The Daily Front Row

FEBRUARY 9, 2018

“You want the 411? I’m ready to talk.”

WITH

N I E PL SPOKEN

N E I B A F BARON NICOLE MILLER

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True Model Management’s Dina Khoury

HERE COME THE BRIDES!

Rachel Brown

The Daily and the gorgeous bridal brand Amsale teamed up for a mid-winter cocktail party at Amsale’s Upper East Side showroom.

Guests perused a stunning lineup of wedding gowns while sipping champagne, dishing on hors d’oeuvres, and taking photos against The Daily x Amsale photo wall. The evening ended with a special music performance by Rachel Brown, who sang some of her latest hits.

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Jessica Wilber and Jennifer Cheslock

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Deputy Editor Eddie Roche and Executive Editor Soo Joo Rachel Brosnahan Park Ashley Baker Managing Editor Tangie Silva Creative Director Jill Serra Wilde Digital Director Charles Manning “These days, it’s Associate Editor been Sydney Sadick Ruffino and Dannijo’s “always sparkling” dinner at NoMo Kitchen Contributing Editors Alexandra Ilyashov, drew Sophie Auster, Soo Joo Park, Danielle Bernstein, Olivia Ubah Paige Reddinger Palermo, and Rachel Brosnahan. As they noshed, their bevvy Hassan Contributing Photo Editor needs were attended to by an on-site “prosecco butler.” Dispatch Hannah Turner-Harts one to Daily HQ! Land of Distraction, the L.A.-based brand, Contributing Art Director presented its second collection to rave reviews.

John Sheppard Rebecca Taylor teamed up with Tilt Brush by Google to Contributing Designers Eric Perry, Nick Mrozowski present her collection at her Gansevoort Street store via 3-D Contributing Photographers projection mapping, with virtual and augmented reality using Giorgio Niro, William Jess Laird artwork created by Emmy-nominated Wesley Allsbrook, a Contributing Copy Editor All names go member of Google’s Artist in Residence program.

Joseph Manghise here All names go Imaging Specialists Neal Clayton, George Maier KORS Jodie Snyder Morel, Mark Tevis SHOW Mary Seng, and Chief Revenue Officer “By a landslide!

Danielle Snyder SCOOP!

WHAT’S YOUR MOST OVERUSED EMOJI?

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WITH REBECCA TAYLOR

Love seeing you back at Fashion Week!

I had stopped doing shows, but last season, I decided that showing the clothes on hangers wasn’t doing them justice. I wanted more of a museum experience.

We’re doing press today, and bringing in consumers tomorrow. I don’t like anything too exclusionary. It was inspired by my favorite quote by Roald Dahl, “Those who don’t believe in magic will never find it.”

Do you do any magic tricks?

Sure! What are you looking for? Want me to disappear?

Never! You’ve partnered with Google— what’s the last thing you googled?

Disneyland VIP tours. [Laughs] I’m meeting my sister from New Zealand, and we’ve got one day to get it all done.

How’s your mom? We love her.

She’s wonderful! Thank you for asking!

Broadway aficionado Michael Kors will show at the Vivian Beaumont Theater at Lincoln Center, on February 14. The invitations and artwork were designed by theater-poster artist James McMullan, and as for the concept? “I’m inspired by everything about the city—the electricity, the speed, the diversity, the individuality, and of course, the art and food and fashion,” Kors says. Need an immediate fix? Fans will be able to shop the Spring ’18 looks worn to the show by Tina Leung, Helena Bordon, Jessica Kahawaty, and Hikari Mori directly from their social platforms. See you there!

WITH LAND OF DISTRACTION’S DANITA SHORT

Why is the brand called Land of Distraction?

It’s very much about creating a land that people want to be a part of, and a distraction from what you’d wear normally in your clothing.

What brings you to NYFW?

It’s still a hub for fashion to get eyes seeing and feeling the clothes. We hope to be a global brand eventually, and this is a stepping stone toward that.

How did you get the collection here from L.A.?

We hand-carried it! The job was split amongst the team—we’re all very hands-on.

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Digital Director Daniel Chivu Publishing Associate CJ Obediente Manufacturing Operations Michael Esposito, Amy Taylor

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but I am pretty sure I only use it when I’m trying to convince Connor to buy me food!”

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The Daily Front Row is a Daily Front Row Inc. publication. Copyright 2018. All rights reserved. Reproduction without permission is strictly prohibited. Requests for reprints must be submitted in writing to: The Daily, Attn: Tangie Silva, 250 West 57th Street, Ste. 301, New York, NY 10107.

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off chic week with a men’s show that drew Ciara, Halsey, Trevor Noah, Lee Daniels, Bill Skarsgard, and about 700 others.

Spectacular!

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File this one under things we didn’t see coming—there’s a savory smoothie in town, and it’s coming for you. Shipments of Tio Gazpacho are going out to brands like Wang, Burch, and Kors, which means that in no time, we’re all going to be obsessing over the notion of a refreshing cold soup that doesn’t require a bowl and is super healthy. HEARD While you were bitterly sloshing through a mushy snow situation in NYC, Town & Country’s Jamie Rosen was checking in to the Coco Chanel suite at The Ritz in Paris for a work thing. Ah, it’s good to be a beauty editor….

DAILY HR!

The strangest things FARAN KRENTCIL L ever did in the name of a DAILY story:

CONFIDENTIAL TO ENTRY-LEVEL FASHIONETTES!

Apparently, they’re not teaching e-mail etiquette in school these days. We would be remiss if we didn’t pass along these three essential tips:

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YEARS of

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Kiss emojis are really only for texting the people you’re sleeping with or parenting.

Unless your name is Xavier or Xanadu, do not sign your e-mails with “X.” Unless your name is Oprah or Oksana, skip the “O” as well.

“Best” is always best.

Do not invent a nickname to force intimacy. You might feel like you know someone because you follow them on Insta and know they use Sensodyne; still, you remain strangers.

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“My first season, I covered Zac Posen’s afterparty, where a socialite got very drunk and had a meltdown in the bathroom. I literally splashed cold water on her face and told her to keep it together before she ended up on Page Six. Camilla Al-Fayed saw this, thanked me for helping her friend, and invited me to her birthday party in London. I agreed to go if I could cover it for The Daily. The party was in a giant pyramid at the edge of London, constructed just for her birthday. At coat check, I met Isabella Blow, who said I looked like ‘a child’s toy come to life.’ Inside, I wandered into the kitchen area for some air, and ran into Paris Hilton, who gave me a cigarette and also some advice: ‘Even at a party, you need time alone.’ I made it home at sunrise, shortly after Gela Nash-Taylor saw me shivering in a Marc by Marc slip dress and told me she’d send over a Juicy hoodie. It was 2006, after all.”

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

Longing for the days of extravagant shows? Enter Philipp Plein, who returns to NYFW with a show ( for the people!) on Saturday night in Brooklyn.

THE DAILY stopped by his tony NYC townhouse to discuss his path to the big leagues.

BY EDDIE ROCHE

your readers. Other brands are selective about who will come to the show and who sits front row. Those people don’t pay for the clothes. I always fought with my press team; I didn’t want to exclude our clients.

What was your approach?

If we want to be a part of the industry, let’s do it in a different way. In Milan, the fashion industry is very old. America is a little more modern and new. When you look at Fashion Week, you have a lot of cool and upcoming brands—in Europe, it’s dominated by old fashion houses. I wanted to be part of the new generation. It helped that I wasn’t part of the industry; I didn’t go to fashion school. I didn’t know anything about distribution. To this day, I haven’t been to any other fashion shows except my own.

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DRESSING PLEIN The designer’s penchant for opulence and fantasy were on full display last May in Cannes, where he showed his Resort collection during the film festival.

You’ve brought some razzle-dazzle back to Fashion Week. Why do you want to do these big shows?

We have to ask ourselves, “Why do we still need fashion shows?” We live in a world of change. When people talk about fashion, they think it’s a very modern industry, but it’s not. It’s one of the oldest industries in the world. Maybe prostitution is older?

It’s dominated by a few big fashion groups, and the way they operate and move is very slow. You can’t recognize it until you are inside this industry. But things are starting to change. Fashion shows are not what they once were. In the past, it was the only tool to let the world know about your fashion and that you exist. If journalists didn’t write about you, you would be invisible. I came from a different background.

I didn’t want to be in fashion. I never planned it. It was unexpected. I went to law school, and went into furniture design and from there, I started designing clothes.

What was your first time showing?

It was in Milan, and nobody knew who we were, so they didn’t even give us a slot on the calendar. I put the show on in the evening when every other show was done, and the cost shocked me. I decided to make it a party. If you’re already spending all that money, it doesn’t cost that much to give people a good time. We were focusing more on our clients than the press. And then, it became bigger. Fashion is made for the people. They pay me. You write for

Really?

No! I didn’t have any way to compare or measure. I tried to make it our own. Sometimes it’s good to be an outsider.

What brought you to New York?

Our production became so big in Milan. So many kids wanted to come to our shows; it was like a backin-the-day Backstreet Boys concert. I questioned if we still needed fashion shows, but then I thought we should do something completely different, and come to America, where we want to improve the visibility of our brand. When we came, there were no expectations. It wasn’t easy, but it’s a challenge. I like challenges—they keep you focused. I enjoy bringing something to New York that wasn’t here before. The last time I was here, a UPS driver came up to me and said he liked what I was doing, and that he was at our fashion show.

A UPS driver?

Yes. Our party is for the people! A girl who works for me told me that when she came to New York, the immigration officer [at the airport] asked her what brought her to New York, and she said she worked in fashion. He said, “What brand?” and she said, “Philipp Plein,” and he said, “Oh, I wanted to come to the party, but they couldn’t let me in!” These two stories tell me that somehow, we did something right.

Do you sell tickets to your show?

No! How does a UPS driver know about the show?

It’s viral marketing. Word of mouth helps. This weekend’s show is already full. We’re doing this one in Brooklyn. The last show had too many people trying to get in, but it was a magical feeling: young people, old people, real estate people, fashion people,

Suzy Menkes was filming, we had the daughter of Trump there, and Leonardo DiCaprio came to the after-party. I found it really exciting. We brought all these different kinds of people together.

You also work with the best models.

I work with Carine Roitfeld [as the show stylist], and she has an idea of how to put the casting together.

We try to cast in a different way. In a classic fashion show, you have the most beautiful people presenting your clothes. Now, it’s more interesting to have people with stories. It’s not only the most beautiful person, it’s the most interesting person. It doesn’t matter how many followers you have on Instagram.

We know some designers like to keep it a secret, but what’s the Fall collection going to look like?

No. I don’t have a secret. I make clothes for the people. Some brands try to be someone else. They aren’t honest with themselves. It’s a big problem for many brands. Our clothes are wearable, and what you see on the runway goes in the store. For our Winter collection, we’re flying to the moon. It’s a new interpretation of [the Jane Fonda movie] Barbarella.

There’s a huge spaceship coming from the sky. This is a show and a production. There are a lot of things happening.

Do you read reviews after your shows?

I did in the beginning, because I wanted to really understand how people would see us, and the reviews were bad. They would write things about us, the collection, “What is the guy doing here? He’s not one of us, blah, blah, blah.” I got upset because I put a lot of effort into it. I thought, “Okay, guys!

What am I doing wrong?” I’m coming here, and I’m not stealing anything from anybody. They were comparing us to other brands, and I didn’t want to be compared. We were here because we worked hard for it. We’re an independent brand. We don’t have a loan. I don’t have rich parents. I started from zero to do this business, and last year we made $300 million.

I can do whatever I want in this company. There’s no investor, no partner. I’m proud of this. Somehow, we must do something right or we wouldn’t be here. It can’t be that we are so bad and somehow successful.

Something doesn’t match. Our product is selling. If you don’t like it, I get it, but there are people who like it, and that’s why we exist. Over the years, people started to respect us more. It was hard to ignore us and not respect us. The perception of the brand changed. At the end of the day, what makes a brand become a brand? Brand awareness. If you’re not visible in the market, nobody knows you exist. We’ve brought a lot of fun to New York. In America, you have a global stage, and access to celebrities. When Madonna or Kylie Jenner come to our show, people around the world see it.

Do you think of yourself as a fashion rebel?

I’m a dreamer and a believer. I have a dream, and believe in it until it comes true. We don’t look left or right about what’s happening around us. We’ve never tried to be like someone else. We are who we are, and we’re proud of who we are.

Tell us about your new Soho store!

It’s a permanent store, but I call it a pop-up, because it’s a pop-up concept. After the show in September, there were so many people on the streets trying to get in, and I thought they should all go to the Madison Avenue store and buy something. Then I realized this crowd isn’t necessarily the Madison [Avenue] crowd, and maybe our price points were too high. If they don’t come to me, I have to come to them. So we decided to open in Soho. As fashion is changing, the FA S H I O N W E E K D A I L Y. C O M

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“WHEN I WAS YOUNG, I ONLY HAD ONE DREAM— I WANTED TO BE RICH.” buying behavior of the customer is changing. You can buy everything online now, at any time. This means there is no more desire. If there is enough supply, the desire goes away. This is the big problem of fashion houses today. In the past, they were desirable, and now, more and more people have the money to buy, so [fashion brands] became more commercial.

I thought I should open a store in Soho, which is completely different than all our other stores. I have 200 stores between Billionaire by Philipp Plein and Plein Sport, and they all look the same—the same marble, the same chandeliers. This store won’t have any marble. I don’t want any catering for the opening; I want beer! It’s an experiment. I already have the idea to do this in other cities. I want to have different selections in the different stores. I made a collection called No Mercy on Mercer, because the store is on Mercer Street. We have T-shirts, hoodies, and street-style looks. We also have a really cool sneaker; it’s one of the first with LED technology inside.

What was your upbringing like?

My mother was married to a man who was an alcoholic, and she left him when I was 3 years old. It was a tough time for her, because she was alone and a young mother.

We didn’t have a lot of money. My mom remarried, and they built a great life together. My father is a heart surgeon. The first time I came to New York, we stayed in a Days Inn Hotel on Broadway. It had no windows. I was 14, and [my father] was in New York for a convention. It was exciting for me to be in America. In Europe, we grew up very Americanized, with Coca-Cola, McDonald’s, watching American TV shows.… When we were in New York on this trip, my father took a picture of me in front of what is today my office in New York. When I celebrated my birthday, my mother sent me the photo. She didn’t even know it was my office!

Do you pinch yourself over everything you’ve achieved?

When I was young, I only had one dream—I wanted to be rich. I’m honest about that. I’m proud that I built a company in an industry that’s competitive. It’s not the new economy, where you come up with an idea and make a billion dollars overnight. I’m proud to say that I built something in an industry that was not supporting us. When you work so much, you start to FA S H I O N W E E K D A I L Y. C O M

I can do what I want. I can’t get fired. I don’t have to say thank you to anybody for helping me. This is the biggest advantage. I feel independent. When you don’t have a bank supporting you, you are free.

If I decide tomorrow to spend $5 million for a show or $1 million for a show, I just do it, because I can. If I wasn’t enjoying it, I wouldn’t be doing this kind of production. I don’t do it to make myself bigger. I get excited!

Will you pop open champagne when the show is over on Saturday?

No—I don’t really drink alcohol. I’m always the one who goes home first! When the show is done, it’s done. I hate when there are so many people around you at a certain point. I’m not a celebrity. In that environment, they treat you like one.

We know you love Red Bull! How many do you drink a day?

Quite a lot. I’m a fan. I’ve been to their headquarters.

Tell us about having your name tattooed on your arm.

It was my first tattoo. I did it PROVOCATEUR Plein’s when I was 24 years old, and collections often include I made my first million-selling elements of sex and pop dog beds! ß culture.

FIRSTVIEW (2); GETTY IMAGES (1)

question why. [Picks up phone and scrolls through photos of the late Franca Sozzani.] She was one of the people who believed in me. We never talked about fashion, ever. Not one time.

This was my dream. When you work so much, you start to question why. Money doesn’t make you happy. At a certain point, I stopped working for money. I have what I want. I have houses in France, New York, I’m building a house in Los Angeles; I have two houses in Switzerland. I like doing something that I feel nobody has ever done before. It’s even more challenging when people don’t believe in you—you become more motivated. I’m proud of what I’ve reached. You can call it the nouveau riche. I am one of them because I enjoy it.

You’re so honest!

Why should I lie? I always say what I think. I don’t have any shareholders who I have to impress. I’m not a politician. If you find me having sex with five men and five women at the same time, I couldn’t care less! My clients would probably think it’s cool.

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YOUTHQuake

RUNWAY REALITY (Clockwise from top right) Miller in her showroom in 1987; partying at Henri Bendel in 1992; taking her runway bow with Naomi Campbell in 1994; with Rolonda Watts, Brooke Shields, and Phoebe Legere at a 1991 benefit; Niki Taylor on Miller’s runway in 1993.

CHIC REFLECTIONS

Nicole Miller is not simply a fixture of American fashion who is celebrating more than 25 years at NYFW this season—she is also fully immersed in the art world, with an intriguing past that we finally convinced her to discuss! The proud RISD alum and avid art collector counts former teacher Dale Chihuly as a frequent pen pal (and friend), had memorable run-ins with the likes of Jean-Michel Basquiat and Roy Lichtenstein, and hung out with Andy Warhol at The Factory. And that’s only the beginning!

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they’re really hilarious. I stay in touch with James Carpenter, too—he’s another glassblower. There were a lot of famous musicians there when I was in school: David Byrne and Talking Heads, Martin Mull.

You’re still on the RISD board—clearly, you enjoyed the place.

It’s got really vibrant culture. Now, there’s all kinds of famous alumni, like Shepard Fairey, Kara Walker, Dan Colen, Seth MacFarlane, and Jemima Kirke. I think it was cooler when I went there. It was more funky! It was such an exciting time. Providence is now a mellow, gentrified place with nice restaurants and a beautiful waterfront. When I went there, it was totally seedy!

People were always burning down buildings in order to rebuild stuff, and furnishing apartments from abandoned furniture warehouses.

There was a Mafia element, too.

My go-to date-night restaurant is There were all these drag queen Tutto il Giorno on Franklin Street. bars downtown. Rhode Island had My favorite movie is Montenegro. all kinds of jewelry companies, so My biggest pet peeve is Providence was like a trove of cool synthetic truffle oil, because it’s all chemicals! stuff; all these stores had vintage My first New York neighborhood was the Upper East Side! I kept moving farther down, jewelry from the ’40s and ’50s, or amazing vintage fabric. Even and Tribeca stuck. the RISD students seem more I really can’t stand gum-chewing. conservative than when I was If I wasn’t a designer I would be there; there are always some funky a chef! I really love to cook in my spare time. people, but when I was there it felt My favorite hobby is like everyone was funky. wakeboarding and kiteboarding Sounds glorious. When did you on summer weekends in the Hamptons. first start collecting art?

My most-listened-to track is My first pieces were from RISD “My Confession,” by Cornel Campbell. auctions, actually. To this day, one I never really got over of my favorite pieces I own is by the breakup of The Beatles. a RISD teacher [from an auction], If I could travel anywhere in the world, it would be to Iceland to see the Aurora Borealis. a still life of an apple and a water pail. Another amazing piece I got at an auction is by Peter Buchman, an artist who shows in the Hamptons a lot; it’s a 3-D sculpture called “Jazz Club.” Funny thing is, Dale always put things up for auction, and they were always just out of my reach, price-wise. One year, he sent me a big, lightweight box, and everybody thought he sent a glass piece. You know what it was? Some books. I was like, Damn. But I get plenty of goodies.

How did your collection progress from there?

I have a lot of things I haven’t even hung, that are wrapped up in storage. I keep a lot of pieces at the office, too, because I don’t have enough room at home. I have great pieces from Terence Koh and Peter Saul that I haven’t figured out where to put! Maybe I should start rotating the pieces in my apartment.

Any collecting regrets?

I always say the stupidest thing I ever did was not When did your love of art emerge? buy a Jean-Michel Basquiat. Mary really wanted me I was always an art lover, and have always enjoyed to meet him; she told me he was this really strong contemporary art, like [Roy] Lichtenstein—all those artist. She probably should’ve just sold it to me without ’60s modern artists are my favorites. Then I went to having me meet him, because he was just rude. I left RISD, a place with a lot of art and culture, and people and thought, No way am I buying a painting from this were creative in multiple ways. There was even a guy. I call that my $10-million-dollar mistake. And every tap dancing troupe. I’ve stayed in touch with a lot of year, that mistake’s [price] goes up. Did you see that people from there over the years.

Basquiat painting that just went for $110 million!? One Such as? of my girlfriends lived with him for a year. He broke up Mary Boone was in a class with me freshman year, with her, and when he left, he left behind about 100 and she’s probably the [gallery] I’ve bought the pieces of artwork. She was so pissed off, she packed most work from over the years. We’re great friends; them in boxes and sent them to him; she says he never I just talked to her a few days ago. Dale Chihuly was would’ve asked for them back. [Laughs] a teacher while I was there, and he’s a good friend Who else have you crossed paths with in the now. I always get little packages in the mail from him: art world? crazy postcards, books.... It’s the coolest thing. He That same girlfriend actually worked with Andy doodles on the packages, puts tons of old stamps…

Warhol, so I got to hang out with Andy a lot. It was so

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PLUS! 10 THINGS YOU DON’T KNOW ABOUT NICOLE

much fun! We’d do these blind-date dinner nights— everyone would bring a date to match with someone else, and the guests were never in on the secret.…

Andy was really hard to set up. One night, we brought this guy for Andy; he was Toulouse-Lautrec’s great grandson or something, and he was definitely not interested in Andy. It’s just that Andy was quirky and different, or picky.

Any other particularly memorable encounters with artists?

I met Roy Lichtenstein at a birthday party. I’m not going to give the inside story on that one.

How have your artist pals influenced your own work?

I’m friends with people like Eric Fischl, Ross Bleckner, and Will Cotton. I don’t know if it’s influenced me directly, but I love living around their art; I have pieces by all of those people.

What are your favorite museums?

I love the new Whitney, the Brooklyn Museum, and the Cooper Hewitt, especially its textile shows. I still haven’t been to the Met Breuer. And in Paris, you can’t beat the Louvre!

Do you hit up art fairs regularly?

I go to fairs here, like Frieze. The only one I’ve traveled to is Art Basel Miami for a bit, but it got to be such a zoo, I don’t think I’d go back. It became more about the parties, and then the art, if you could squeeze it in. I always go to the Brant Foundation in Connecticut in April and October. But what I really like is to spend a day in Chelsea and go to all those great galleries.

You’ve been a NYFW stalwart for around a quarter of a century now. Highlights, please!

Yikes! [Laughs] I have to say, my first fashion show was a great coup: I managed to get Christy Turlington, Linda Evangelista, and Naomi Campbell.

We got one, and the rest of them came along. Anne Klein used to book its models for the entire day.

It was so annoying! So I couldn’t get Christy and Linda for my second show, though I later got Christy intermittently. Naomi would walk me down the runway [as the finale] for almost every show, for my first five or six years. Sometimes, Naomi would have six changes in one of my shows; no girl has more than two changes now! If I couldn’t book one of the supermodels for a show, I’d be devastated. Then Kate Moss came along, and I’d get her. Then the models all decided they wanted to raise their rates one year, so that put a damper on things.

Any other shows—and go-to girls—that have really stood out over the years?

I really liked Spring ’91 and Spring ’94. Karen Mulder was one of my absolute favorites. When I saw her I said, “I’ve got to get that girl.” Same thing with Karen Elson. I knew I had to get her the second I saw her, too. The first time she came to my office, I said, “Where have you been? You kind of sprang up out of nowhere!” And she goes, “No, I’ve been around, but I just dyed my hair and cut it, and now everyone’s paying attention to me.”

How has your personal style evolved?

I never wore jeans for years; I was into miniskirts, black pantyhose, and boots. Now, I love black jeans, and wear them all the time!

What do you hope your brand looks like 25 years from now?

Oh, I’ll be retired by then! [Laughs] I’ll probably still be coming into the office and harassing everyone.

I hope the brand will be ongoing, and that it’ll maintain its young attitude. I think the longer companies are in business, the clothes tend to get more conservative. We’ve never done that; we’ve always had young customers. I don’t want to wear old lady clothes! ß FA S H I O N W E E K D A I L Y. C O M

FRENCHLessons

He’s reinvented ITALIAN VOGUE, HARPER’S BAZAAR, and INTERVIEW. He’s created some of the most iconic fashion campaigns of all time for Calvin Klein. His product designs have been in the hands of consumers around the globe. Fabien Baron is almost four decades into his career, and his singular vision is still one of the industry’s most influential. The prolific creative director gives his unbridled take on his noteworthy career.

What brought you to New York?

I had always been intrigued by New York. The first time I came to New York, I was 19 years old and I realized, Oh, my God, everything is coming from America! The music, the movies, the TV series…so I said, “Why should I wait?” Things were much slower in Europe—six months later, we would get what had already come out in the States. I wanted to be part of the pop culture of the moment. So I moved here in 1982. I had only $300 in my pocket, and I knew two people: Véronique Vienne, who I stayed with the first time I visited New York at 19 years old, and Carl Lehmann-Haupt, who had worked with Véronique and was a graphic designer. I called Carl and he connected me to Alex Liberman. I showed him my work and he instantly liked me. We spoke French and he said, “I see you’re good at magazines. Do you want to work at Condé Nast?” I said, “Sure! I will work anywhere!” I moved to New York when I was 21.

What a lucky break.

He actually wanted me to work at Vanity Fair, which was just launching. When I arrived, I had many redesigns of French magazines in my portfolio, which I had done with dummy type. So I went to meet with Lloyd Ziff, the art director at Vanity Fair, and he wanted me to start working. But then I got a call from Alex and he said “I’m sorry, but Vanity Fair is not going to work out. We fired the art director. But I don’t want to let you go. You’re going to have to be patient, because I have ideas for you. I’m going to give you a job at Self magazine for the moment.”

Then I ended up at GQ with Mary Shanahan, which was fun. But after a while, I felt like I was getting what I was getting out of Condé Nast and I didn’t want to stay. So I left. Liberman wasn’t so happy, because he wanted me to end up at American Vogue.

Why didn’t that appeal?

I felt like I was just starting to have a voice here in

ALL IMAGES COURTESY

BY PAIGE REDDINGER PHOTOGRAPHY BY BRIGITTE LACOMBE

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

THE CREATOR Fabien Baron in his office at Baron & Baron.

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

FRENCHLessons New York. I was doing Barneys advertising, where I hired Steven Meisel to be the photographer, and I was doing my own thing at a start-up, New York Woman, which people were noticing. I brought on photographers like Peter Lindbergh; it was his first U.S. editorial. American Vogue was about a strict way of working, and I felt like I would be a prisoner there, and I wouldn’t have my own voice. Liberman said, “Condé Nast is always a place where we need people like you.” But I did feel like, “Oh, s**t. I’m saying no to American Vogue. It’s no small thing.”

Then weeks later, I get a phone call from French Vogue. That freaked me out. And I turned that down, too. I said, “I really can’t. I’ve only been here five years.” I didn’t like the idea of going back to Paris with my tail between my legs. I wanted to stick it out in New York. I also felt like French Vogue was not in the right place at that time. My partner at the time said, “Maybe you made a really big mistake. You just said no to two big Vogue magazines. How many Vogues are out there?” And then I get a phone call from Franca Sozzani.

Unbelievable!

She said to me, “I’m taking over Italian Vogue.” And I said, “I can do it.” I took the job on a phone call. I had been following Franca Sozzani for a long time, since she was at Lei and Per Lui. I highly admired her, and I felt like she was changing fashion.

How did you manage the commute to Milan?

Going back and forth then was not the same as going back and forth today. They had no money, so I was flying tourist class and putting myself up. I was losing money, but it was something I really wanted to do. I did it for two years, but then I quit because I couldn’t take it any longer. I felt I had that experience, and I didn’t need to do it for 10 years. I was exhausted.

What was it like working with her?

We were so aligned with what we were doing. I wanted to use new graphics and layouts and work with new photographers; she had the same vision with fashion. I was totally digging it. That’s where I really felt I started to understand myself. She was an important figure in my life. Those two years meant a lot, and working with her was fabulous. She really had balls.

How did you land at Interview?

I got a phone call from Glenn O’Brien, who told me, “We are redoing Interview magazine and Ingrid Sischy

“I DON’T KNOW WHAT I AM DOING TOMORROW. I PROMISE YOU, I HAVE NO CLUE. THAT’S PROTECTION—IF I KNEW, I WOULD PANIC!” is going to be the editor. Would you like to work with us?” I said, “Yes! Interview is Andy Warhol. It’s legendary.” Plus, it was a start-up. But that didn’t last so long, because I didn’t get along with Ingrid. We didn’t connect in the same way. She was not enjoying what I was doing for the magazine. Basically, she fired me. We knew it was going to be weird for a little bit, but I saw her everywhere; it was fine, and we were laughing about it afterward. After Interview, I decided to stop for a little while. That’s when I decided to do my own company and work for different clients. I was doing the advertising for Valentino at the time, I was continuing to do Barneys, and I was beginning to get other clients, like Issey Miyake. I started my office with one computer and one assistant.

THE BUZZ FACTOR Whether it’s creating striking editorial imagery or edgy advertising campaigns, Baron’s work always reveals a unique point of view.

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

What was your first big project after you founded your own company?

Six months down the line I was working on Madonna’s Sex book, and six months after that, I got a call from Liz Tilberis for Harper’s Bazaar.

What was it like working with Madonna?

It was fantastic. We had Steven Meisel taking the pictures, and Glenn O’Brien was writing the copy with her. She has a strong opinion and voices it, but we all do.

What was your first meeting with Liz Tilberis like?

We went to lunch and we talked about everything but the magazine—England, photographers, kids, Vogue, food, life.… We talked so much, you have no idea!

How did you go about redesigning Bazaar?

By building a team, and bringing in editors like Tonne Goodman. Patrick [Demarchelier] was already working there; he connected me with Liz. So when I got there, I called Peter Lindbergh, Paul Cavaco, David Sims, and all the young photographers from England, like Craig McDean, and said, “You have to do the magazine.” It was an amazing moment, which lasted until Liz died of cancer, unfortunately. That was the saddest thing. The first year I was on the job, she was diagnosed and eight years later, she died. I gave my best to that magazine for the time that Liz was around. When she died, we made a special issue called “The White Issue,” because we called her “La Blanche." I called all the photographers and each dedicated one picture to that issue. After that, I quit. I was done with magazines.

For the second time.

Yes. [Laughs] I went back to my office and I was doing all the work with Calvin Klein, which had been happening at the same time. At one point, I had a fulltime job at Calvin Klein, a full-time job at my agency, and a full-time job at Harper’s Bazaar. It was too much! But I did that for eight years.

ALL IMAGES COURTESY

What was it like to collaborate with Calvin?

Calvin called me really early on, the first year I was at Bazaar. We started talking, and then there was CK One and this and that and Kate Moss and…you know.

When Calvin is into you, you have to be there hours at a time. I said, “Calvin, you have to understand, I have a company.” Calvin introduced me to making film and lots of things. I directed a lot of commercials for Calvin, and I started directing commercials for other people, too. During that time, I produced a lot of packaging design. I’ve done a lot of fragrance bottles, as well as furniture and eyewear, and a lot of beauty advertising. A few years later, Carine Roitfeld called me to do French Vogue.

Did you say no?

I said, “I can’t. I don’t want to work with magazines. I don’t feel like going back and forth.” I told her to work with M/M (Paris), so she did that for two years. At the time, I was doing Arena Homme +, but it was only twice a year. I can do that in my sleep almost. But French Vogue with all the shoots? Oh, please, no! And also, I wanted to start my own biennial magazine. So I went to see Jonathan Newhouse.

Did he like the idea?

He said, “We don’t need another magazine. In fact, there is a magazine that needs your help. So why don’t you do that for a while, and then we will talk about your magazine?” He meant French Vogue.

Carine was doing a great job, and I was quite taken by her as well. So I went on a boat and said, “Take me for a ride.” I did it for about four years.

In the meantime, were you still trying to get Jonathan to do your own magazine?

Jonathan pooh-poohed me on all the ideas about my magazine and ended up making a magazine with Katie Grand. But I was enjoying French Vogue. I also met my partner, Ludivine [Poiblanc], there. But after a while, Glenn O’Brien asked me if I was interested in coming back to Interview.

Why were you tempted?

It’s like a first love, and 80 percent of my life was still in New York. Glenn was my old friend, and we worked together for so many years. We did that for a while,

BOTTLE ROCKET When it launched in 1994, Baron’s innovative design of the CK One bottle became a global sensation. He also art-directed iconic campaigns for the brand, featuring the likes of Kate Moss.

but after three or four issues, we didn’t get along. Peter Brant called me in and said, “We have decided to go with Glenn O’Brien to do the magazine, and we are asking you to leave.” It was fine—I was busy in my office. Four or five months later, Glenn hired M/M (Paris), which hurt my feelings a little bit. He organized this all behind my back, so I was like, “S**t, I thought he was my friend.” I felt personally hurt by the situation, but I didn’t talk to anyone about it. The worst part of this whole thing was that probably six months passed by and I get a phone call from [Peter] Brant. He said, “Things are not working the way we want them to work with Glenn. We would like you to come back.” I said, “Are you kidding me? Absolutely not!” I basically hung up the phone. So then his son came to my office and talked to me, and I still turned it down. Someone else came in, and I turned it down.

They laid down all the cards in front of me and said, “Listen, we need you to come back to the magazine.

We made a mistake.” Karl [Templer] and I made a list of 12 conditions that we would need in order to come back. We put down conditions that we knew they would not be able to fulfill! But they said, “We will do everything, no problem.” It was like a dream job. Now, it’s been nine years!

How do you maintain your crazy schedule?

It’s terrible, because on top of it, I do personal work!

First of all, I don’t know what I am doing tomorrow.

I promise you, I have no clue. That’s protection—if I knew, I would panic! When I do something, I have tunnel vision. It’s the only way I can function. [My staff] has to take me off one project and move me on to something else.

Are you as excited by digital as you were by print?

They are different. Digital is not in its prime yet. It feels like when we first got television—it’s still in black and white.

Everyone is experimenting; a lot of things are good and some are very bad. Here’s the quick recipe: This, that, and the Instagram. That’s going to work for a moment, but you are going to have to come up with something else.

How has the photographer’s role changed?

The role of the photographer has been lessened because of digital and social media. Now, anybody can take a picture. People have stopped looking to photographers to build an image because they feel they can do it digitally. I don’t think the fees photographers were asking for are still possible today. Now, the designer, the team, and the art director are all a part of conceptualizing the imagery.

The photographer has become only the mechanical enabler to make the image.

When have you felt the most free in your career?

When I was at Italian Vogue with Franca Sozzani, and at certain moments at Harper’s Bazaar. But where I felt the most, most freedom for my soul was when I did a special project with Moncler. Remo [Ruffini] asked me to do whatever I wanted for an exhibit. So I went to Greenland on my own and shot icebergs at night with lighting. It was monumental to take pictures exactly the way I want to. I’m glad I did it for Remo, because he totally got it. He backed me up and never asked for anything. ß FA S H I O N W E E K D A I L Y. C O M

SITESpecific I actually don’t think it was as bad as it could have been. It’s so disrespectful when everyone is focused on their phone at a wedding—I just wanted everyone to live in the moment. It was such a magical time!

You’re originally from Chicago. What are the differences between living there versus in New York?

I was always a New Yorker at heart. I loved growing up in Chicago—it’s a much quieter, calmer place. I think one of the best museums, if not the best, is the Art Institute of Chicago. There’s amazing culture and architecture there, but I feed off the energy of New York. I totally understand how some people don’t feel this way about the city, because it can be tough and overwhelming at some points, but I love it so much.

How did you get into art?

Honestly, I have no idea! Ever since I was little, I was obsessed with fashion, and then came my love for art. My mom is an interior designer, so I grew up around fabric samples, but I never wanted to be a fashion designer.

What was the first painting you ever purchased?

I’m married to an art dealer, so luckily, he takes care of that [Laughs], but my parents bought me some fun art when I was little.

I also had some great pieces from street artists in my apartment when I was going to school. I’d like to get into buying art, but we’re lucky to live with great things already.

She’s got a museum-worthy art collection, a stuff-of-legend Favorite artists? wedding, and one of the best-stocked closets around. Now, I can appreciate so many forms of art, whether it’s something I with Minnie Muse, her relaunched fashion-centric website, want to live with or not. Visually, Colby Mugrabi is a professional influencer to be reckoned with.

I love abstract expressionism

BY SYDNEY SADICK PHOTOGRAPHY BY WILLIAM JESS LAIRD and Warhol, Urs Fischer, Jeff Koons, and Picasso. Having What’s the story with Minnie Muse? tunnel—John Galliano and Minnie Muse and being able to I came up with the idea in high school. I lived in his designs, and the beautiful do a wide variety of research New York part-time and would write for Teen Vogue environment he created each has also opened my eyes to lots during Fashion Week. Ever since I was a little girl, season. of different forms of art that I I woke up early to watch the runway shows before Tell us about the logo. probably otherwise wouldn’t have school—this was when you’d have to wait until they It’s based off an Alexander Calder GIRL OF THE MOMENT Mugrabi at her discovered.

2016 wedding, held at the Hôtel du Capwere posted the next day on style.com. I wanted pin. Calder had a series of initial What are your go-to museums Eden-Roc; with her husband, Alberto “Tico” another outlet that I could use the other 50 weeks brooches, which he would give to Mugrabi; with Mary-Kate and Ashley Olsen and galleries in the city? at the relaunch of Minnie Muse, held at a year, when I wasn’t in New York or Paris doing his friends and family. I saw one I love The Met and MoMA, and The Lobster Club in November ’17. my little blogging for Teen Vogue, so I launched my designed for his daughter with I do a lot of research at the website! It initially started as an art and fashion the initials MR, and the M was Costume Institute library. I love site, a portfolio for my projects. I never thought rendered into a squiggle line, so I took that idea and the Neue Galerie and its café there, too, and about monetizing it. I stopped doing it once I hand-drew my logo for my site.

Gagosian always has amazing shows. moved to New York to go to NYU. I went to Gallatin Do you have a team?

What’s the aesthetic of your home? and studied art history and fashion business.

I have a lovely girl helping me one day a week. I can’t The most important thing in life, whether you have Throughout those four years, my interests expanded do everything, and I know that social media is such good taste or bad taste, is to have some sort of into architecture and furniture design. In my senior an important element, so she’s going to help me taste and eye for curation. At home, we have midthesis project, I learned that an artist’s book is with that. It’s also important to bounce ideas off of century furniture, pop art, contemporary art, African something that changes the way you see something someone. I think my husband’s tired of me asking him masks.… It’s a nice blend. else, which is kind of the motto that’s always in the about what he thinks about Picasso’s opera costumes You just returned from couture. Which shows back of my mind. I got married and was thinking and stuff like that. [Laughs] did you see? about what to do that utilizes my skill set, so I Where did you and your husband, [Tico Dior, Proenza Schouler—the designers are my dear decided to launch under the same name, Minnie Mugrabi], meet? friends—and Chanel. The garden setting was so Muse, and make a digital digest that focuses on the At an Urs Fischer opening. I love his work. My best beautiful. I also went to Valentino—it brought me history of art, fashion, design, and architecture, as friend invited me to go, and I was in class all day at to tears. well as the cross-pollination of those fields.

NYU, so I went straight from there. It turns out that Where will we see you at Fashion Week?

How did you come up with the name?

Tico organized it!

The Row is on the top of my list. I love going to my When I was younger, my friends wanted to be Fate! Your wedding at Hôtel du Cap-Eden-Roc friend Brett Heyman of Edie Parker’s presentations. singers or actors, but I wanted to be John Galliano’s was the talk of Instagram. Were you surprised?

Last year, she created a newsstand that was stocked muse. That, to me, was my light at the end of the Yeah, because I asked people not to Instagram it! with Cheetos—my favorite thing in the world! ß

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

C O U R T E S Y C O L B Y M U G R A B I / B FA ( 2 ) ; A L L OT H E R S C O U R T E S Y

MUSE MATERIAL

DESIGNER Dossiers

The Fashion Hong Kong showcase has returned to NYFW with three ambitious brands that are ready to dominate the runway.

Yi Chan and Larry Cheung of Heaven Please, Annette Chan of Anveglosa, and Harrison Wong will unveil their latest creations tonight. What to expect?

What to pre-order? And how do they get it done?

Answers ahead!

EASTERN PROMISES

BY SYDNEY SADICK

Yi Chan

Larry Cheung

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

It’s your first time showing at NYFW. What brings you here?

One of our customers, who is an art consultant in New York, told us that she always gets praised by her art-world friends when she wears our designs. This grew our confidence to participate in NYFW. But we are nervous about the time constraints! Every designer wants to make all designs perfect, but time is limited.

What’s the story behind the name of your brand?

It’s the title of a song by Devics, an indie band that we listened to when we were 19 years old. We were young, fresh, pure, and innocent. We also thought it would be wonderful if the name has a underlying meaning of “treasure hunt.”

How did you two meet?

We met at Hong Kong Polytechnic University. We both studied fashion design—Yi focused on woven design, and Larry studied knitwear design. After that, Yi became an editor at Marie Claire and Larry worked as designer for two British labels, Kent & Curwen and Aquascutum.

How do you describe the aesthetic of your label?

Dreamy, imaginative, energetic, and uncommon.

What’s new for Fall/Winter ’18?

We were inspired by the novel Wrong Number, by Liu Yichang, a notable writer in Hong Kong. The NYFW ’18 collection incorporates the ideas from this literature into fashion and remixes the ’50s western style with Hong Kong high-fashion style. We combine elegant outfits with functional details, which is essential in this urban city. And most importantly, we still keep our “dreamy” DNA in our collection.

ALL IMAGES COURTESY

YI CHAN AND LARRY CHEUNG, HEAVEN PLEASE

ANNETTE CHAN, ANVEGLOSA What’s your inspiration this season?

It’s a celebration of theatrical art Annette Chan and a chance for every woman to explore her creativity. The collection demonstrates my aesthetic through delicate application of different material combinations. Using only the finest lambskin leather, ranging from thin to thick, smooth to textured, with a touch of shearling and silk, an abundance of curvy and asymmetrical shapes sums up a classy and feminine spirit.

How does it differ from previous collections?

Since our theme this season’s collection is L’Opéra, the designs are conspicuously more glamorous and flamboyant compared to previous collections. We employed cutting-edge leather treatment techniques in our latest collection, which are newly developed.

These techniques include embossed patterns, shimmering leather, etched patterns, just to name a few, which enabled us to create unique styles with our leather and present features that were never seen before.

Anveglosa is more than 30 years old—what’s the key to keeping the brand fresh and exciting?

We are dedicated to research and experimentations with cutting-edge material combinations in order to continuously enhance the quality of our products. As a result of our devotion to progress, we are capable

of applying new, unique elements to our latest collections every year. Our collections never fail to surprise our customers, and they are always eager to come back for more.

What are your memories of your favorite runway shows?

One of the most memorable shows we participated in was the FW ’13 collection fashion show at Eli Klein Art Gallery in New York during New York Fashion Week. It was the first time Anveglosa was introduced to a sizable international audience. The fact that many prominent members of the fashion industry enjoyed our collection has boosted our confidence and provided us with tremendous encouragement to continue to innovate and progress.

What are you most proud of over the course of your career?

In the very beginning, we designed apparel for other third-party brands.

Subsequently, Anveglosa established itself as an individual premium brand, and through plenty of arduous challenges, we became an international brand.

HARRISON WONG What’s the concept behind your brand?

Harrison Wong is a contemporary apparel and accessories brand for urban men and women. The label has an edgy, aggressive design but Harrison Wong also emits an understated elegance.

My pieces are made with the highest quality materials and craftsmanship but are also affordable to demonstrate that fine designs are not determined by a price tag.

What’s the scoop on your latest collection?

My current collection was initially inspired by the Abstract Expressionist artist Mark Rothko, whose powerful paintings comprise blurred blocks of vibrant colors, blacks, and grays. I think the final result has assimilated Rothko into something that is uniquely my own. I have created prints and patterns with fields of gradient tones to complement and magnify the lines of my fitted overcoats and oversize sweatshirts.

I have also added a sportswear element, coupled with my defining layering, to create what I hope to be a look with immediate visual appeal.

What would you say your brand is known for?

Understated edginess, as well as elegance. I aim for a contemporary feel that is conceptual and wearable at the same time.

What are your favorite things to do when you come to NYC? When I find some time to get away, I usually hit the galleries and latest museum shows. New York is always an inexhaustible source of inspiration.

Do you do any last-minute preparations?

Usually most aspects of the show have already been worked out on the night before. Of course there are always some last-minute fitting issues and such, but these are not generally a source of anxiety for me. A fashion show is a collaborative effort, and everyone on the team shares the responsibility and nervousness. The night before, I generally feel a positive anticipatory buzz.

How will you celebrate after the show?

Oh, that’s easy for someone from Hong Kong: Eat, eat, and eat! ß FA S H I O N W E E K D A I L Y. C O M

VOXPopuli

Did you ever work in retail?

Do you consider yourself a mall rat?

What’s your favorite mall movie?

What stores do you like?

What would you say to a mannequin?

e h t t a MAN MALL Wh-wh-wh-what? We hear all this talk about the struggles of retail, but when we headed downtown to the impressive Westfield World Trade Center, we discovered that indoor shopping is still very much a thing.

Meet the folks who remain loyal to America’s favorite pastime!

SHOPPING EDITION

MATTIA KRAPPA 20, STUDENT Your school is in the Poconos! What’s the fashion like there?

Cold! On campus, everyone is in leggings, Nike sneakers, and sweatshirts. They don’t dress like me.

Who are you wearing today?

This is my mom’s jacket from high school.

My jeans are from Forever 21. My whole outfit is pretty much borrowed.

Do you consider yourself a mall rat?

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

Yes! I’m always there and not even sure of what I’m looking for. I’m going in and out of stores, touching everything. It’s bad!

What’s your favorite mall movie?

Clueless or Confessions of a Shopaholic.

How much do you spend on clothes a month?

I don’t even want to know. My mom has taken control of my credit and debit because I can’t be in charge of all my money. Every month, I spent $80 to $100 on shopping!

GUTTER CREDITS HERE

BY EDDIE ROCHE PHOTOGRAPHY BY HANNAH TURNER-HARTS

KORTNEY WILLIAM 29, STYLE ADVISER

OMG!

How is style adviser different Kortney’s than stylist? r unway A stylist is someone who is based on moment set. As a style adviser, I’m at liberty revealed! to advise my clients on what they should wear, but I don’t necessarily have to go get it. I’m paid for my eye.

And you can do it on your couch!

Yes! As opposed to carrying five garment bags.

This sounds like a dream job! Where are your shoes from?

Rick Owens! I modeled for him from 2012–2015. I did about six shows. It was quite an experience. I consider him one of my mentors.

Were you in the show where the family jewels were out?

I was in that show, but mine wasn’t out!

Were your feelings hurt that you didn’t get to participate in that way?

No. Rick is a mastermind of matching the personality type to the outfit. My personality is strong enough that I don’t need to have my masculinity hanging out to represent his clothes.

We’re sure it’s nothing to be ashamed of!

Definitely not! He made a statement that fashion is taken too seriously. He’s our modern statesman.

Did you ever work in a mall?

No, but my first job was at Victoria’s Secret as the unofficial bra specialist.

I could tell you what looks good for you.

I obviously didn’t touch the women.

Sounds like you’ve turned that experience into a real career!

The message of my life is to keep going after your dream and one day it will turn into a reality. You just need that one person to believe in you. I’m also starting an athleisure line!

WENDY FRIEDMAN 50, INTERNATIONAL COORDINATOR What brings you here today?

I’m visiting a friend. We’re here to go to Casper, the mattress store.

It’s supposed to be next to UGG or something.

Did you ever work in retail?

I worked at Zales in my teens!

Nice! Fondest memory of Zales?

Seeing how stupid guys are who buy jewelry. It’s hysterical how they spend money. The wives come in the day after and return it for something they actually like.

JARET HORN 19, STUDENT

SHUTTERSTOCK (4); GETTY IMAGES (3); EVERETT COLLECTION (1)

CRYSTAL LOWE 22, RECENT GRADUATE What stores do you like?

I just walked into Kate Spade, and I love Sugarfina. I like the champagne gummy bears.

What can you get at a mall that you can’t get online?

Shoes that fit!

Do you consider yourself a mall rat?

I know my mall inside and out. I have an efficient route to hit up each store.

What do you miss about RadioShack?

Trying on all the headphones!

Body image is a hot topic these days.

What would you say to a mannequin?

I have spoken to them in the past; they don’t answer back. I’ve asked, “Where’s your face? Why all the nipples?”

Some of them are triple the size of the average New Yorker, and why? Are they on steroids?

What brings you here today?

My friends and I came from Pennsylvania to look at the new World Trade Center. It’s pretty insane! I’ve never seen anything like it.

Why do you shop at malls?

We don’t have Dior in Scranton.

Have you ever exercised at the mall?

If I’m shopping with my girlfriend, I’m holding 30 bags!

What would you say to a mannequin?

I’d ask it how much it gets paid for standing around all day.

On a cultural note, what’s your favorite mall movie?

Paul Blart: Mall Cop with Kevin James.

FACEOff

DAVID NEVILLE V. DAVID BECKHAM Is it a coincidence or a divine right that the hottest hommes in both style and sports share a name? The similarities don’t end there…

DAVID NEVILLE

DAVID BECKHAM

STATURE

STATURE

As tall as Candice Swanepoel (in heels)

6' 0"

AGE 42

AGE 41

SARTORIAL SIGNATURES

SARTORIAL SIGNATURES

Cashmere beanies, taut tees, the occasional peacoat

Loose-fit tees, the occasional necklace

ATHLETIC PROWESS

ATHLETIC PROWESS

Known as one of the best footballers to ever walk this Earth

Ran the NYC Marathon

SUPERFANS

SUPERFANS

Anna Wintour and every well-dressed woman in your life

Basically everyone born after 2000

DIVINE INSPIRATION! Michelangelo’s David

CURRENT PROJECT

CURRENT PROJECT

Working on his wife Gucci Westman’s beauty brand, serving on Rag & Bone’s board of directors

Shilling for Kent & Curwen, Adidas, and something called Haig Club

EDUCATION

Bradenton Preparatory Academy

MANSCAPING MUST Statement brows

STAY-YOUNG STRATEGY Maintains glow via facial massages given by his wife

MANSCAPING MUST Five-o’clock shadow

CELEBRITY PALS Jerry Seinfeld and Mikhail Baryshnikov

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

STAY-YOUNG STRATEGY

Recovers from hangovers with Alka-Seltzer and bacon sandwiches

CELEBRITY PALS

Sarah, Duchess of York and Tom Cruise

G E T T Y I M A G E S ( 7 ) ; S H U T T E R S TO C K ( 5 ) ; PAT R I C K M C M U L L A N . C O M ( 2 )

EDUCATION

Boarding school and uni, where he studied molecular biology

Your career is everything to you, and the business of fashion is everything to us. At LIM, you’ll learn from the industry’s most powerful, successful, and influential players. You’ll get to know them—and they’ll get to know you.

And you’ll have access to a vast network of movers and shakers to mentor, teach, guide, and inspire you. With your graduate degree from LIM, you can go anywhere you want to.

FIND OUT MORE AT LIMCOLLEGE.EDU/BEYOND

ERICA YOUNG ‘06 Director of Performance Digital Marketing Kenneth Cole Productions

N I C O L E M I L L E R .C O M

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@ N I C O L E M I L L E R N YC

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RESORT 2017