m

B i l ly F a r r e l l / bf a n y c . c o m ; B F ANYC . c o m ( 2 ) Pat r i c k m c m u l l a n . c o m ; g e t t y; S h u t t e r s to c k

What was your original idea for Visionaire?

We called ourselves an art and fashion publication—which seemed like such a unique idea at the time. Now, you look around and everything straddles those two worlds. We were the first to publish Inez & Vinoodh’s work, and the first to do so with Mert and Marcus in the U.S. It was a mutual love affair between the artists and Visionaire, and some pretty incredible images came out of that. It’s about meeting young, talented, creative people and giving them a platform—for someone like Gaga.

How did you meet her?

Nicola Formichetti came by my office one day in May 2009, and we watched the “Poker Face” video on YouTube. I fell in love with her.

She was everything new, and everything we were waiting for. We went for sushi soon after, and I felt an instant bond. I went to her concerts, and I knew fashion and music would never be the same.

At one point, you were discovered by Bill Cunningham. How did that happen?

I met Bill in the late ‘80s when I was a Parsons student and the coolest thing was to walk down West Broadway on a Saturday afternoon. Bill was taking pictures of my friends and me, and I told him I wanted to be in fashion magazines. He gave me a quarter to call Annie Flanders at Details. Bill is like an uncle to me.

And you got the job!

My first day, I walked into work and sat around for a while, waiting for the other staff members to get in. The next person to arrive showed up in the late afternoon and told me that Annie Flanders and her team never started work until after 4:30 p.m. It was an underground, very downtown magazine about fashion—and nightlife.

We worked from 4:30 p.m. in the afternoon until midnight, and 90 percent of the staff would just go out clubbing together afterwards.

I was 18 years old at the time, and I thought to myself, 'Oh, this is how every magazine works!' Little did I know that was such an oddity! It was the heyday of clubs like Area and Palladium, in ’87 through ’89. What a great time for New York nightlife.

Where do you get your clubbing fix nowadays?

There aren’t any good clubs to go to! In the ‘80s and ‘90s, New York had clubs for every night of the week. That’s why V throws so many parties!

Which publication is the most "you": Bazaar, V, or Visionaire?

All of them! When I first got the job at Bazaar, I was trying to create separation between my work at each. In terms of music, Harper’s Bazaar is like a commercial hit song. Visionaire is like a night out at a really good opera. V feels like a night at the club.

What’s the biggest difference between Cecilia [Dean, V’s editor and co-founder] and Glenda?

Cecila is pretty introverted—and Glenda is a complete extrovert.

What’s your favorite issue of Visionaire?

Our second year, we did the White Issue. We were so crazy back then. We’d say things to each other like, 'OK, now we’re going to do a publication with absolutely no ink.' We used Braille on every single page. Even the fashion credits were in Braille! That’s the issue that created my friendship with Mario Testino—it was the first time he’d contributed to Visionaire. When I showed Mario the fin-

FA S H I O N W E E K D A I L Y. c o m

ished copy of the magazine, he told me I was absolutely crazy. We had a bond from that point onwards. God, to be so young, innocent and brave. I don’t know if I’d dare to do that issue now.

What was the most difficult issue to pull off?

Tom Ford’s Gucci lightbox issue.

It was battery-operated and had a light panel that required wiring— the issue arrived with AA batteries and everything. A couple of interns who were playing with the dummy version of the issue got electrocuted every time they touched it.

Visionaire is a collectible—what do you collect?

I don’t collect anything! It’s almost a joke. I see my private life as a brief escape, because I’m constantly surrounded at work by amazing art and beautiful prints. If there’s one thing I should’ve started collecting 20 years ago, it’d be beautiful prints from Richard Avedon, Helmut Newton or Mario Testino. Oh, and Bruce Weber. I’d die for a Bruce Weber print. I’ve covered Bruce’s work so many times, but I’ve never had the heart to ask him for a print. When you’re in it so much, it’s like working in a bar and being surrounded by alcohol all day long. The last thing you want when you leave is to drink!

Do you ever get stressed about money?

We’ve been really lucky. Visionaire has been described as the haute couture of the publishing industry, which is really sweet. For 20 years, those 2,000 to 5,000 people out there have consistently been able to afford a limited-edition art book collector’s item that costs in the realm of $200 and up per issue.

How exciting or daunting is it to scout the next wave of talent?

It’s like trying to find the rosebuds that are about to bloom. There’s a whole garden full, and some will bloom while others won’t. But that’s what keeps my work exciting; the promise of the new and the next. It’s what magazine people get off on!

What bothers you most about the magazine industry today?

I hate working in an atmosphere where you’re constantly being told that your medium is soon going to be extinct. Within and beyond the industry, a pretty grim picture has been painted. Long live print! It’s not about one medium over the other; there is content you’ll want to see in each medium.

g e t t y i m ag es ; s h u t t e r sto c k

Power

duo

The buzz around the venerable hallways of Essence magazine (disclosure! they’re our much-beloved neighbors!) is that the iconic title is undergoing an eagerly-awaited transformation. Les responsables? Newly-minted editrix in chief Constance White ( fashion guru, fashion critic, and fashion chicster par excellence), and brilliant executive powerhouse Michelle Ebanks, the title’s president for the last decade.

BY ALEXANDRA ILYASHOV

ALL ABOUT

ESSENCE!

Why is it such an important time for Essence?

CW: Black women are incredibly joyful, optimistic and confident right now. More of us than ever are graduating from college. We’re really living lives of success, and our magazine reflects this like no other publication.

ME: There is a lot of information out there. Essence curates the best of the best for our readers, and that makes the magazine indispensable.

What’s the biggest change happening over here?

ME: What’s great is how much hasn’t changed. Whether I’m reading Essence today or 10 years ago, it feels resonant and of the moment. Some great ideas are timeless.

Essence is one of those.

When did you start reading the mag?

CW: I grew up with Essence; the magazine was formative for me as a black woman and a journalist. I’m still a subscriber—I still pay for my own subscription at home!

ME: My grandmother owned her own beauty salon in Dayton, Ohio—my aunts worked there, and I’d go in every weekend. Of course, there were copies of Essence, and everyone was constantly talking about and sharing the stories in the magazine.

It was very much a part of the conversation, and of the lives of the women around me, when I was growing up. Today, the conversations are the same. It’s a very active dialogue. Essence is this space where black women come together and share their stories.

How did you score this job, Constance?

CW: I had a lot of intense interviews with a few different people at the magazine.

There was a lot of nail-biting on my part because the job was something that I was quite interested in and excited about.

Do you remember how you got the good news?

CW: Of course! I got a phone call, which lead to an in-person meeting, where I was offered the job. It was a nice surprise, to say the least!

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

“Some great ideas are timeless.

Essence is one of those.”

—Michelle Ebanks

What were you getting yourself into by taking the position?

CW: Essence is not one of those problematic brands that needed to be turned around when I arrived. The magazine is an evolution, not a revolution. One of the things that I love about it is our ability to show women in all their sizes, women with great style, from size 0 to size 22.

What’s your relationship like with Marcia Ann Gillespie, your predecessor who played a huge role in the EIC selection process?

CW: She’s been a great mentor—I’d heard lots about Marcia but had never met her before taking the job. She came back to the magazine as I came on board, to help out with special projects as needed. Essence is a storied brand, which started in 1970, and is still going strong. Working with [Time Inc. editorial director] Martha Nelson and Marcia Ann Gillespie and partnering with Michelle Ebanks—it’s all great.

Who is your competition on the newsstand?

CW: We have no competition! Essence is the preeminent publication for black women. When you go anywhere in the U.S. or in the world that has a sizable black population, people know and love the brand. Our reader can find herself in Essence, in a way she can’t find herself anywhere else—it’s that deep emotional connection.

ME: Our reader consumes many forms of media. She may pick up O if a particular article catches her eye, or InStyle if she wants to stay informed about the next season’s looks. But Essence gives her what no other magazine can or does: she’ll see herself in our pages.

Which stories are closest to your heart?

CW: I always find one or a few that resonate with me as I edit the magazine. Beyoncé wrote her own cover story for our July issue, and she did it because of her personal connection to the magazine. We also did an issue about the mortgage crisis. It felt great to help women with something huge.

How did your work at eBay compare with Essence?

CW: I was doing content and strategy—helping to position and grow eBay’s fashion business. Essence is multi-platform, I get to work in all sorts of mediums.

Do you still talk to Cathy at the Times?

CW: I still have a relationship with Cathy Horyn. I always read her work, and I like her unexpected stories best. Sometimes we’ll catch up and exchange quick thoughts on a show, or we’ll discuss something that happened at the Times.

What’s happening at the mag on the iPad and mobile tech front?

ME: It’s an exciting time to be at Time Inc., because every title in its portfolio will be on every type of tablet starting January 1. Essence.com was re-launched this past June, and it’s more beautiful and jam-packed with content than ever before.

Do editors need to be brands nowadays?

CW: We’ve seen editors work very successfully as brands—just look at Anna Wintour. Here at Time Inc., the magazines are the brands.

They’re stewarded by very smart, modern-thinking editors, but those editors aren’t the brand.

Any plans to get Essence on reality TV? ME: Have you been listening in on our conversations? Stay tuned.

Bottom; Essence’s firstever issue in 1970 Right; Essence’s September 2011 issue

PHOTOgRAPHY BY gIORgIO NIRO

Character

study

The Double Life Of Kate White

For this Cosmopolitan editrix, running Hearst’s massive-circulation rainmaker is just a day job. After hours, (actually, before) she puts on her writing cap and churns out mystery novels—seven and counting. By ALEXANDRA ILYASHOV Photography by Giorgio Niro

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

w

w

hen were you bitten by the mag bug?

I made my own magazine as a kid, actually. My mom was a librarian, so we had a ton of magazines in our house and I was always completely captivated by them.

Seventeen had such a profound impact on me, and I still remember one of their stories, “When Necking Turns To Petting.” I haven’t heard the word petting since then, except when I’ve taken my kids to the zoo. It was that very article that made me want to open doors for readers, so they walk away with something they hadn’t known before. It was also a bit of a foreshadowing for Cosmo, because we do cover sex pretty candidly in the magazine.

How did you end up at Cosmo, your home since 1998?

I didn’t apply for this job; it just got handed to me. I’d obviously been working my way up in the magazine industry. I was at Redbook before Cosmo, where I had a bit of a crisis over what to do next. I actually went to a career counselor because I wasn’t 100 percent happy, and I had no idea what I should do next. I tried to put myself out there within the company at Hearst, and I volunteered to chair a committee about new magazine ideas. I offered to do the presentation at the magazine conference. I got a thumbs-up, literally, from my boss about the presentation, and right after a lot of higher-ups at Hearst were asking me about my weekend plans—in hindsight, that seems kind of weird.

How did that fateful weekend pan out?

I got a call while I was out in Pennsylvania at our weekend home. My boss asked me to drive into the city for a meeting. On a Sunday, I said to my husband, 'Wow, I’m not the editor of Redbook anymore, but I don’t know what I am.' I had no clothes out there; I didn’t even have a brunch outfit. So I threw on little white Keds and ankle socks; I looked so ridiculous. Weekend Kate! A little downtown and funky.

When I heard what the job was, I thought that I’d really picked the wrong outfit: by unanimous choice, I’d been chosen as editor of Cosmo. I hadn’t seen it coming at all; there hadn’t been any rumors. When I told my husband, he said, 'Wait, I’m going to bed tonight with the editor-in-chief of Cosmo!' I think he thought I’d been given the Kama Sutra in the interview and told to learn the entire thing in the next two hours.

What’s it like coming to Cosmo every morning?

People dress spectacularly—the copy editors look like they're going to cocktail parties. I just want everyone to have fun! There was a phase when I begged this woman on staff to bring her dog to work. They don’t allow dogs in the Hearst building. But if you’re working at Cosmo and you’re not scaring the bejesus out of the management, you’re not doing your job. Rabble-rousers are welcome on this floor! This is a place where you can bring your kids in if the nanny doesn’t show up.

One day, we had two sets of twins in the office; I felt like I’d really made it as a boss.

What’s your approach to helming the mag?

After a certain age, there’s no time or energy to be frozen with terror. There are some nights where I tell my husband, 'God, I need a margarita,' but I never go to bed tossing and turning. You learn to deal with everything by this point. Two years ago, the Taliban kidnapped my art director's husband—I’ve seen it all. You learn that you don’t have to be bitchy to get people to give you their best. Coming to this magazine as a more mature editor means I take care of the day-to-day, but I also keep the big picture in mind. I’ve done the same thing with my personal life—that’s why I finally decided to write my own novels, because that was a void.

Tell us about your writerly double life!

I was always freelance writing while moving up the ranks in the magazine industry.

After I had won the Glamour college contest while I was at Union College, I got a job as an editorial assistant there. I did a fair amount of writing on the side, and then I was their first on-staff feature writer. They kind of created the job for me. I did all these funny features, like being a clown in the Ringling Bros. Circus, and going to a sex toy party. As I moved up and became more of an editor, my bosses would allow me to write on the side, and I continued that as much as possible. My first book was nonfiction, Why Good Girls Don’t Get Ahead…But Gutsy Girls Do. It ended up being a bestselling career book.

When did you find time to pen an entire book?

After my kids would go to bed, I would write from 10 p.m. onwards. I’ve always been a night person. I realized at a certain point that if I didn’t just get started writing fiction, it would never, ever, happen. I wrote four or five chapters of my first novel; it got shopped around, and a couple publishing houses bid on it. The problem,

I discovered, is that I can’t write fiction at night. There’s something about the brain.

So I became a friggin’ morning person.

It’s like driving on the other side of the road, but I’ve managed.

What drew you to the mystery genre?

Definitely Nancy Drew. A lot of female mystery writers will say the same thing; I remember seeing copies of my mother and grandmother’s Nancy Drew novels on the bookshelves while growing up.

I love looking at crime scene photos—I subscribe to The Forensic Examiner. I keep a red folder of my most pressing Cosmo stuff, and a photo of a really bad wound shot from one of my forensic guys ended up in the folder by accident and fell out in the middle of an editorial meeting. I don’t think they wanted to see that.

Ever thought of transitioning to chick-lit or bitch-lit?

In terms of brand strategy, some would say smartest thing I could have done would be to write sexy chick-lits for women between the ages of 18 and 34. Instead, I write thrillers, which are geared at slightly older women. The fan letter I value the most is from Bill Clinton. He’s a big mystery reader! Bill is a brilliant guy, and he reads tons—he reads lots of mysteries by female authors.

What’s the most satisfying part of penning glam whodunits?

It’s such a rush in being able to do the research about that dark side. On a family trip to London, we went on the Jack the Ripper tour, on which they said stuff like, 'Here’s where the second body was found.' My poor kids! Neither has turned into a serial killer—yet. But I’ve tried to keep the characters in my books within magazine field. More than a few conversations I’ve overheard in the halls of Cosmo have turned up in my books. There’s a guy Robert on our staff—he doesn’t read my books, so he has no idea that he’s this wonderful character named Leo! Where else do you look for character inspiration?

I’m always getting ideas for characters in my books when I’m on trips. I had this guide on a river trip in Alaska once—and I’m sure he has no idea that he’s a suspect in one of my books. I only saw him for a day, but I knew immediately that I had to find a way to get him in the mix. I once had an idea for an entire murder mystery from a conversation with an editor during Fashion Week.

What’s your writing process like?

I keep a notebook for every book, in which I plot out the books before I start writing.

I always want to know who the killer is, why they killed, and then build the suspects from there. I write with a No. 2 pencil and then I type the whole book.

How has your day job helped you moonlight as a mystery novelist?

At a magazine, you can never indulge yourself in writer’s block. It’s all about going big or going home. You might not have the best title for an article, but you don’t want to hold up the copy flow process, so you’ll just slap one on and tweak it a bit when it comes back to you the next day. That’s taught me to keep things moving with my fiction writing. As a writer, one of my weaknesses is that I sometimes pull my punches. Maybe it stems from growing up as a Catholic schoolgirl—you’re encouraged to hold back on a lot of fronts.

Back to your day job: What do you think Cosmo is all about?

It’s a bible for women about fashion, beauty and understanding guys. Also, self-empowerment!

Is the sex advice really editor-tested and approved?

Well, we don’t make staffers try it with each other! I’m still surprised that some people feel uncomfortable with the sexual content in the magazine, since it’s just such a normal, healthy part of life. Gen Y and Gen X don’t understand that discomfort, because they’ve been raised to see sex as the glue of a relationship.

We succeed in our careers because we read books about how to be smarter, more nurturing managers. I’m helping women have stronger, healthier and safer sexual relationships through the information they read in Cosmo.

Are most of your readers in relationships?

Some of our readers are women who are single or have never had a boyfriend, but that’s a much smaller percentage—less than 25 percent are single. Most of our p e r e s : j o n atha n z ie g l e r / p at r i c k m c m u l l a n . c o m ; p at r i c k m c m u l l a n / p at r i c k m c m u l l a n . c o m

Character

study

Kate's Cover Science!

readers have boyfriends, and some have husbands— first and foremost, they want to understand what’s going on in his mind by reading our magazine. Back in the ‘80s, women wanted to make their men more like themselves. 'If I just serve him enough Chardonnay, he’ll want to chat more and be more like me' was the mindset. We know men are hardwired differently.

How do you handle criticism?

'If you can’t take the heat, get out of the kitchen,' really applies to writing books and publishing magazines.

Both are about meeting consumer needs. You can only grow from knowing which nerves you’ve touched, and which reader needs you've fulfilled—and didn’t fulfill.

We see the most mean-spirited stuff in the world with any commentary today—people hide behind their anonymity. There are certain sites that I would never read, like Jezebel. There’s a level of personal meanness that doesn’t fit with how I’ve lived my life.

When did you first cross paths with the original Cosmo girl, Helen Gurley Brown?

I did work for Art Cooper before he was the editor of GQ, and he sent me to interview Helen. Art said he could so see me as editor of Cosmo one day. I said, 'Are you kidding?! No way!' Well…

How’d your interview with Helen go?

What was really funny about it was that we were wearing identical outfits: black drapey pants, white cream-colored blouses and little black ribbons tied around our necks—though hers was probably all designer. One of Helen’s big mantras was that women didn’t have to get married to be happy. You could come to a new city and carve a life out for yourself. Helen was so gifted. I’m just the caretaker of her brand. I’m a good caretaker, but she created something revolutionary that’s resonated around the world. That takes a lot of balls—and she has them.

Did she share any ridiculous tales from the trenches?

Helen told me there were days when she wanted to crawl under her desk in the fetal position. I haven’t had that experience; I just go back to my husband and tell him to get the margarita blender going.

Would you want to be a twentysomething in 2011?

In that galaxy far, far away, when I was in my 20s, a lot of the same rules applied. You wanted to be a success, and you knew you’d be disappointed if you weren’t. Even if you don’t want to marry, you

How do you come up with these covers?

I spend a disproportionate amount of time on the cover lines—I work on them every day for two weeks, and our younger editors take the first crack at them.

I usually look at 20 to 25 cover lines for each story. One of my favorites was “Virgins In Cosmo! (We Never Thought This Day Would Come),” which a 23-year-old girl on my staff thought of. Some magazines like to make a formula out of whatever was successful the first time around, and I wish that was the case with us—but our readers tend to expect something particularly fresh, especially since many of them buy the magazine on newsstands eight to 12 times per year. Colors shouldn’t be too matchy-matchy.

Just the way you shouldn’t match your shoes, handbag, and belt, you need a little contrast for a cover to work.

How about the cover models?

I do focus groups, but I never let readers tell me who to put on the cover. It’s like the “buyer’s lie” in real estate: someone asks for a modern house and ends up buying the farmhouse. We don’t quite know our visceral reactions; we need to be told what we’ll react to.

What have been your strongest sellers?

I did a focus group before the 2005 Ashlee Simpson cover. It was right after she lip-synched— it rated a one on a one-to-10 scale, with one being the highest rating. It sold two million copies on the newsstand. Granted, I ran it with the cover line “Don’t Judge Her Til You Read This,” because I knew I was dealing with the controversy.

What did you tweak about the cover formula?

The covers were so iconic, and I didn’t want to fool around with that too much. Lately, I’ve zoomed in a bit, made the head bigger. But it’s important to always show the body, since our mantra is “Fun Fearless Female” and you want to show, well, the “female.” Covers were much dressier when I arrived at Cosmo—then it shifted to lots of denim.

Our readers respond most to outfits they’d want to wear when they’re really “pushing it.”

want a romantic partnership with someone who has your back. Heartbreak felt the same when I was a twentysomething as it does today, though women nowadays seem quite resilient. It would be exciting to come into publishing in this era—editors today are producers. My editors at Cosmo today do television; they work on our website—one of them spoke in front of the FDA about skin cancer. You can do a lot more as a young editor than you ever could when I was starting off in the business.

What was it like, by comparison, to start out in this industry when you did?

I once interviewed at Newsweek, and I was told that, as a woman, I would never be more than a researcher, and would never rise through the ranks. It took a lawsuit by women who worked there to change that.

According to one of your oft-quoted soundbites, "bad girls go everywhere." Who are the bad girls of today’s media landscape?

I saw that once on a pillow in Helen Gurley Brown’s office—“good girls go to heaven, and bad girls go everywhere.” I just love that line. I admire Bonnie Fuller so much. She wasn’t afraid to follow her gut in terms of what consumers wanted. Tina Brown has some great bad girl instincts, too.

What else have you checked off your bucket list?

I worked on two political campaigns from 6 to 10 p.m. nightly while I was at Glamour in the ‘70s. I didn’t want to be in politics after those campaigns. I also anchored a cable news show one night a week.

Anything else to add to the list?

This is crazy, but I also modeled—mostly commercial print work. I’d been on the cover of Glamour already as the college contest winner, and a couple modeling industries offered to have me on board—even though I was only 5'5", they were willing to take a chance. I kind of did it under wraps. I did a flyer for a coffee ad that went to half the households in America; when people asked if it was me, I said it was my doppelgänger.

What’s still on your bucket list?

I love to travel, and I haven’t been to Australia yet—that would knock off seven continents for me. My husband and I bought a home in Uruguay a couple years ago, so we could see more of South America. As I’ve gotten older, I’ve had to shorten my list of countries to visit. I’ll probably never get to Finland. But I want to go back to Antarctica; it’s the greatest place I’ve ever been.

Kate the Thrillseeker!

What thrills you most about writing your novels?

How I’m going to hide the murderer; it is a thrill like no other.

What still thrills you?

Going to Michael’s and seeing people that have been boldface names forever in the media industry, seated two tables away, is still a rush for me.

Has anything lost the thrill factor?

Really, really high heels don’t give me as much of a rush because my feet hurt at this age! I go to the fashion department and just look at incredible heels to satisfy that thrill. When I do wear towering heels, a platform is the greatest cheating device in the world!

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

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world of celebrity. We took Neil Patrick Harris on the Oriental Express, and brought Simon Baker back home to Australia to shoot him near landmarks like the Sydney Opera House.

Your access to the CBS talent pool gives you quite an advantage.

What happens when CBS decides to take editorial coverage of its celebs inWe’re still making the pitch and making our case to get the house? A little magazine called Watch!, which boasts a circulation of more same people that TV Guide and than 200,000, a bevvy of eager advertisers, contributing photogs like Patrick Entertainment Weekly are featuring, Demarchelier, and crackerjack editor Jeremy Murphy. BY ASHLEY BAKER but we've been very fortunate.

How did you get photographers like Demarchelier to shoot for you?

First, let's talk about you.

A year and a half ago, CBS approached Patrick to do a cover for us, and it was fantastic. We had a great response from readers and I started as a newspaper reporter in Florida until I moved to advertisers, so we really have tried to do that more. We just used New York in 2000 for a job at Mediaweek. I did that for about a Ellen Von Unwerth too. We’re always trying to raise the bar and year and a half and then I came to CBS in April of 2002, as the develop a polished, glossy editorial product. department copy editor. In 2005 our department decided to What was it like to work with these legends? start a magazine, so I’ve been editing it ever since.

I’ve admired Patrick since I was a kid, so working with him was a Why would a network want its own magazine? dream come true. He’s humble, easygoing, and totally collaborative.

CBS is in favor of being proactive in terms of publicity, and our publicists were offering so much great content to other It was such an amazing experience to have him ask me what I magazines. Why weren’t we sharing it ourselves—and really thought of something he shot! He gets lighting like no one else I’ve controlling the message? It’s a safe environment for our talent. ever seen. Ellen was this tornado of energy. She has her own idea and stamp. The finished product is always exceptional.

What was the distribution plan like?

What is the primary advantage for these photographers to do a When we first started it, we would basically give them to our shoot with a magazine like Watch!? affiliates and to CBS properties. At the time, we owned theme Well, they’re not doing it for free—it’s like working for CBS. And we’ve been doing parks, so if you went there, you’d get a copy. Our stations would get them too.

The second year, we really developed a strong editorial product, so we decided to this for six years, so there’s no drama. We love what we do, and photographers put it on the newsstand and sell subscriptions, and it’s really grown from there. like us because we want to make their jobs easier.

We’re now bi-monthly.

Who are some of the photographers or writers on your wish list?

What is your circulation?

We tried to get Fran Lebowitz to write for us, but she said no. We approached Kate Betts, and we’re still working on her; I think she has a great voice. We About 200,000, comprised of subscribers and newsstand. With pass-around, we have about 1 million readers. We’re distributed at newsstands like Barnes & Noble just hired Michael Musto to do a column in our culture section and we got Hud Morgan to write for our style section. We have Angelique O’Neil as our and Hudson News and Kroger in the Midwest. Curtis, one of the big newsstand creative director and she does a lot of styling and has an impeccable eye for new distributors, puts it all over the country for us. designers; she’s really of the moment. I also have the world’s greatest publisher, How large is your staff?

We work with a custom publisher out of Phoenix called McMurry; they do the Michael Rizzi. He and I basically started the magazine together. back-end stuff like layout, design and the production. In New York, I have a team What are your hopes for the magazine moving forward?

Selfishly, I’d love to go monthly. We really want to contribute to the company’s of about five full-time people who work with me out of CBS; mostly everyone revenue, and we’d like to get over one million subscribers. We're a way for CBS else is freelance. viewers to learn about their favorite stars in different settings, out of character.

What’s your editorial vision?

Escapism and glamour. We bring our stars to exotic destinations and show our We’re an opportunity for stars to show readers who they really are.

ANOTHER ONE TO WATCH!

FA S H I O N W E E K D A I L Y. c o m

for a

Blue Bloods 59 studios surrounded by his at new York’s Pier daughter, which is unfolding away, selleck’s onscreen family dinner scene, Demarchelier snaps lensman Patrick shoot. as legendary

Hanif, Suite. Dress by Dilek .com. in the Malmaison Sweets for the sweet by Christian Louboutin, christianlouboutin dilekhanif.com. Shoes A l’Emeraude, emeraude.ch.

by Dior Joaillerie, Earrings and ring

parasol.

Watch!

Family

NCIS’ Cote de Pablo come true, stars in a fairy tale palace, complete with European fashions mysterious suitor and worthy of royalty

ingly replied.

48

A messAge in A bottle on bondi beAch begins the chAse.

new lenses.

Gaze at the sky with stars.

Be dazzled by the luggage.

Leave behind your at the bar.

Make observations

ego, Abby goth-ish TV alter confused with her like her. or someone so often suddenly looks nothing Plaza Sciuto, Pauley Perrette the roof of the Hôtel evening gown on star Smoldering in an the Eiffel Tower, the the sun setting over loving the roof Athénée in Paris with rat Abby. “Are you all vestiges of lab capture the of NCIS has shed crew assembled to she asks the photo “One, two, deck a little bit?” and smiles widely. from a bottle of beer moment. She swigs This three—fromage!” bad for a Paris virgin. word for cheese: Not an easy journey Knowing the French wasn’t it and in the City of Lights, lived the fact that she’s is Perrette’s first time hermit-by-night. Despite in between, she has for the heroine-by-day, York and all points New been Carolina, have in Georgia, North Angeles. “There frumping out in Los Galerie recently found herself over lunch in the hotel’s recluse,” she says on the years of being a total be back at my house, I am, I just want to des Gobelins. “Wherever scared of—like traveling—all things that you’re couch. But sometimes so scary anymore.” ’em and they’re not you gotta do is do

Charming

The Lise in question is Lise Trehot, Renoir’s model and mistress, whom the artist fancied for her curvaceous figure and dark hair.

When Perrette channeled her in front of the hotel’s red-awning façade, an onlooker suggested she adjust her umbrella. “It’s a parasol,” she jok-

murphy : patrick D emarchelier / cbs watch !

2011 watch! / JUNE

51

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Face it, this week is all about, well...your face, front row! Why hide behind those de rigueur designer shades? Dr. Paul Jarrod Frank is uptown’s not-so-secret, go-to cosmetic derma for the chic set. Between his skin expertise and his sister, Ann’s, limitless fashion knowledge (she is a Parsons’ fash professor!), they’ll have you proudly posing in no time.

“The moment that I realized that people cared more about the spots on their skin than any other ailment, I knew dermatology was my calling.”

When did you first become interested in dermatology, Dr. Frank?

My mother, who is a nurse, actually put the seed in my head. She always used to comment on how dermatologists were never seen in the hospital and when they were they were always the most rested and the best dressed!

Where did you go to school?

After 15 years at Horace Mann School, I went to Vassar College and then to New York Medical College, Columbia Presbyterian and NYU, where I am now an Assistant Clinical Professor, directing the cosmetic dermatology program for training residents.

Do you think in the coming years there will be more of a focus on dermatology?

I think the last decade has been a boom for my field. The advances in technology have changed the landscape of cosmetic dermatology, making plastic surgery less necessary. I expect the next decade to be equally dramatic in what innovations it brings.

What’s your mantra at the Fifth Avenue Dermatology Surgery and Laser Center?

Your skin is your best accessory. You wear it every day, so wear it well!

Do you think people have misconceptions about your field?

Absolutely, people think cosmetic enhancement has to look ‘done.’ Unfortunately, people only notice the bad work. I want patients to feel that they are well taken care of, that they can maximize what they have physically, look natural, and not feel embarrassed about taking care of how they look.

Is it true that you try out procedures on yourself?

To some extent, my general rule with new procedures is that I won’t perform something on a patient that I wouldn’t consider for myself or a family member.

And you’re office is very chic and boutique.

The procedures that I perform can be discomforting and intimidating for many people. To do my best work, I first have to make patients comfortable both emotionally and physically. I created an environment in the manner in which I would want to be treated.

And you also have your sister working in the office, literally right next to you.

Well, I opened my own practice two months before 9/11. My sister was finishing her graduate degree at Cooper-Hewitt National Design Museum so I asked her if she would help me out; now she runs every aspect of my professional life.

Have you always gotten along?

Always, but at least now she gets paid to listen to me!

You’re also very into fashion yourself, who are your favorite designers?

Tom Ford is certainly my favorite. His style is simple, meticulous and luxurious. For casual wear I love John Varvatos. I wear a suit without a tie most days. I have always felt subtle things make the biggest difference. I have an affinity for pocket squares and cufflinks.

Do you have any plans to expand or open other locations?

I only have two hands and they are kept very busy! As a perfectionist, I cannot ever see delegating my procedures to other doctors or nurses. I see and do all my procedures on my patients. That is what they come to me for! The expansion of my career comes from the skincare and technologies that I help develop. Currently, I am the global brand endorser and product developer for Good Skin Labs, a skin care line from Estée Lauder.

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Through the vision of Mark Adelman, MD, Chief of Vascular Surgery, and Lowell Kabnick, MD, Director of NYU Vein Center, the need, development and establishment of the first University Vein Center in New York occurred at NYU in 2007. This center was developed with the patient in mind as a complete Vein Center, with expertise in all areas of venous diagnosis and treatment.

Why me?

Heredity is the number-one contributing factor causing varicose and spider veins.

Women are more likely to suffer from these abnormal leg veins. More than 50 million Americans suffer from some form of venous disorder. Hormonal factors including puberty, pregnancy, menopause, the use of birth control pills, estrogen, and progesterone can affect the disease process. Other factors that can accelerate and aggravate the appearance of veins beyond gravity and age, include pregnancy, leg injury, obesity, lack of exercise, weight fluctuation, constriction and long periods of sitting or standing.

What makes NYU’s Vein Center’s care different from that of other vein centers?

Our venous surgeons’ innovative techniques for patient care are so well regarded that surgeons come from around the world to learn from them.

The best doctors are the ones that doctors themselves seek out; they are the ones with the most experience, the best technology, and the highest standards of quality care.

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Ask a NewSstand Guy! Who needs focus groups? The expert who’s actually selling your mags can tell you everything you need to know. Meet Manish Golchha, manager of the divinely stocked Magazine Café at 15 West 37th Street.

Anyone interested in a guest editor?

By Eddie Roche

TELL US, MANISH! Are you a fashion person yourself?

Oh, yeah. I definitely like to browse through the men’s fashion magazines.

What’s your favorite?

Vogue Hommes Japan, Numéro Homme, Fantastic Man, Arena...

OK, you know your stuff. Best advice for editors who actually want mags to sell?

Keep it controversial. That’s what pays the bills. When Lady Gaga was on the cover of Vogue Hommes Japan wearing only meat it sold like crazy. Do good spreads—hire good photographers and writers. Build a team that will enhance the content of the magazine. But keep your target audience in mind, and don’t try to please everyone.

Do you miss supermodels on covers?

Definitely! We get Gisele, but still—celebrities should be inside the magazine.

What’s your best seller?

Lula magazine, out of the UK. It’s amazingly popular. Besides that…Vogue UK, Vogue Paris, Vogue Italy.

How did the September issues fare?

I was really surprised that W is selling more than the American Vogue this time. I think it’s because Kristen Stewart is on the cover.

Who’s on Vogue’s cover? [looks closely] Actually, I think it is Kate Moss!

Do you like Gwyneth Paltrow on Elle?

It’s a pretty nice cover. Gwyneth is always popular with the girls—and even the guys, for that matter. This is doing better

SUBURBAN BONUS! City folks are one thing—but what about the buying habits of mag lovers in Summit, New Jersey? Meet Mukesh Parikh of Garden State News.

than Marie Claire. Elle is more for professional, successful women; Marie Claire is more for housewives.

What cover line appeals to your customer?

“Sexy Hair Every Day,” I guess.

How important are ads?

They’re one of the big draws! Going through the ads is half the fun for me. I want to see what Diesel and Ferragamo are up to!

Is $4.99 a fair newsstand price?

I think so. You get transported to a different world for an hour—or let’s say two!

Let’s talk about Cosmo.

Cosmo is very suggestive. It’s meant for younger girls. But if a copy is lying around, guys do feel like taking a peek.

What’s your favorite cover line from the new issue?

“Naughty Thoughts He Has At Work.”

“What Your Va-Jay-Jay is Dying to Tell You” is a classic.

I didn’t see that, but absolutely!

Dianna Agron from Glee is on Cosmo’s cover. Thoughts?

I’m not too taken by her. For me, Angelina Jolie would be better. Or Kristen Stewart!

How is it selling?

We’ll generally sell about 60-75 copies per month, but for September, we’ll sell 75-100.

How do you feel about Lea Michele on the cover of Harper’s Bazaar?

She’s great on the cover. I find her interesting on the show, as well.

How many copies of Bazaar do you order?

150. We’ll sell all of them.

Does Glenda Bailey come in?

I would think so, but I’ve never seen her. Every editor should come in here. We’re one of a kind!

Who do you think counts those 973 new looks?

Probably school girls. They have the time!

What are your best-selling fashion titles?

Vogue and Elle.

Do you know who this is on the cover of Vogue?

I don’t, but I do know the girl from Short Hills who’s on the cover of Vogue all the time. I forgot her name, but she’s an actress. Her dad comes here.

Anne Hathaway?

Yeah, her.

What is the number one seller in the store?

It depends on the cover; it depends on the

story. But sometimes, we’re selling hundreds of copies of Playboy in a month.

Which celebrities do your New Jersey customers like best?

Jennifer Aniston does really well. Whatever she’s on sells big. Also, Angelina Jolie. The feud between them creates a lot of sales!

Between Kate Moss, Dianna Agron, and Lea Michele...Which cover is your favorite?

Lea is the winner. The photo is a close-up, and that’s the way to go. They’re so eye catching!

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